Natural}; simple and “bass” clefs. ¥, any study of music must begin with an undersianding nf those ements which go tomake up music. The first of these elements to be discussed is Pitch, which is designated by the location o! a rote on a musical stave. This is probably best explained by the accompany- ing illustration which shows the location of each note in the “treble? Some definitions relating to pitch: SEMI-TONE.*. . . The smallest distance between two notes. WHOLE-TONE . . The equivalent of two semi-tones. INTERVAL .... The dis Palen Poin, . ance between two different pitches. 2 of DEGREE ...... Each note ina scale is called ad Wits seale. TETRACHORD .. A four-note scale consisting of the follow- ing intervals: Whole-tone, whole tone, semi-tone ‘The firet direct application we will make of pitch § constraction of majer scales. A aS a series of yeiaied notes mor or descending direction. g ina constantly asc Page) Le. BagS305 z A. MAJOR SCALE CONSTRUCTION ‘The major scale is made up of seven different notes, one on cach cessive line and space of the stave and each having a different letter name, The eighth note, or octave, is added since this note gives a feeling of resolution and completion when the scale is played. = vom Upon analyzing the intervals of the major scale built on C, you will find that the structure of the major scale is as follows: : (two tetrachords connected by a whole tone) Whole tone, whole tone, semi-tone. (Tetrachord) Whole tone. Whole tone, whole tone, semi-tone. (Tetrachord) ‘These intervals between the degrees of the major scale never vary, hence, major scales may be built on any note using the structure of the scale built on C as a guide. A major scale built on the root tone Ab would have the following appearance: Note that the fourth degree of this scale must be called Db rather than Cf, since the third degree hadthe letter name C, and the definition of a major seale stipulates that each of the scale degrees must fall on the next suecessive line or space and reccive the next successive letter name. Just to be certain that the foregoing is perfectly clear, here is one more example of a major scale, this time built on the note E. Page 2 :Although major scales may be constructed as described above, amore organized method for finding all of the major scales and key signatures is based on the application of the tetrachord. As may be seen in the following example, the major scale is di- visible into two equal parts, each part forming a tetrachord. These tetrachords are identical in construction and are con- nected by the interval of a whole tone, b a ——] = > =a — oe Ft TO at T 1 wmsens|_poNe rove | Brove \croves |_rave es Ex 5 By using the upper tetrachordas the lower tetrachord in our new. scale, it is possible to arrive at all of the key signatures con- taining sharps. OM CeECfoS RES Ct. Ex. 6 In the previous example it is evident that the F must be sharped, since each tetrachord must be composed of whoie tone, whole tone, half tone. By following the same procedure it is obvious that the next sharp key would begin with the tetrachord built on the note D, i.e, the upper {etrachord of the G scale. . PageAgain, notice that the note C mustbe sharped in order to conform a to the whole tone, whole tone, half tone structure of the tetra- chord. tal Beginning again with our C scale and this time using the lower a- tetrachordas the upper tetrachord of our new scale, it is possible ‘ to arrive at all of the key signatures containing flats. f _ senoen ps ROENOUS - pn ESS 7 } ——— 3 e - Bx 8 Notice that in this case the B was flatted in order to conform to the tetrachord structure. of the new scale, it is evident that the next flat scale would + have an upper tetrachord built on the note F and a new lower tetrachord constructed below it, Once again by using the lower tetrachord as the upper tetrachord i \The following tables show the signatures of all of the sharp and flat keys in treble and bass cleis. B. NOTATION There are certain basic principles to be followed in the correctand legible notation of music. Hereare a few of them to help you in your work. | 1. Make sure that every note is clearly centered on a line or a space. p BAD 00D 2. ‘The same applies to the use of sharps If you a) rping the note #, be sure that the Page 5000 3. If a note has a stem attached to it, make sure that the stems are straight and try to observe the following rule: If the note is above the third line stems go down; below the third line stems go up. 4, Always strive for neat manuscript. It may take a little longer to complete the work at the start, but as you progress you will develop speed to- gether with a clear, legible manuscript. (At this point it would be advisable to complete Problems No. 1 through 6 of the assignment) C. RHYTHM (Part I) Rhythm may ie defined as the factor which controls dura- tion (i.c., how’ long each note is to be held). Following is a table showing each of the rhythmic values which will be used in succeeding lessons and the duration of time each occupi The corresponding rests which are shown on tne right repre- sent the exact opposite, i.e., the absence of sound for a specified period of time. Page 6 = ™ ‘ot t wo ie en ole “le = pewhole note half note quarter note eighth note sixteenth note half note triplet quarter note triplet eighth note triplet sixteenth note triplet dotted half note dotted quarter Duration (When quarter note gets one beat) Equivalent rest Mt 4 beats : 2 beats x 1 best 2 1/2 beat 4 1/4 beat 4 A beats whe, 2 beats 1 beat 1/2 beat 3 beats 41/2 beats Ex 4 If the duration desired cannot be represented by any singie Hote, it is achieved by combining two notes with & “tie”. This new attack but is simp} weg that the second note is not considered to be & y joined with the first as one duration. Page 7The controlling factor in rhythm is the time signature. In each case the top number represents the number of beats or “counts” ina bar of music, while the bottom number tells us the kind of note that gets one beat, vA os 22 4 beats pee bar 6 beats per bar 2 beats per bar quarter note gets I beat eighth note gets 1 beat half note gets 1 beat Ex. 16 Assuming thata bar of 4/4 time can be written as four quarter.notes, it is obvious that any combination of durations which add up to four will also form a bar of music in 4/4 time. Following are several examples of measures in 4/4. Notice that each bar must contain Some combination of durations that total four beats, Next, some examples in three-four time: Page 8Ex. 18 ‘The assigament work called for in this lesson should give you a good working knowledge of these simple rhythms, and an excellent foundation for uncerstanding the syncopated and more complex rhythms to be discussed in future lessons. D. CHORD CONSTRUCTION (Part I) Using as a basis the major scales which are to be constructed as partof your lesson one assignment, it is possible to build all of the basic chords which are used in modern harmony and arranging ‘The first of the basic chord structures which we will develop is the major triad, a three-part chord cerived from the first, third and fifth degrees of the major scale. i Page 9However, since simple triads are rarely u all immedi 1 modern writing we jately move on to the more mudera and fuller sounding Yersion of major, the major 6th chord. The major 6lh is a four- part chord derived from the first, third, fifth and siath degrees of he major scale, C Major Seale . C Major Sixch 3 a ~ © 4 2 F & s é 7 Ab Major Seale — 9? = PE = 4 2 J & a é 7 As may be seen, the major and the major sixth are basically of the ame tonality, and throughout the course we will use the major 6th ord exclusively. . ‘All types of chords are built from scales. At this time, however, itis important to learn and construct all of the major chords. This js accomplished through: the development of ‘chord blocks” as below. SAMPLE PROBL. © oa ¥il ia the open blocks. w& © Ex. 21 ‘© ® © @ (The above exercise deals with major chords, hence the degrees 1, $r'5, § are called for. (see Ex. 20). The note “C” was selected arbitrarily. Page 101, First fill in letter names without accidentals (sharps or flats). a. To fill in the blocks with “C” as “1" is a simple matter; merely count up alphabetically and use the | letter names corresponding to the numbers called for. ested bebe peseebabee i b. With (C) as “3”, merely count down to “1” and up to “5” and “6”, B(q] 2|3 c. Similarly with (C) as “5” count down to “3” and “1” * and up to “6”. A) B CHG) E F 3)4 [s|i6}7 8 d. Same treatment with (C) as “6”. GAB 6\7 8 Bc Dfe FIG Ala] ny 2 |a} 4 [5 The first step in the solution is now complete and the chord block should appear as follows: 6IA\FILIO : SIE\E|O|S i Be. 22 3|4\©\4 |e /|Ol4|-le Page U1a. With C as “1” we refer to that scale w b. With C as “3", refi 2. The second step is to check our major chord structures for necessary sharps or flats. h has €C” as the first degree and find no sharps and no flats, hence 1, 3, 5 and 6 in this case are correct as they appear. é s 3 N ©] mM] 9 fas @ oO @ Ex, 23 to that scale which has“C” (natural) as the ‘3rd degree, ‘This we find to be the scale of Ab which has a key signature of four flats, (Bb, Eb, Ab and Db). We must, therefore, correct the letter names to suit the scale, In this case A and E musi be flatted. 6|4AlF 51 G| 4 3/E|© Ex 2 Page 12ecgtnen ty sane BSE od ge abit’ we find that the appropriate scale is the scale of “F* with a signature of one flat. (Bb). However, ‘since there is’ no “B” called far in this chord, the other notes remain unaffected. c. With C asthe fifth degree, aN {1 [oe Q|™]9 1s © D LO A F @ wo © Ex. 25 4. With C as “6”, we look for that scale which has the note “C” as the sixth degree. The proper scale in this case would be “Eb” with a signature of three flats (Bb, Eb, Ab). The notes that are affected in this case would be “E” and *B”, which must be flatted to conform to the scale. Hilary) AaECE |é OVA\G TJeye[a ~~ OW FZ) 1 _ © & © @ Ex, 26 Page 13,6. _ Complete the following problems as illustrated. fa) Write five different examples of semi-tones oo" " ” »® whole-tones. Start with the scale of C, and through-application of the fetrachord principle, work out all of the sharp key scales in both the treble and bass clefs. In the same manner, work out all of the flat key scales in poth the treble and bass clefs. (a) Cis the fifth note of the scale of F (b) Fo” third yy (c) Ab ” ” second ” noe ” ” @ D *% * seventh ” 7 7 7 % (ce) Fe? ” sixth ym” ® Eb ” * fourth 7 ” Complete the following problems as illustrated, a) C is the third note of the scale of Ab. Soro” fh 2 2% > PB Bm yo ag: es pu ee 8 > Ab, (DoT beh se Dh, Comptcte the following problems as lilustrated. ts the third note of the scale of Bb. >» seventh * 7 7 7 7 Ee » 9 fourth 7 7 % % % Gb. » » seventh » 2 " *% "D- » ” sixth ” so? ” » Ch, » * third 7” poo” Given are series of numbers. Write each of these series of Curation in four-four time as shown in the accompanying example. Ex, 27OZLU3453,5235645 451248 1,3, 8, 1, 3, 1, 2 (c) 1/2, 1/2, 2, 2, 1, 5, 1s i 4, 2, ie, , 1/2, 1/2, 1/2, 5, 1, 2 2, 4/2, 1/2) 1/2, 1/2, 2,4, 4/2, 1/2, 5 8. Write the same series of numbers, this time in three-four time. #4 2 3 == ee Ex. 28 9. In this next problem dealing with rhythm, consider each of the circled numbers to indicate a corresponding period of rest. The rhythm: 1,023) 1/2,@)1/2, 1 1/2, CAB V2, 1 would appear as follows in 4/4 time. 1 @4oQ%# 1% AT Ex. 29 Nolate each of the following rhythmic phrases in 4/4 time. @) 2, 1,022) 1172, O3. Ore, 12, © 4D 1/2, 3,G) 1/2, 1/2, @) 1, 5OuL 1 1/2, @/2) 1, 4, 3,@) 1/2, 12, 1.1/2, CAP 2. (o) © a, 1, CA 1/2, 8, TD We, V2, V2, 3, 2,7) 1/2, 3, 11/2, 12, G1 2 1/2,@ 1/2, 2,@) 11/2,@ 172) 1, 4,G72) 1/2, Ay 4 (ce) 3,02) V2, 11/2,0 17 4@ i 3 GA 12, 1 12.G7D UD UG We We, GD vie, 1 4, ]) Ve, 1/2, 2D 2, 2 Page 1510. Again referring to the rhythmic patterns given in Problem #9, notate each in 3/4 time. 11. Create a melody with a rhythm using notes of the Eb major scale Crete Gurfour time signature. ‘This melody should be eight bars Jong and contain scale notes only. since the purpose of this assignment is to further yott familiar- Giation with the notes contained in the various Koys, itis advisable that you use accidentals where needed, rather than a key signature. 12. Write eight bar melodies similar to that in Problem 11, but as follows: Key of A... 4/4 time Key of Ab. . 4/4 time Key of F .. 4/4 lime Key of D . . 3/4 time Key of Dh. . 4/4 time Key of Bb. . 4/4 time Key of B .. 3/4 time Key of G . . 3/4 time 13, Construct major chord blocks as deseribed in this lesson on Constr che fonowing notes. (See enclosed Work, sheet) Cy F, Bb, Eb, B, B, Ay D, G Toge 14, Write oul cach of the following majer vhords in musteal notation with: (a} Root as bottom note | oe 7 (c) Sth ” ? ° . @) Gh 7” » on: C, Db, D, Eb, B, F, F#, Gb, G Ab, Ay Bb, B. mposing the 0: the major chord indicated above eacia bar. Pape 16us Sb ba Brew Hn SoS Se Compose original melodies on the following progressions using chord notes only. - a iteemenneemeneneseecn LESSON NO. 2 CHORD CONSTRUCTION (Cont'd) } continue with our study of chords as begun in Lesson No. 1, we shall now discuss ‘construct several more of the standard chord structures. The first of these is 2 Minor Tr ‘To construct the minor triad, simply refer to the major triad and wer the third degree one-half step. Major D Major D Minor ; naming the lowered third degree, remember that if the original major third was harped, the lowered third willbe nacural, if the major third was anatural, the lowered tad will become a flat; and in the event that the major third was preceded by a flat, ve lowered third will become a double flat (bb). . _sexplained in Lesson No. 1 the simple triad is rarely used in modern chord voicing, 3 once again, we move on to the more commonly ‘used minor chord with the added fxth ‘The Minor Sixth chord may be found by referring to the major sixth and simply owering the third degree one-half step. . Ex. 2 = — It = 7 Bee oo i le=ze — | S gnee again in order to properly construct and leasn all of the minor sixth chords, it once Aeteto make use of the “chord block” technique as described in Lesson No. b Fae iS a sample problem in constructing minor sixth chord blocks. SAMPLE PROBLEM é bie Fill in the open blocks 5 ©} be Sal 3 LIE wy Pals lBOlale / d LO i) {The above exercise deals with minor chords, hence the degrees -- one, lowered thres, ‘ive and six are called for) Page}‘To continue with our study of the basic chord structures, we shall next cousider the Dominant’ Seventh Chord, a four-part chord which is derived from the first, third, fifthand lowered seventh degrees of the major scaie. ‘The simplest method however, is to refer to the major seventh chord and lower the seventh degree one-hali step. Ex, 10 Asin the case of the lowered third, if the original major seventh was a sharped note, we lower it by making it natural; if the original major seventh was a natural the low- ered seventh will become a flat; and in the event that the major seventh was already a flatted note, the lowered seventh would be double flatted (bb). EuUNEaS As we have already done with the major and minor chords, the chord block technique may once again be employed in constructing and learning all of the dominant seventh chords.” SAMPLE PROBLEM Ke Qn as 7-| $9! Fill in the open blocks x 216 ex SIE /\@ ro) Since this exercise deals.with dominant seventh chords the degrees one, three, five and lowered seventh are called for. SOLUTION: i. Fill in letter names without accidentals using a. Cas the root b. Cas the third ec. Cas the fifth d. Gas the lowered seventh qT Bl 7lalelzlel L Oa ALF F\o ~~ @—- 2. Next we check the dominant seventh chord structures for neces, sharps or flats. ‘Or necessary a. WithCas the root we refer to the C major scale. All of thenotesare correctas they stand with the exception of the ‘seventh degree “B", which must be lowered to conform to the chord structure (dominant seventh). Bs Ex. 13 we [> [N a 8 @ b. WithCas the third, the aporopriate scale would be Ab, with asignature of four flats. In addition to flatting the A and the E to conform to the scale, the G must also be lowered to conform to the chord structure. i 7/246 . S1G|E4 ? be. 4 3/41O 1©@| 4 em c. With C as the fifth degree of the F scale the only alteration necessary would be to lower the seventh degree from E to Eb. . 7 SIG Ee. 15 = BIE \@ ee © d. Here we base our figuring on the fact that the note C is al- ready the lowered seventh of some scale - in this case, the scale of D. We know thai in the scaie of D major the C is Page ®sharped, Hence, the gi ered seventh ia the sea ¢ natural is correct as the low- eof D. The third degree is Fi, ae*| © 6|AiOlA4 =|Ola | (| (Before going on, it would be advisable to complete Problems No. 4 5 of the assignment.) | NOTE: The foltowing chord symbols are used in reference to the chord structures discussed in Lessons'No. 1 and 2. Coe... « «© Major (6) Cm : + C Minor (6) CMa, : +. € Major Seventh Ci : « C Dominant Seventh ® HARMONIC CONTINUITY . The first actual arranging technique which we will discuss is the princi- pleof Harmonic Continuity, a method of producing smooth voice lead. ing in a given chord progression. Once you are completely familiar With this technique itis relatively simple matier to write interesting, effective backgrounds for any instrumental or vocal combination. In these continuities any chord may appear in any inversion, but no matter what the inversion, we shall name the notes in terms of voices rather thandegrees. In other words, we shall consider the top fote-ot tre chord to be the first voice, the next note below iit to be the second voice, and so forth. ce the position of the lirst chord is determined, to produce smooth voice leading to the following chord simply apply’ the basie principle of harmonic continuity, ive, KEEP COMMON TONE (OR TONES) IN SAME VOICE (OR VOICES),/~—————————__— tO To clarify this rule, let us assume that we are moving from a C chord to Ab7 chord. We know that the notes of the C chord are C, E, G, Ay and that the notes of the Ab7 chord would be Ab, C, Eb, Gb. in this a Pugs 6 WD se ota Ua pet Cue eee Ee ee ee ee ee ee@, theonly common tene would he the note C, j.e., the only similar note found in both chords. In the fcllowing example, Cappearsas the first voice of the C chord, therefore, the C must remain as the first voice of the Ab7 chord, with the rest of the chord notes of the Ab7 ing filled in below the C: Were the C chord in the following position with the C as the second voice, then the C would become the second voice of the Ab7 chord and Ex. 19 In the event that the C chord were voiced so that the C was in the third or fourth voice, the Ab7 would appear as follows: Ex. 20 () (b) To go on let us assume that the Ab7 chord was. followed by an Fm chord. Now,a common tone relationship must be established between the Ab7 chord and the fm chord. The notes of the Ab’! chord are Ab, C, Eb, Gb, the notes of the Fm cho: e F, Ab, C In this Gase ‘there wild be tvo common tones » and T (Mey appear in both chords), and to produc: oth voice |} t be kept in the same voices, Ex. 21 1 Page 7 c - ) so cialt f Le ae Had the starting chord been in this position: Ex. 22 BEBE G Here is a longer example of a harmonic continuity with the common tones indicated. The position of the starting chord was arbitrary. Occasionally there will occur a situation where there are no common tones between adjacent chords. In this case observe the following principle: : WHERE THERE ARE NO COMMON TONES BETWEEN ADJACENT CHORDS: MOVE THE FIRST VOICE TO THE NEAREST CHORD TONE OF THE NEXT CHORD (EITHER ABOVE OR BELOW) AND CONSIDER THiS TO BE THE FIRST VOICE OF THE NEW CHORD. fn the case of C to Abm (no common tone), either of the following. would be correct. GBEaERERRE REDToy - . =r Here is a continuity incorporating this principle as well as the one previously discussed. 0 nearest position As you work out these harmonic continuities you will notice that the progression has a tendency to move downward on the staff. This is a result of the natural downward tendency of mostharmonic resolutions, one of the points that will be covered later in the course when we deal with the problems of setting up our own chord progressions or rehar- monizing those that we are working with. - The following simple principle allows us to control the range of the continuity,a necessary device when we apply these chord patterns to orchestral writing. ‘AS LONG AS THE CHORD REMAINS THE SAME; POSI- TION MAY BE FREELY CHANGED WITHOUT REGARD TO VOICE LEADING. AS SOON AS THE CHCRD CUANGES HOWEVER, THE COMMON TONE PRINCIPLE MUST BE OBSERVED. Bx. 26 inversions of the C chord ABT s perfectly clear, here that all of the foregoing ag to har- Now, to make sure yall three of the principles appi is 2 continuity contai: monic continaity. Page 9 1 allele id nblihdaie sill sbi0ic «uaa ad ek 4entae aes iain ar achat anmcinniatnn at a sinveraions of the asme chord -eomson tone to nearest position SSIGNMENT . Work cut all minor sixth chord blocks indicated on the enclosed sheet. Netate minor sixth chords in all four inversions on each of the following notes: C, Db, D, Eb, E, F, F#, Gb, G, Ab, A,'Bb, B. Ex. 20 inversions of the Minor Sixth chord Notate in all inversions, all major seventh chords. (same list as in Problem No. 2) Ex, 29 inversions of the Major Seventh chord C Maj 7 iauaeaen a Work out dominant seventh chord blocks as indicated on the enclosed sheet, Page 105. Notate inversions of the Dominant Seventh chord, again referring to the list of root tones given in Problem No. 2. Ex. 30 inversions of the Dominant Seventh chord ‘\o ak é x = 6. ‘Write harmonic continuities on the following chord progressions. In working out these continuities be sure to consider all of the principles covered in this lesson. (See Ex. 27) (ui uucu ) Set up a harmonic continuity plus an original melody on each of the following chord progressions using a three stave score as in the example below: Page 11[ !' I !' “ ] LESSON NO. 3 ] 4. CHORD CONSTRUCTION (Cont’d) To continue with our study of the basic chords which are used in dance band work, we will next consider the Minor Seventh Chord. ‘The minor seventh is a four-part chord based on the root, lowered third, fifth, and lowered seventh of the major scale. A simple method which may be used to find the minor seventh chord would be to refer | to the dominant seventh and lower the third degree one-half step. poe ° \ a . oe Once again in order to be certain that all of the minor seventh chords will be learned » and constructed properly, we make use of the “chord block” technique as deseribed in Lessons No. 1 and 2. . SAMPLE PROBLEM , Fill in the open blocks. 7 - me | |S © 3 ‘ © © Tr) fe) (a) Since we are dealing with the minor seventh chord, the degrees one, lowered three, five and lowered seven are indicated. ~ SOLUTION: 1. Determine letter names: a. with C as the root 5 b. with C as the lowered third ‘718 1e AG) c ce. with Cas the fiith | a. with C 2s the lowered seventh SIGIEIO\A ‘ F = ¢ ms [2 |4IOl4 | WN@IA lf 10 pags 4may be needed to produce tne minor seventh 2. Add whatever s! chord structure. =ps or fla| a. with Cas the root, we refer to the C major scale (no sharps or flats) and: lower the third and seventh degrees, l.e., E and B to conform to the chord structure. -b, We find that C is the lowered third of the scale of A. (C# would be _ the regular third). We must also lower the scale seventh G# to G. RP SO G ca @ @ & c. With Cas the fifth degree, we must refer to the scale of F, Again, to conform to the minor seventh chord construction, we lower both the third and the seventh degrees. x {[Olr jo y a @ © d. With Cas the lowered seventh degree, the proper scale would be D major (regular seventh degree, C#). In addition to the lowered seventh degree the seale third, F#, must also be lowered to become ¥F natural.Ma) 7 | a4 e|e4|© Ex. 7 S\G\E|O\A Js lelOlat- D wo ©) next basic chord structure to be disc vented Triad, a three-part rd based on the first, third, and raised fifth degrées of the major scale. A simple to find the augmented triad would be to refer to the major triad and raise the \ degree one-half step. Ex. 8 Cavs —— Hig —l stated previously, three-part chords are not often used in dance band arranging. more commonly used form of this chord is the Augmented Seventh. In relation 1e major scale, the augmented seventh chord would consist of the first, third and lowered Seventh degrees. However, a simpler method would be to refer to doiinant seventh chord and raise the fifth degree one-half step. Ex. 9 @ {ll not be necessary to work out chord blocks on the augmented seventh. If you are oughly familiar with all oi ne dominant seventh chord structures, you should have ffleulty in getting to know the augmented seventi:. [a - / ther of the chords with which you must be familiar is tecbpaminbshedetat The ty inished triad is « three-part chord derived from the first, lowe ed, and low- 4 fifth of the major scate. It may aiso be located by referring to the ininer triad simply lowering the fisth degree one-ialf step. Page 3 {Es. 10 (ay Cm * Cain B ae \ ar -W- bar Since we will need @ four-part version of the chord for our arranging work, we move |f on to the Dimi Seventh Chord, a four-part chord derived from the first, lowes, ' ed th : oly lowered seventh of the major scale. Although it is } calied a seventh chord, the simplest method for building it would be to refer ta the } minor sixth chord and lower the fifth degree one-half step. - EERE oO Ee | Another feature of the diminished chord {s that enharmonic spelling may be used frealy j Without regard to scale degrees, i.e., F# may be called Gb; Bbb may be called A, ete. Jn the following illustration any of tho chord spellings shown would be considered to be “correct, Ex. 12 win, as in the case of the augmented seventh chord, it will not be necessary to work {diminished seventh chord blocks. A thorough knowledce of the minor sixth should ‘able you to locate the diminished chord structure with little difficulty. weEER RE P-EDB. CHORD SYMBOLS Every chord structure is designated by a special abbreviated name. Following i Every ciplete listing of the basic chord structures which we will use, and the symbols that identify them. STRUCTURE SYMBOL C Major c ‘ C Minor Cm or C- C Major 7th C Maj. 7 C Dominant 7th cr ¢ Minor 7th Cm? or C-7 | € Augmented 7th C Aug or Cx € Diminished 7th C dim or Co In addition to these basic structures, you may occasionally encowier so-called Fae chords”, where one of the regular chordal functions has been altered to _ produce a sound Slightly-different from that of the basic chord. STRUCTURE SYMBOL NOTATION D minor 7, lowered 5th Dm7 {b5) sb i C. ‘OPEN HARMONY ‘All of the chord positions that we have covered thus far belong to a general class- {Hibation known as closed harmony. In addition to these closed voicingsy certain dpen voicings may often be effectively used. A simple method for converting any- ePord from closed to open position may be described as follows: TO PRODUCE OPEN HARMONY, DROP THE SECOND VOICE (FROM THE TOP) OF ANY CLOSED CHORD DOWN ONE OCTAVE. ‘To {llustrate this principle let us assume that we have a C major chord in the following closed position. (. wd. Suge ey DE > wy eye dwoued Segovia we Gage ERR pee Soot Ex. 13 = vot ay FP antpe fa dur Page $To convert this chord from closed to open position we would simply drop the second yoice, G, down one octave. Ex; If the closed C major chord had been voiced with the note E on top, dropping the second voice would result in the following open version of the C major chord. Ex. 15 Here are several moro ilustrations of open chords formed by dropping the second ° yoice of clased chords, x A B x EB a R 5 . F a a a " A a B a€ OTE: When using open harmony, we may distribute the chord notes between the OTE: Where and the bass clefs, using the bas clef wherever the notes become treble ‘that it would be inconvenient to write them in the treble clef, It is So low tesary to Keep a specified number of notes in each clel. Rather, not The bass clef where convenient to avoid the necessity of drawing ledger lines. Ex. 17 Itis of course possible (and quite effective musically) to apply the principle of open harmony to a harmonic continuity (See Lesson No. 2). Here is an example of a continuity: a. in closed position : b. converted to open position by dropping the’second voice down one octave\SSIGNMENT = 1. Work out minor seventh chord blocks as indicated on the enclosed sheet. =}, Notate the following minor seventh chords in all four inversions: C, Db, D, Eb, E, F, F#, Gb, G, Ab, A, Bb, B red 3, Notale augmented Seventh chords in all four inversions on-the same list as given in problem No. 2. . (L. Notate diminished seve in problem No. 2. | Tn braer to have a convenient guide to refer to as you work, complete the enclosed Mn Ord reference chart by filling in each chord in the appropriate space as illustrated } . Convert the following closed chords to open position: chords in all four inversions on the same list as given | 7. set up harmonic continuities as described in Lesson No. 2 on each of the following shored progressions. Do not allow the top note of any chord to go below the note #. Where voice leading would result in a lower lead note, change position of previous | Page &CWE Ree eee eee eT mm Fh nm 7 a(R | Bi * | 2 6 ons oll si | aa « i | . . ' 3 af of 6 . bs 4, é aii) alls I * alll | Hiqdobst, CH SUL SL il all | | Don? De? Dm? G67 eee Gon? F7 | E te % E : ve Dy8. Re-score each of the continuities which you have written in problem No. 7, - as illustrated below. Original melody using chord notes only a Harmonic continuity in open position * Root tone of chord Page 107th DIM. 7th CHORD REFERENCE CHART p iG. Masor(¢) MINOR(G) MAJ. 7th DOM. 7th MIN, ith AU SeLESSON NO. 4 A. RHYTHM (Cont'd) For preparation in the development and usage of swing Heures) 6 here | analyze the rhythm factors which tend to produce a feeling of "swing". First, let us consider the fact that a four-four bar contains eight eighth notes. . Ex. ! t Swing consists generally of a combination of accents in the above bar where se aeest one accent does not occur on the beat, i.e., one of the accents must secus on one of the "&'s" rather than directly on the one, two, three oF four. © ° fe 24 Se ee ¢e2+# =] Pept o In order to avoid confusion in locating and naming "off-beat" attacks, swe ahsll rely on a system of naming whereby every eigh one beat. Using this system (i.e., eighth note gets one beat), the following durations may be represented by @ singte note: NOTE DURATION EQUIVALENT R T so) 1 beat 1 J 2 beats a 4 . 3 beats BT d 4 beats ee de 6 beats ae? 8 beats a o‘The rhythm " 2114 " would appear as followa; Ex 3 Following are several bars of rhythm notated according to this method of naming: 3S 22 444/422 2/4/22 8 e Each bar should, of course, add up to eight "eighth" beats, Whenever a duration can not be represented by a single note, a ttie” used to link two notes into one duration, The duration "5" might be indi- cated as: . Page 2The arranger, or composer, must follow a definite system of notation go that even the most intricate swing rhythms may be read easily and accurately. The + three principles by which this may be accomplished are as follows: “() A NOTE, WHETHER HEARD OR NOT, SHOULD APPEAR ON THE THIRD BEAT OF EVERY BAR. THIS MAY BE ACCOMPLISHED BY SIMPLY PICTURING AN IMAGINARY BAR LINE IN THE MIDDLE OF THE BAR AND ONLY ALLOWING FOUREIGHTHS(OR THEIR EQUIVALENT) TO - SHOW ON EITHER SIDE OF IT. | ee FF wo 7% 27 , Sf Beets - Lea wt 4z) Liana 4 1 wF 2 8 Le EXCEPTIONS: ! 1 Ey = Eee WHEN TWO OR MORE CONSECUTIVE EIGHTH NOTES OCCUR IN A GROUP, THEY MAY BE "BEAME Ex. 9 : FERS Beamed etghth notes — HOWEVER, DO NOT "BEAM" EIGHTH NOTES OVER THE IMAGINARY BAR LINES, - Be 10 RIGHT WRONG Page 3aot (Before continuing with the lesson, it would be advisalele to complete Problem No. 3¢ assignment. ) 3. NOTES SHOULD ALWAYS BE SPACED IN THE BAR ACCORDING To THR VALUATION, i. e., 2 half note in a four-four bar should occupy one-half of the total space in the bar; a dotted half note sho of the bar, ete. occupy three-fourths BAD Goop iH BEEMEr: (Complete problems #1 and #2 of the lesson assignment) EE i B. FOUR-PART HARMONIZATION OF A GIVEN MELODY In this lesson we come to what is certainly one of the most important techniqu of arranging, i,e,, how to harmonize a given melody in the modern "block" style. We will start out with a given melodic line with chord symbols and set! up a four-part block harmonization suitable for adaptation to any instrumental combination. In past lessons we have dealt exclusively with chord notes, i.e., notes con- tained in the given chord. When working with standard and popular tunes, hows ever, we find that not all melody notes are simple chord notes. Therefore, for the present, we may analyze any melody note according to one of the follo = ing classifications: 1, Chord Notes 2. Non-chord Notes __al In the following example a melody with chord symbols is given and each note 1 of the melody has been anzlyzed as either a chord note (c), or a non-chord note (nc). enon we 6 Fe OM Ce Mee e Page 4 ata+ Once you are able to determine with little or no difficulty whether each note of the melody ie a chord note or a non-chord note, the next step will be to “ill out the chord under each and every note in "block style". Here are the =rules for producing 2 four-part block harmonization, 1, HARMONIZE CHORD NOTES WITH CHORD, BUILDING DOWN FROM. - THE MELODY NOTE IN THE CLOSEST POSSIBLE INVERSION, - Eb a? Dm? Gr CC ] given melody J block Jharmontzation * 2, HARMONIZE NON-CHORD NOTES WI'fH CHORL, BUILDING DOWN, _. FROM THE MELODY NOTE IN THE CLOSEST POSSIBLE INVERSION, BUT LEAVING OUT THE NEAREST REGULAR CHORD NOTE JUST . BELOW THE MELODY NOTE, ple, if we were harmonizing the note "B" with a Cm chord (C, Ek, O, ‘A), we would have to leave out the note "A" (the nearest chord note below "B") nefore filling in the rest of the chord notes. ! re Cm Balla Cis clacas | ke ESS PKS. THES E> ie: = "A" omitted ise ees B [RE | < oo Vue? . YB Se & ee dere are several more illustrations of the harmonization of non-chord notes. Ex. 15 * given melocy OMIT "A" OMIT "GQ" OMIT - ons? "F" Page 5Next, wo move on to melodica which, like all stondard and ropulas songs, wit fi intermingle both chord and non-chord nctes. Here is a melody of this aort complete with chord symbols, und an illustration of how it would be harmonized. x. 16 Don? G7 Cc b42 Dm? De Se om ee ee ce Ce CRM me SES ., Qa? 6? Remember that this same procedure may be followed in effectively harmonizing any of the standard or popular melodies with which you are familiar. If scored and orchestrated properly, the regulting harmonizations, while quite simple, would nevertheless produce the same professional sound featured by many leading bands. during Jn cases where the three lower voices do not change betwéen chords, a smoothe: effect may be achieved by sustaining, rather than re-attacking the notes. Remem- ber that this applies only where each of the three lower voices would have re- ~ peated. might be treated: In the following illustration, the lower three vaices canaot be sustained, since they actually change from one chord to the next. . Page 6 a " a a A a a al . Al a q al‘Another situation where the above principle might be applied would be where doth the melody and the lower voices remain the same. Here, it would be possible to move only the top part while the three lower voices sustain. bel oe 19 The - Abo. It would be wise to remember that regardless of how often this sustaining technique may be employed, it is far more effective in smooth ballads, rather than in "owing type" tunes. (It is also more generally used in saxes rathes than in brass.) : - ASSIGNMENT . a 1, Notate the following swing rhythms, as indicated in Example 20. Ex, 20 2.66485 P2623 2068 ae ee 53 521 512 1223 si. 35 - zises 12 . Qo sclb is 323 3221 32 e113 B22. i 332 2132 12 -3312 132 233 2321 23 Y133 rid 413 2123 122300 1313 svi 23 341 42.21 4112 313. @.rit143 1,242 piiriri3 21122 3.14 L412 3araad 21311 2213 L214 pigsgiadide rigs2n 3221 22112 P3raiie 13121 2123 L2212 pidai3sia 21132 3212 Le122 122.1431 211121 214121 21113 hib_2ire2 212121 daa 3212121 r2.112 piar22. 2114.6 1i1i23 ri2ii2 211i1li2 b222) 3li1e2 r2ri1ii2 bi2i21 “pataa P’2i3 p22 Pr2tr2ad “pazad riiad pilili2 221111 “a he@b2 . nadia be2aaaira Prii22 basa pirid pyredri paargad disve gyr2g pre2yaryad 2.1244 P3zi12 121213 hrirw2ery pirira P2131 32211 pr_idtaarad 21212010 2. Inthe following problem, rhythms employing rests will be used. Remem- ber that the principles of bar-subdivision apply to rests as well as to durations. 441/@ 3 O12 4110 @ 2 & Ors (oe Page 5 ™ = om ee ee |Notate the following swing rhythms: 1420142201241 1111, 2, O.122110930014284 4260 » 2MLL1L0%25ULL0101 25126) 31 LLULO2LL1229601L02111@ ¢ 7294111442142 22 13,203, 2LULL10361011112@ . 1 3. Analyze each of the following melodies indicating chord notes (c) and non-chord notes (nc). bom? B47 £4, < Eon? Fon? a7 Sot é i Page 9at cae eS a= we we Cl wee wee Am? 07 ae Ne RCC ce 6 NE c oN ef ce Men ¢ n 5 Ja Fess ce we Ne NC NC NC WO UC a?4, Harmonize each of the melodies fr om Problem #3 using the four-part I" block technique described in this lesson, Sustain three lower voices wherever possible. ii 5. Write a four-part black harmonization on any twa standard tunes of your choice. Loo PageSag le (essen . LESSON NO. 5 . As PRINCIPLES OF IMPROVISATION . 1, CHORD TONES Notes of any given chord may be used in any order, frequency, oF - rhythm pattern against that chord. . Eu - 2. CHROMATIC APPROACH NOTES ‘Any note which chromatically approaches a chord tone may be used in - an improvisation. These approach notes are always of short duration, . (d or less). Ex. 2 _ Notice that in the foregoing example cach non-chord note chromatically . approaches a regular chord note. . 3, SCALE-WISE APPROACH NOTES Any note which approaches a chord tone "sea se" may be used in . an improvisation. (Scale-wise approaches must aiso be of short duration). . A prerequisite to understanding this technique is a knowledge of "chord scales", . . seale: vaipade . wists genet pane t SwsaGe of ver v9 9 : Be liyaua wen Cpe cceeine veersa. MAJOR (éth or 7th) (1 oMian In the case of the major chord, no alteration is necessary. The major scale, as is, goes with the major chord, note may be used in an improvisation if it + approach Gent chord tone. Notice in the following example that every non-chord scale note moves directly into the nearest chord note (either above or below), ex 1) Seomues execu Sypjeset deve eo b. MINOR ( Melrdic) AB habs bonee cea ifoccn Mae / on “Eectm mMeGs Since the third degree is lowered in the minor chord, the same alteration will be made in the minor "chord scale", . Com (ooj?) Bx. s Again, an example of non-chord scale tones of the "minor chord scale" approaching adjacent chord tones. ¢ bef <-0-E,-f-6- AL ~ BLS (pre uurt + Teed Pane 2 \ \ G02 4aae it >, DOMINANT 7th (Mixcebydinn) Here, the seventh degree is lowered in the chord scale just as it fr has been in the chord. ~ Following is an cxample showing non-chord tones of the C7 chord scale moving into adjacent chord tones 6, eo au ) Ted Sees Deka Hakute Scacs | d, MINOR 7th In the minor seventh chord, both the third and the seventh degrees are lowered . The same alterations have been made in the chord 4 scale. bmg tag amEvery non-chord scale tone in the following example moves directly into the nearest chord tone. ©, AUGMENTED 7th i Here the seale building procedure is slightly different. Instead of } referring to, and altering the basic major scale, we construct « t 'whole-tone" scale, i.e., a scale composed solely of whole tone : intervals. Note: This scale, necessarily, has only six notes plus the added octave instead of the usual seven, Here is an example of seale-wise approaches into chord notes of the augmented seventh chord, 4 88 Bea Be 2 ar? *a 1 a 4a aa g@iaca? f. DIMINISHED 7th ‘Again, without referring to the basic major scale, we build the altered scale for the diminished seventh chord, as follows: Chord notes plus one whole step above each-chord note. 15 GAS Note: This scale will have eight notes, plus the added octave rather than the usual seven. Following is an example showing scale tones approaching adjacent chord tones of the diminished chord. Ex. When a minor seventh (b5) structure is indicated, use the chord scale of the dominant seventh chord found four half- steps below. varalion (ldbctee ae) Em7 (b5) > use C7 chord scale —> ¥5t Fah? seal | Bm7 (b5) ~ use G7 chord scale Fin7 (b5) - use Db7 chord scale Note: Typical mistakes in the use of approack notes are shown below: In the following example, although Df would be chromatic to a regular chord note of the C chord (E}, in this case it cannot be considered to be a chromatic approach note since it ig leaping into a chord note rather than approaching it chromatically. Powe 5atlases nas hhh Nn msc tact hp tltaaiRheuiihs alin Sneatinih laut, 2 Ex. 15 Similarly, the Bb in example 16 would be correct had it been followed by either C or Ab, but cannot be considered to be a scalewise approach to Eb, i.e., Eb is not an adjacent chord note. Mas Ms . . WRONG In example 17, F# would not be correct since it is neither a chromatic approach note nor is, it present asa scale tone in the C scale, BEER Note: Although the foregoing will produce excellent musical results in virtually every situation, this should not be considered as a final and complete coverage of scaie-chord relationships. In some cases the scale will be determined, not by the structure of the chord, but, by its function in the overall tonality of the chord sequence. This will be covered in more detail ia the section of the course dealing with chord progression, LABS ED B. IMPROVISATION The ability to "ad.lib", ive., to improvise around a given melody, or to create an original melodic improvisation on a chord progression is as essential to the arranger 2s it is to the instrumentalist. 1. CREATING AN ORIGINAL IMPROVISATION ON A CHORD PROGRESSION, Page 6fyiiace See) . a. CHORD NoTEs |! As stated earligr in thié lesson, chord notes may be freely used in creating original melodies. Ex Chromatic approach notes may precede any regular chord note pro- - vided that they resolve directly to that chord note. : aes at She Cone ' ¢. SCALEWISE APPROACH NOTES Cvs tM SU res pede Ue batere ). Non-chord notes which are present in the related chord scale may be used, provided that they resolve directly into an adjacent chord note and are of short duration. Following is an example of an original melody based on a given chord progression which utilizes: a. chord tones b. chromatic approach notes ©. scalewise approach notes’ "ALL APPROACH NOTES MUST BE OF SHORT DURATION. Quarter notes which occur on the first or third beat should not aor be harmonized S appreach notes. i Page 7be a Dm? GF a c jj To be certain that the foregoing is perfectly clear, an original melody composed exclusively of those materials coveredin this lesson. here, once again, is ~ ASSIGNMENT Write out chord scales on each of the following notes as shown in Ex. No. 23. C, Db, D, Eb, E, F, Gb, G, Ab, A, Bb, Bmy — 3 a . ON wee eas eI In the event that you do have access to a piano, it is definitely advisable to spend some time playing and lis the chord scales discuseed in this lesson. The most effective way is to sustain the closed chord in the Jeft hand while playing tue altered scale in the right. Remember that speed is not essential, but attentive listening (Play all chord scates notated in Problem No. 1) Page?Ab em, one . te 3, Using only chord notes, chromatic approach notes and scalewise approach notes, compose originalimprovieations | based on each of the “following chord progresoiona: he Am? oO” rol SS | ip geet a Arm oF Sf [SSeS SS i} Fon? 7 ee eo eee eee Ft fom? 62 < 267 “e 4S 2Qm? Qn? C eee { 'Y SS Saas FAGLS a er Qa? G7 Ems) AT Im? G7 [ | PSS tS ASS Pai Fbin? bz(2) vesing each ofthe fttowing chord progressions aa «gue, sep four stave score as illustrated in Example No. 24. original melody using chord notes and chromatic and scalewise approach notes | SS harmonic, | continuity root tone of chord sf AH Am 05) Ae? Page 1| chee 27 Gm? __C? Fm? 6e7 £6 Se SS eee fous? F_ é a7 Gm? CF i Pa PSS = P—p—P NA ETANA NE YY og 5, Write a four-part harmonization of each of the following melodies: = Ne =P SE s =e = Gm? cr Antes) OT Gm? C7 F =SS37 = Page 12each of the following melodies: ' ee rapiee! at H Page 3LESSON NO. 6 A. IMPROVISATION (cont. ) - In Lesson #5 we covered some of the melodic elements to be considered Inimprovising. We continue now with some metodic figurations that may be effectively used. 1. DELAYED RESOLUTION ra JusTeeny vard “Ee cass Eau ne er tM (et runtuet ™ % case® we In this type of figuration, the chord note 4s approached yess from both above ana below before resolution occur s+ the the following forme: 7 unit mM delayed resolution may take either of pe ode pent wee ei” a, approach oo eee note age Ke chord 7 eee cu note ae" ) approach hehant ere note chord note approach oo” note * tions. e some typical examples of delayed resolu Following ar 2.505 ex * J a LE CHROMA PROAC sens ! ( 2. DOUBLE CHROMATIC APPROACH PJeMS Jeupanse Theor _ ey ¥ ~ ag indicated by the title, this melodic figuration cop ets of two chromati Bir _onotes moving in the same direction into the chord £9 ‘The double chromatic following farms: approach almost always assumes ane of the Ti) Sy 7) v 2 ‘ Fae Sos bycrun F De 6epaut vos peter ob Sh yim hy whe oo Paget |a ada nenonennnntinin anata ‘a eo 1 chrom - chrom b3 b3 chrom © = chrom 1 3.chrom - chrom 5 S chrom - chrom 3 pons ae Ge De! eget Beporegere Following i an example of an original melody created from a given chord pre- gression using all of the techniques of melodic improvisation that have been discussed in Lessons V and VI, Each note used has been coded as follows: Chord Notes... Chromatic Approa Scalewise Approa Delayed Resolution... Double Chromatic Approach ariations that could be developed sing is another melody based on thelee! ee IMPROVISATION ON A GIVEN MELODY ‘The preceding has dealt with the construction of an original melody from a given chord progression. These same principles are in continual use dy the instrumentslist or arranger. He has, however, the additional problem of writing a melodic variation (improvisation) on an already established melody. In improvising on a given tune, it is normally advisable that the original . Zlody be recognizable. “The type of band or combo for which you happen Yo be playing oF WFiting should be your guide in determining just how far from the original melody you dare to go- |All of the melodic techniques discussed in Lessons V and VI (i.e-, Chord Notes, Chromatic Approach Notes, Scalewise Aporoach Notes, Delayed Resolutions, Double Chromatic Approaches) may be applied to a given melody. Of course, in order that the original melody remain recognizable, notes of the original melody should be retained, especially those notes which are important in feeling or duration. Notice in the following éxamples that the characteristics of the original melody (a), have been kept in each of the improvizations (b). In addition to the coding described previously, notes of the original melody will now be indicated by "M". Note: Quarter notes which occur on the first or third beat should not normaily be harmonized as approaceer =o = == 1 Bae == Hist WSFC, RHYTHM (cont.) - Any rhythmic pattern may assume a number of different forms and feclings depending upon tts relative location in the bar. To illustrate, the simple rhythm "4 plus 4" might be used in any of the following way: (NOTE: One equals eighth note.) To develop an understanding and awareness of the various forms which may be ovolved from any rhythm pattern, we use the technique of “phythmic displacement", 14194 HOMEY apr RT OME R 1, RHYTHMIC DISPLACEMENT 2, Displacement by 1/8 In the following example, the pre-selected rhythmic pattern will be repeated eight times, but before cach repitition an eighth rest will be inserted. As a result of this, the rhythm which begins on the first beat of the first bar will begin on the second beat of the next bar, the third beat of the following bar, etc., until the original rhythm pattern has been displaced one full bar. a4 1:412 2 3 ee 1 235 TSE b. Displacement by 3/8 The technique of rhythmic displacement remains the same except that a rest of 3/8 beats {a inserted before repeating the rhythm pattern. rests, be sure to use the same (NOTE: In working with shat you would in working with notes.) type of bar-subdivision # Ex MM original rhythm "2, 1, 1, 1, 3" It is, ‘of course, possible to apply this same technique to rhythmic patterns which encompass any number of beats. In Example 10, a two bar (sixteen eighth beats) rhythm pattern has been displaced by 1/8 rest until it returns to its ~ original form. ex 10 original rhythm "2, 2, 3, 2 2, 1, 2, 2." /- - « - ‘The value of rhythmic exercises of this sort can not be stressed too strongly. Completion of the assigned problems will familiarize you ~ with the type of rhythin which is an essential part of modern music - and jazz. : - 2. NOTES REGARDING THE USE OF TRIPLETS IN 4/4 TIME - > a. Quarter note triplets may begin only on the first or third - beats of the bar, . - oo E. _ b. Eighth note triplets may begin on the first, second, third or fourth beats of the bar only. am 3, NOTATION OF DOUPLE-TIME RH . Double-tim: (Gve!, the feeling of eight pileations to the ~ - bar in 4/4 time) rhythms may be notated properly by observing the following: . -_ - a. Consider four sub-divisions to the bar instead of the customary two. Pore 7posta eaten duai acne — 7 BEAT 1 BAP 7 ae8r / Gear b. Reduce each value of the original 4/4 rhythmic pattern by cne-half, ive., quarter note becomes an eighth note; dotted half becomes a dotted quarter; two bars become one bar, etc. ¢. Beam each group of notes that occupy one-quarter - beat of double-time (i,e., two beats of regular 4/4 time). Ex. 16 SPSS Becomes Following are several examples of rhythmic phrases (a) as they appear in 4/4 time; aud (o) as they would be notated if a "double- time" feeling were desired. Be 7 original rhj be " peat Gees fe Ape Page 8- original rhythm i r oP ES i ta Vise 5] > z — | . double-time notation 4 NOTE: Double-time is used exclusively in slow and mediuin-slow tempos. ~ Page?ASSIGNMENT 1. Given are some chord progressions. (Ex. 19) (a) Write harmonic continuities based on these progressions. (b) Improvise original melodies on the chord progressions. Remember + that there must be an explanation for each and every note used. (See Ex. 3 and 4). (c) Code, each note similar to Examples 3 and 4. Bx 18 . c cr F Fm Given chord a a Fae Improvised melody Harmonic continuityneonatal Si ERC ae ani A OR aCe Re! aed Go ae } co _ fint __2 _, i" Qe ¢ bn ee Ce Abe Am? ar GS G7 ‘REE SS eee G bi ger Am? DF oe fe? SG [SSS SSF SS] ee ee Page 12Given are some original melodies with chord symbols, (Ex. 21) {a) Write harmonic continuities in open position based on the chord pro- gressions. (b) Write an improvised variation of each of these melodies. (IMPORTANT: P ~-ORIGINAL MELODY MUST BE RECOGNIZABLE). (c) Code each note as in Example Sb, Ex. 20 Given chord progression » ¢ c - Fm c Given original melody [y Improvised melody Harmonic éontinuity Page 13 SSS S A“ig ea glee Ss aa = =a patter ERS Be lI on? GF Em ie a = EE isd [SEE = 1 Sm? E4nt — Drm? 07 “ =] = =2 Ses = a Bint £7 Cm%es) FT ua SS | Bom? E47 ab 3. Displace each of the following rhythmic patterns by 1/8, Continue until the pattern returns to ity original form.4 Displace each of the following rhythmic patterns by 3/8. Continue until the pattern returns to its original form. Bx. 23 a 8 2 SSS Convert each of the rhythmic continuities resulting from Problem No. 3 to double-time. Remember that cach of the phrases will be reduced to half as many bars as the original.LESSON NO. 7 MODERN BLOCK HARMONIZATION A. MELODIC ANALYSIS Before attempting to harmonize a melodic line in the manner to be discussed, it is important to understand the function of cach note of the melody. We may start by asouming that ever note of a melody must fall into one of the following classifications. (TJCHORD NOTES ..., ive, notes belonging to the ‘chord indicated above the melodic line, Ex, 1 Chord notes NOTE: NON-CHORD, NON-APPROACH NOTES « non-chord notes which do not function as approack notes. Ex, 2 _Noni-chord, non-approach notes Since one of the conditions relating to approach notes stipulates that they must be of short duration, we may 2 cally fall into this classification. se heens CEN pee et sume that any non- chord note more than one quarter beat in duration weuld automati-ia SS a =] - Mine wt ohne Seay ob dncgutce 3. SCALE-WISE. APPROACH NOTES .... (Ref. Lesson No. 5) Ex. 4 Scale-wise approach notes = 5 or meg (Me mee [Pp memer gy y i nel | Very spews Byelanpe 4, CHROMATIC APPROACH NOTES ,., (Ref. Lesson No, 5) Ex, 5 Chromatic approach notes 2 EER Py same Fo Fm c -doe ea pie = ae NOTE: In addition to the regular chromatic approaches discussed in Lesson No. 5, note§that are classified as non-chord, noa- approach may also be’ approached chromatically. Ex. 6 ~ cz, In the following example, each note of the given melody has been appropriately code CHORD NOTES NON-CHORD, NON-APPROACH NOTES, | SCALEWISE APPROACH NOTE CHROMATIC APPROACH NOTES s+... . J ae - —__ Page 2 i = = a a an EwNOTE: In certain instances more than one possibility for analysis existe. In these cases the most desirable choice has been noted. Where . “an approach note may be classified as either scale-wise or chromatic, it is usually (but not always) advisable to treat it as a scalewise approach. ‘As you complete the block harmonization of the assigned melodies, it is advisable that you play each of the possible harmonizations wherever a choice exists so that you may select the one that sounds best to you. -MQDERN.BLOCK HARMONIZATION —_ Once each note of the melodic line has been properly analyzed, the actual harmonization becomes a relatively simple procedure. " Kazmonize chord notes with” ord. (ae iy four-part harmonication: Ref, Leasba Now 4) -_CHORD NOTES. bree ok foo Tout Ex. 8 nod ~ lose, -: SVE aa ada 1 { - non-chord, non-approach notes with chord, omitting the : nearest chord aote just below the lead. be 9 Snes Se fa Pd.ee ee- Following is an illustration of the modern block harmonization of a given melody. In Example 13 the analysis has been made and each note coded, and in Example No. 14 the harmonization is actually completed. Ex. 13 Melodic analysis ps (( REMINDTA: Quarter notes which ocets on the first or third beat should not normally be harmonized as approach notes...t 1s Jmportant that the \ nen the attack lasts for a chord sound be heard on these strong be: “full beat or more. Just to be certsin thatthe foregoing ie perfectly cicar, here te'another Page 5Ex, 15 Melodie asialyais Diet Bho Am. DT 4 G $ ET 1a aa LSS a a ' e tellw et tststet t 1 =a ae uuuneuvenn = BEBE @ wwASSIGNMENT 1, Analyze and code each of the following melodies. (See Example No. 7) (a) _c - ne " Ne id pai s 3° Ft BSSee cE Fens a * Ve \ \ towed Vergy weet | so F Abe Gm? ft svtte)_ DT ‘pinion Sinise tats aaeae SSE Sn ase =r Page 7m7 FT FPP Se Boag? Ebm7 Abaug 7 Db — == =|. Sa) 2, Ina similar manner, analyze and code any three standard, tunes of your choice. 3. Write a modern block harmonization of each of the melodies given in Problem No. 1. 4, Write a modern block harmonization of each of the standard tunes analyzed in Problem No. 2. Page 8 1 20 PPP PT www owe Oe ee KHil Aad a1ay1ata1s = LESSON NO. 8 A. RHYTHMIC ANTICIPATION In Lesson No. 4 we discussed those factors whicn tend to produce a feeling of swing and alse the methods of notating these swing rhythms correctly. Im this lesson we cover "rhythmic anticipation", a technique whereby we may take any simple tune and alter it rhythmically so that it "swings". The rule for using rhythmic anticipation is as follows: NOTES ON THE BEAT MAY BE ANTICIPATED BY ATTACKING THEM AN EIGHTH BEAT SOONER THAN THEY ORIGINALLY OCCUR. In each case, the vighth beat duration is taken from the value of the preceding note. (a) original melody 87 (b) with rhythmic anticipation {anticipation is indicated by>) NOTE: Although in the preczding exampie, rhythmic anticipation has been used wherever possible; in actual usage, antici- pation is most effective when alternated with occasional "on-the-beat" attacks. (see Ex. 2b) Following is an improvisation of the melody given in Ex. 1 utilizing rhythmic anticipation to produce swing feeling. Ex. 2 {a} Original melody . aenett (b) Improvised meledy using rhythmic anticipation 5. MODERN BLOCK HARMONIZATION (Cont'd) 1, HARMONIZATION OF RHYTHMIC ANTICIPATION When working out the block harmonization of a note that has been rhythmically anticipated, be sure to an ticipate the harmony as well as the melody. J | BEUWEHEDeee oe ea ee Ex, 3 {a) Incorrect } Correct Dom? Gm7 K C7 x F : Gm7 cr & Ex. 4 (a) Melody using rhythmic anticipation Gm? 7 (2) Block harmonization Gm? oe. Notice in the preveding examples that the chord aymbols = | appear over the first or third beats of the bar even though the ‘ melody and the biock harmony have been anticipated. HARMONIZATION OF THE DOUBLE-CHROMATIC APPROACH (See Lesson 6.) . 4 | Harmonize each of the chromatic approaches so that all voice: L id move chromaticaily into the following chore, phromatic approach —> chord) (a> yd, aoe > (a) Ex. 5 () . . . 3. HARMONIZATION OF THE DELAYED RESOLVE (Sce Lesson 6) Harmonize each approach note of the delayed resolve as though the other approach did not exist. > - APPROACH APPROACH CHORD NOTE, ee Ex. 6 c aed . So. . 6 cont'd next page) Page 3 Besee , . acintaete nace ai aia ea La tbat ante eee na nat (a - cont'd) 4. ALTERATION OF TUE DOMINANT SEVENTH CHORD ‘The following principles relating tv the dominant seventh chord may be effectively used in modern block harmonization, In any dominant sever bstituted ior ney except When "one" is the melody nol - C= at at Ts ; i ’ a) Jvy Where a dominant seventh chord immediately precedes bg ne tonic (l.e., V7 to 1), the ninth may be low red one _wvalf stop in the dominant seventh chord. 2. With “one!' ih thé lead of the V7 chord, the following aA alternate voicing may be used: : -. d - aL “He 3 Foiiowving is a reference chart showing the V7 to I cadence in every key. A detailed discussion of harmonic progression in- VAT ITAWAAW TC => eluding all forms of cadence will be presented later in the _ course. 7 "V7 to I" CADENCE CHART - PRS Toe wo I . Following is an example of modern block harmonization which contains all of the new principles described in this lesson as well as those covered in Lesson No. 7. V77 Ex. 9 (a)_given melody TI SPPNOTE: it is important that you siudy these examples closely, being certain that you understand each very step in the harmonization procedure. mber that your ative success or failure depends upon your understanding of these examples. . HARMONIZATION (* IMPROVISED MELODIES AAL of the techniques described in Lessons No. 7 and No, 8 apply not only 8 larmonizatizr of given standacd or popular tunes, but to the harmon- szation of improvised melodies as well, Here i ‘ample showing the smudern block harmonization of an improvised melody, All techniques e:a- ployed in creating the improvization have been dicussed in Lessons 5 and 6, i Ex, 10 4 jim y (a) given melody . FAR Ont Gm? cry F Gn? 87 | fd (Ex. 10 - cont'd next page) Page 6=: (Ex. 10 - cont'd) (b) improvisation of given melody and analysis of same. = Gm? C7 Gm? 4 (c) modern block harmonisation of improvised melody é Dm? GL bE ee | NOTE: Necessarily, the preceding examples and illustra~ tions have dealt with extreme applications of the special cases relating to improvisation and block > harmonization. In actual usage however, the beat treatment is very often the simplest, with special cases such as the delayed resolve and the double _ chromatic approach used only for occasional effect. trations are uousily a combination of moder Cc blockhasmonisation, and staple four~part - havmontation as Joberibed ip Lesson Nov 4. Page 7 3yt ) i ||| D. OPEN VOICING OF MODERN BLOCK HARMONIZATION | i : i Open position, as explained in Lessun No, 3, may be effectively used in |} modern Block harmonization. The technique remains the same, ives, OPEN POSITION MAY BE PRODUCED BY i DROPPING THE SECOND VOICE (FROM i THE TOP) DOWN ONE OCTAVE, ~ Here is an illustration of modern block harmonization in open position. Ex. 1 (a) given melody C7 Lt-aR~ ce 1 met tl we ae 1 oc I nenene. (b) block harmonization - closed position Paye 8 ee eee ee eeLESSON NO. 9 A, TENSIONS In this lesson we begin our discussion of "tensions", ives, highs degree chordal functions. These high-degree chordal functions - are treated, for our purposes, just the same as chord notes, and have the same properties as those regular low-degree chord notes already discussed. - Jk is also interesting to note, at this time, that all of the so~ - called "non-chord, non-approach notes" which we encountered jn modern block harmonization, are in reality high-degree chordal functions. (i.e., tensions). Locating these tensions may be simplified by recognizing that | every high-degree chord note is located one whole step above - a related low-degree chord note. | Following is a listing of practical tensions. In each case the i= related low-degree chord note has been indicated. ' J Ex.1 MAJOR: tensions are 739 my whole ] ie Ex. MINOR: tensions are 73 9 whole step. tensions are 9 5 whole step 9 ———tt — ASSIGNMENT r iL Write a modern block harmonization to each of the following melodies be sure to treat all rhythmic anticipations as illustrated in Example #3- Zens 7, Om? Clem Aare ES GES =F wala ow. 2797 Gm7 Gm c AmiUts) D? Bir Ae SAT z a pe Gm? ce oy mo (c) Be z ara oe = sacs ‘ wee a aaa! == aes sy Oe ak i me § Cc ~~ Cae Che a Page J,improvised variationof each of the following melodies. Use "rhythmic 2, Using the techniques described in Legsens No. 5 and No. 6, write an . Ri anficipation" to produce a swing feeling in each of the improvizations. L Aral eam BmV£? . =} " ; a ppm Ff? ae 8 Cn? FF Qmittts) G7 x SESS Sawa aS] a , TT Gm? Cm? FF B ee aS pS I <) , Gm7 C7 F Am? == S ES SaaS a =e E we Abn? be o 4m? OF Se Sa s _ 27 a7 ri que Page 10 (we3. Complete a modern block harmonization of each of the improvised melodies created in Problem No. Z\'2 4 Using any standard or popular tune of your choice, complete the following problem: a. Write an improvised variation of the original melody. (Original melody must be recognizable.) Viaed + . par b. Complete a modern block harmonization of the : improvised melody. jue i) Once again, using any given tune as a starting point complete the following problem: Write an improvised variation of the original J tod. melody. Improvise as little or as much as you please, but in any event, the original melody ifs must be identifiable, if if M b, Complete a modern block harmonization of the improvised miclody in open position,NOTE: The scale eleventh (located one-half step above the third) is also quite commonly used with the Dominant Tth chord, There are specific instances where this scale eleventh is mors effective than the raised eleventh and vice-versa. For the time being, experi- mont with both, and let your taste govern your choice, DOMINANT 7th: scale 11 Bx 5 : ' MINOR 7th: tensions are 9 ; scale 11 ? whole whole a _ om step bya 2teP 2 —— ee — = - 43 5 87 9 3 4 [ L [a AUGMENTED 7th: tensions are 9 5 raised 11 . whole whole ee - ex 7 tensions are one whole step above every low degree chord note DIMINISHED 7 Cage? whole whole whole ‘hole step ‘Step “ep oe StF SS S=S ———————— > Se o ~ - é - st mt 1 (At this point it would be advisable to complete Problem No. 1 of the lesson assignment.) Page 2 wat tt i wt = we eer r As previously rntesy we can now specifically identify tha" sites which formerly had! been classified simply ag "non-chord, non-approach"- r In the analysis of the following melody, ths general classification has been eliminated, and each of t-e tensions . pecifically named. Notice that this does not in any way acfect the identification of those notes, of r the melody which could be treated as approach notes, - - chord notes sesseerereeters es tensions «++ e Be . > scalewise approach notes «45+ s Ze r chromatic approach notes s+ tes © . - ~ B. BLOCK HARMONIZATION OF TENSIONS ' Those notes which we now call tensions are still “ed the same as they were when classified - m = non-chord, non-approachy-i.e.y omit the related low degree chord note just below the lead. = - _ | swing table may be used in checking the ation of any tension. Ce raise i 9 19 - am : Lice : 5 6 | AT = 3 5 5 . - z 3 2 a wane 29 buck ~ Page 3(ex. 9 contta) Dorm. 7th: 9 11 13 Aug, 7th: 9 lL Min. Tthi 9 11 punted (AQ) 8) one OY 13) vay b7 9* 3 b7 9 b7 1 5 DT oe #5 bT 5 bT 3.5 DT 3 #5 b3 5 * *9 for substitution in Dom. 7th chord. Dim, 7th: Omit related low-degree chord note Ex. 9 in musical notation would appear as follows: Ex. 10 MAJOR: MINOR: Sua hea MINOR 7th: oY =) AUG, Tth: © DIM. Tth: i 1 au Be Hee THI eR eR BR BET Be DTDT SET Sa 2.Here is a modern block harmonization of the given melody | TZ) analyzed in Ex. 8. - Gm? 7 Amis) po? “| = « " B qf is Picea = = = Ff) Cy TENSION-RESOLVE :{HI-LO} Although they do not always do so, there is a strong tendency for every tension to resglve to the related low degree chord = $ note found one whole step below. Technically this ts knows as “tension-resolve", or more simply Mhi-lo", (i.e. "him ~ degiee resolving to "lo" degree.) * = Following is an illustration showing all of the poss for hi-lo with each of the basic chord structures. - Bete Be - = MAJOR: 7 to 6; 9 tot MINOR: 7 to 6 ; 9 to 1 - Cat SI! /attache tues DOMINANT 7th: 9 to 1.3 11 (scale or raised) to-3 5 13 to 5 Ex. 15 Ex. 16 + ° = MINOR 7th; AUGMENTED 7th; 9 to 1 y scale ll to 3 9 to 1; raised 11 to 3 Crus? _— fos 9 4 #4 3 - Bx. 17 DIMINISHED 7th: one whole step above any chord note resolving down to the related low degree chord note, e Here is an example showing how an‘original theme might be composed using only hi-lo, The resulting sound should give you some idea of the value of having a good working know- ledge of these tension-resolve patterns. Ex. D: Cc __ Gm? c7 ee aes ==SH ~ 29-7 7-6 4-88 18-5 9-1 7-6 #U-Z B-F =H Page 6 a a i " a " " 7 ' i i ' ID, HARMONIZATION OF HI-LC Since the harmonization of both the tensior and its telated low- degree call for the same lower voices, any hi-lo may be harmonized by simply sustaining the three lower voices while the lead moves. - / . ‘The following table may be used in checking the harmonization - __.-. of any tension-resolve pattern. _ - - 7-6 g-1 eB 6 - 2 3 5 1 3 7-6 9-1 - - ~ 5° 6 . b3 5 - 1 b3 2.DOM. 7th: 9-1 1-3) B- 5 _ . - b7 a9 cee 3 5 bT 9 = . 3 5 b7 - MIN, 7th: 9-1 ll - b3 ° v7 1 a - 5 bt” — 3 5 Page 7AUG, ith: 9 DIM, 7th: 9 bbT bs b3 #ll - 3 9 b7 as WP es pig \ bs vs ete. 6 tS To be certain that the foregoing is perfectly clear, here is Ex. 20 in musical notation. “U-s #U- 3 Page 8a | 2 os oe ee ee ra ;t Utilizing the foregoing principles, the harmonization of Ex. 18 would appear as follows: ex. 22 mn? 7 er Ts B-s $-1 7-6 M3 B-5 5 EES ae on? ‘An alternate technique used in the harmonization of tension-resolve is as follows: 2 ‘Two simultaneous hi-lo's may be used, provided that _ they are separated by the interval of a third. ‘This "double hi-lo'' would appear as follows: ‘The following tilustration would be incorrect, since the hislofs are not separated by the interval of a third. Incorrect Page 9[eee ener a ee asian SA Nt Ex. 25 Harmonization of tension-resolve using "double hi-lo". (Only practical cases) MAJOR: 9-1 o MINOR: DOM. 7th: 1-3 13 = 5 MIN, 7th: AL = b3 Ex, 25 in musical notation would have the following appearance: Ex. 26 MINOR, esa DOMINANT 7th MINOR 7th 7 7 c shia s G Page 10: _ oy i r Po: aumento vr. ae = == | r yr par Pee pap es 4 r OE = 5 md Cr ae . gh mn? 087 < : C == ae a= | Cig -f = 1 pct ve | 0 ESS LO : Po a reor 1 r i Notate tensions of the six bas: starting on each of the following notes, similar to Example #1 through #7. Bb, Eb, Ab, Db» Gb, (Fis B,E,A,D,G -staiting of each of the above notess notate the eeple showing harmonization of tensions+—— (See Examples 9 and 10) No. 3. Compose original melodies 09 each of the following chord progressions using "hi-loM patterns only- (See Example 18) No. 4. Again, using the Hist of root Fone’ from Problem No. 1, notate the table showing parmonization of Whi-lo". {See Examples 20 and 21) No. 5. Ina similar manner, notate the table shiv™ns harmonization of tension-resolve using "double hiclo". (See Examples 25 and 26) Page 12No. 6. No. 7. Problem No. 4.% Use "double hi-lo" only where Harmonize each of the melodies composed for | desired. (See Examples 22 and 27) Analyze each of the following melodies, using the indicated coding. Remember that those notes ~ | that appear to be approach notes are still classified as approach notes. All principles of melodic . analysis remain the same, except that those | functions which were formerly indicated as non- chord, non-approach will now be named as tensions. ~ chord notes (low degree) vevesseeseerers | co | tensions by name hi-lo aeeeeee by name | scalewise approach notes «++ 8 , chromatic approach notes ssseeseeee © ! double chromatic approach . 2 dees : delayed resolve seeeee No, & Complete a modern block harmonization of each of the given melod: (See Ex, 28) Page 14oe? LC 57 c gas aS Sass ‘| ) ESS =a c Bs j Fs spate hig | L L Peal = Saran I C, igi atemniine ‘| Gm? Gm? soo | 2 ot Page 15 _PROGRESSIONS FOR PROBLEM NO, 3 pas PPA? ee y= IEEE 7 c er. Oo dm? @? —S22 24 AAS 8Sn7 or ae pez is GPP A | PLDT IP Ses] 2 Cm? -? Fen? (a =e | _ ae Gm? Fue? Be eer eZ FFL SS SS cbr Dp? Gm? Go? [z= ioe PPP is ee || Page 16LESSON NO. 10 A. VARIATIONS OF HI-LO : In addition to the basic tension-resolve pattern which was discussed in at may be effect- Leeson No. 9, there are several variations of hi-lo th: ively used. 1, LO-HI-LO Following is a listing of all of the possible forms of Lo-Hi-Lo on each of the six basic chord structures. Ex. 2 MAJOR: 6-7-6: 1-9-1 MINO! 6-7-6: 1-9-1 DOM. 7th: 1-9-1: 3-11-32 5-13-5 MIN. 7th: L-9-1: b3- 11-b3 3-#l- 3 . AUG, 7th: 1 - DIM. 7th: chord note - Whole step above - chord note Example No. 2 in musical notation would appear as follows: L MAJOR: MINOR: PagetDOM. ‘th: (- 9-60 BU -B F-138-F Cop? MIN, Teh: Cx? AUG. Teh: B faa Meesy 7-9-7 43- Ws /-9-/ at —-3 set | Ls i lo-~Hi-lo — Lo-Hi-lo — le-Hi-lo Lo -Hi-k procd ba UH bs ps ~ bid PS 2. HI-CHROMATIC-LO Q- ch-/ f3-h-F5 Following is an illustration showing all of the various possibilities for Hi-ch-Lo. Ex. § MAJOR: 7-ch-6: 9-ch-1 MINOR: 7-ch-6: 9-ch-21 DOM. 7th: 9 - ch - 1 fll - ch - 3: 13 - ch - 5 MIN. 7th: 9 - ch - 1:11 - ch ~ b3 AUG..7th; 9 - ch - 1:f1l = ch = 3 DIM, 7th: Hi - ch - Lo Note: Hi-ch-Lo is not possible when moving from scale eleven to three on the Dom. 7th chord. 2 C—Oveer DOM: “th: tele -ch-/ tnd 3 B-chS ooo ~ AUG, Tthr DIM, 7th: ar Be Pape 7. 9- ch-/ #Y~ ch-3 Hi-ch-lo — Hé~ch-Lo Wewnb WS wats 3, LO-HI-SHROMATIC-LO ee 5 6 A7-ch~61 of the possible u The following chart includes 5 of Lo-Hi-ch-Lo. Ex. 8 MAJOR: | 6 - 7 - ch - 6% 1-9 -ch-1 MINOR: 6-7-ch-6: 1-9-ch-1 DOM. 7th: 1 - 9 - ch - 1: 3-#l-ch-3: 5-13-ch-5 MIN, 7th: 1-9 + ch - 1:b3 = IY - ch = BS AUG. th: 1-9 - ch - 23 3- ML = ch - 3 DIM. 7th: Le - Hi - ch - Lo ollows in musical The preceding chart of Lo-Hi-ch-Lo would appear as f notation. MINOR: ON Sas Load En MAJOR: Se lo-Ai-ch-Lo 6 ee ea Page 4Fa {At this point it would be advisable to complete Problems 1, 2 and 3 of the lesson assignment.) ‘An interesting melodic line may be composed by applying the preceding - variations to a given chord progression. In the following example, only Hi-Lo and variations of Hi-Lo have been used. . . - —- — ina A - 7- ch- 7-6 9-chb-/ 7-6 a On? OS c a ya | 7-9-ch-7 9-1 (S-ch-F UH 83 B-B-F 7 ~ ch-S B. HARMONIZATION OF VARIATIONS OF HI-LO 1, LO-HI-LO may be harmonized either of two ways, a. sustain three lower voices whils lead :woves: co) tot c . a7 bet p= b. sustain two lower voices while two upper voices move in thirds: “ {possible only where double Hi-Lo may be used; see Lesson 9) Be 12 Page 5 Paar aa2, HI-CHROMATIC-LO may ba harmonized as follows: A, guatain throa lower voices whilu lead maven: wy te a7 Ex. 13 b, ‘sustain two lower voices while two upper voices move in thirds; (possible only where double Hi-Lo may be used) @ o See etre > Be ” ¢, harmonize the "chromatic" as a chromatic approach note. 3. LO-HI-CHROMATIC-LO may be harmonized by any of the following methods: a, sustain three lower voices while lead moves: Page 6b. sustain two lower voices while two upper vaices move in thirds: _- (only where double Hi-Lo could apply) Using the preceding principles, the harmonization of Example 10 might appear 2s follows: pe VU » res (See rials as-LLTERED TENSIONS "i Tu addition to the regular high degree chord notes already discussed, cer~ ~ fain “altered tensions” may be used in specific cases. They all occur with the Dominant 7th chord and are: bis ‘The harmonization of these altered tensions would appear as follows: . 9 b9 cr L. beth bt, br pba 5 s BEeS 3 3 . | #9 #9 ae b7 oT [AS - yoo j 3 3 ws ws bs [4 3 oe 3 3 5 9 ° bo wed b7 v7 e An effective form of hi-lo using altered tensions is #9 to b9 on the dominant ] Zh chord, The harmonization is as follows: a #9 - b9 #9 - b9 (ee b7 b7 - Ex. 2 3 is 3 3 - D. MELODIC ANALYSIS (Concluded) i ‘This completes our classification of those melodic functions and patterns - that may be effectively used and their respective harmonizations. Following is a complete listing with appropriate coding for melodic analysis. Page 8- © Chord notes. .seseeseeeeeeeeeeees ve Scalewise approach notas.+e.+++ . : - Chromatic approach notes :...... 0.000004 © - Delayed Resolutiong........ Double chromatic approaches, ++ by degree name - . siteeserse by degree name It is important that you have a complete and thorough understanding of each of these melodie possibilities if you are to derive the maximurn benefit from future lessons. Spend whatever time may be necessary in reviewing past lessons should there be any doubt whatsoever in your mind concerning their - derivation or usages ~ Here is an example of a melodic improvisation utilizing the above possibilities.Logically enough, these ‘same possibilities may be employed in the melodic improvisation of a given melody. As in earlier discussions on improvi- sation, try to maintain the basic character of the original melody while using various devices to form an interesting mélodic variation. (a) given melody C Ae Am? 27 oS cry c on | (SSS ee % a7 G 4en7 Am? 27 =e = = {b) melodic improvisation | Page 10HOA 4 aaa 4 <“ASSIGNMENT: Notate all possible forms of Lo-Hi-Lo on each of the six basic chord structures, starting on each of the following notes: (See Ex, 2 and 3) C.F, BI Bb, Ab, Db, (FF), By E,A,D,G Using the above list’of starting notes, notate all fornis of Hi-Chromatic- *{See Ex, 5 and 6) Pebscceseeee ~Again, starting on each of the notes listed in Problem No. 1, notate all possible forms of Lo-Hi-Chromatic-Lo, (See Ex, 8 and 9) Using the following chord progressions as a guide, compose original * melodies based exclusively on Hi-Lo and its variations, (See Ex. 10) Fo? Gm? GF Page 15. Harmonize each of the melodies composed for Problem No. 4 using any of the harmonization techniques discussed in this lesson. (See Ex. 19) Again using the chord progressions from Problem No. 4 as a guide, compose original melodies utilizing all of the melodic variations catalogued in this lesson. Code each note as in Ex. 23. Completé a modern block harmonization of each of the melodies com- posed in Problem No. 6. (See Ex. 24) " ‘Again, utilizing these same melodic devices, write a melodic improvi- ard tune of your choice, being certain that the basic a sation of any stand: . 25) character of the original melody is retained. (See on of the melody Write a modern block harmonization in open po resulting from Problem No. 8. Page 12Ah 4 4 Loa |= c DEFGe Be Fl. ) Gs cee stiolel Sty played on the piano, would sound the same as BERVE Woot ee played on the tenor sax. “In finding the transposed key for the tenor sax, simply think up one whole step, since the addition of the octave would not affect the key relationship in any way. If the concert key were Eb, the proper key for the tenor sax would be F. Following is a melody, first as it might appear in concert and . then transposed for the Bb tenor sax. Eb BARITONE SAX --- transpose up a major sixth plus an octave from the concert note. when played on the piano would on baritone sax. This scale: played on the baritone sax. Pape 3Since the extra octave does not affect the ke: relationships ‘simply figere a major sixth higher when determining the proper transposed key for the baritone sa "We the concert key weze C the baritone sax part would Be w hitten in the key of A (the same as the alto sax). sro iltustrate the foregoing, here is a melodic line, fixst ye pe izoncert key and then transposed for the Eb Bari- tone Sax. NOTE: When transposing for the reed sections remember _ NOTE: viet the individual parts are always written in the thle clef, regardless of their appearance in the concezt score. B. RANGES Naturally, there are certain Limitations as to just How, high and see iow each instrument is capable of playing, | The distance tow hon the lowest note and the highest note is called the range be the instrument. The following illustration shows Mie sets seer gach ingtrument. The first is the "possible" of F: cage, dess the ordinary physical limitations of the instru- FONE ne second is the "practical range,i es» the Fang winich you may assume to be comfortable £07 2y reasonably er to confine your Maequate instrumentalist. Tt is always wi seeming to the practical ranges. The extzeme sandes should writing ty where absolutely necessary of in cases WATE the eeranger is familiar with the individual musicians’ facilities. Remember that the best planned and most musically coaceived weore is of no practical value unless if cen be Cov fortably played and interpreted by the jastrumentalist. (Refer to RANGE CHART on the following page-) Page 4Bb CLAR. Eb ALTO Bb TENOR b BARI. WAAR Ta Page 5c.” VOICINGS ae Although there are several different combinations of reed instruments that can be used in a four-part saxophone section, the most cornmon is: 2. wo ee, I~. Ebalto I Ebalto Il Bb tenor IV Bb tenor Let us assume that we have prepared a four-part block har- monization of a given melody in concert sketch form. mB Pro Sw Yo apply the aforementioned saxophone voicing to this block harmonization, transpose parts for the individual instruments as follows: Remember that the transposed Key for Eb instruments will be a major sixth higher than the concert key, and the transposition for the Bb instruments will be one whole step higher than the concert key. 1. ‘Transpose the top note all the way through for the first Eb alto sax (See Ex. 6). SSS2. Transpose the second ote (from the top) all the way through for the 2nd Eb alto sax (see Ex. 6). = 5 = aS == i f fase pas i 7 Tae ks 3. Transpose the third note (from the top) all the way through fo: the 3rd Bb tenor sax (see Ex. 6). 9 Concert * = to eT: 4. Transpose the bottom note all the way through for the 4th Bb tenor sax (see Ex. 6). o e Ss Concert pe Bp tattpe ey IV Bb tenor (eS ESS Lt ttt a dt tL! a page 1NOT. In transposing individual part harmonic spelling wherever resulting notation seems more practical. ‘The resulting parts when played by the respective instru- mentalists willproduce the same sound as the original con- cert score, but with that distinctive quality which comes from the particular sax voicing used. Another four-part sax voicing which is quite frequently used is as follows: I Ebalto WU —-Bb tenor I Bb tenor IV Eb baritone The above reed voicing is particularly effective when the four-part harmonization is converted to open position ‘as discussed in Lesson No. 3. As a reminder, here is the rule for producing open harmony. ‘TO PRODUCE OPEN HARMONY, DROP THE SECOND VOICE (FROM THE TOP) OF ANY CLOSED CHORD DOWN ONE OCTAVE, (Refer to Lesson No. 3 for further detail regarding open harmony.) Here is an example of a four-part harmonization in open position and the transposed parts written as they would appear using the above voicing. . a - -- mrs= IV Eb Baritone SS ithough the transposed pazte have been written one above the ‘other in the preceding example for the sake of convenience, it would be necessary to transpose the individuai parts on separate sheets of manuscript if they were to be perfo by individual instrumentalists. € ‘Also, be sure to remember that it is essential that the parts be legibly and clearly written. The musicians will be cble to give a better and more concentrated interpretation of the mausic if they are not forced to struggle to understand the =Snotation. - “s ge of expression marks js vital to the arranger in trensmitting his intentions and | EXPRESSION MARKS wo | “Kn taderstanding of the proper ue \ tthe instrumentalist understand and ob- ression marks carefully if the 3, cly performed. also essential t! serve these ¢ musical idezs are to be o: fecti . Following is a reference chart of the most comm: . expression marks and their meaning.symbol symbol £ ff fit mf REFERENCE CHART EXPRESSION MARKS name forte fortissimo fortississimo mezzo forte Piano pianissimo pianississimo mezzo piano accent staccato marcato drop bend gliss. slur fermata + crescendo decrescends trill ritard Da Capo Del Segno Segno Coda Fine yolto subito In expression marks in both indicate you! Page 10 fsture assignments, meaning loud very loud very, very loud medium loud soft very soft very, very soft medium soft attack sharply short give full value attack on pitch ~ slur off lift, or upward slur off > lift or drop to givennote legato (play smoothly) hold gradually louder gradually softer trill gradually slower to the beginning back to the Segno (sign) the sign Coda the end start back at the sign - play until Coda sign ~ then jump to Coda (play to Fine) turn page quickly octave higher octave lower to make use of re and parts to fons as precisely as possible. eee es eee eeon L ASSIGNMENT 1. Write a four-part block harmonization of each of the following melodies. of? Boe DOT GmtlIC SS Using the following voicing! Lo 2. 1 IL” Eb Alto ~= - 4 I~ Bb Tenor eo IV Bb Tenor Transpose the individual parts from the harmonizations in Problem No. 1 for the reed section. “ Write a four - part block harmonization of the following mel- odies in open position.by Deo) Gan? co Foar™ 0769) I m foe ; Lae : Pet ae dep eal) piotd Doe * 4, ‘Transpose thé individual parts from the harmon: Problem No. 3 using the following voicing: 1_ Eb Alto Pan nate IL” Bb Tenor : Ul BbTenor _* IV .Eb Baritone . oot * 5, “Aifrite a four-part block harmonization of any standard tune .of your choice and transpose parts as follows: > I Bb Clarinet : : _ UL Eb Alto Ul Eb Alto IV Bb Tenor Page 12LESSON 12 A. PRINCIPLES OF BACKGROUND WRITING ‘The past several lessons have dealt primarily with various devices re~ ¥ lating to block harmonizati + +,the technique of concerting unde: voices to a moving melodic line in "block" fashion. In this less. background writing, i:e., the techi “harmonic background to a separate melodic line The “importance of a thorough understanding of the following material _cansict be over -emphasized,- sineé the ability to play or write effecti “background lines is €ssential. em wt ¥ The following outline will serve asa guide in ‘compesing a background 3 to a given melody. 1. a. ‘Where melody moves;-eustain beckgroinds where melody sustain ¢, background. given relody Ey P f lprpprp de. xe ts “Eve _- Dm7 Grey) “ec ee ingot ts St ‘odo pppoe oP tree rte - b. As in single harmonic continuity, try to establish ‘. a smooth mglodic connection between chords by “stepwise. sustaining, of moving chromaticall; However, leaps may occur freely while the chord remains, the same.Dm7__G7(b9) ‘_a7(v9y" Se = cwhere melody’and counter line attack at the same time, it is best (for the present) to keep the counter ine at least a third, and not more than an octave from the melody.* Em7(b5)_A7 In the following illustration all points marked coe _ Would be Considered to be bad. Dm7 Gib9) Em7(b5)_- AT i a — 4, Were melody and counter line do not attack tthe 1 ~- ‘same time, they may cross freely. . Dm7___G7(b9})__jee eee oe i re i. tb i 2. AFTER A LINE HAS BEEN COMPOSED IN ACCORDANCE L WITH THE PRECEDING FRINCIPLES, COMPLETE A BLOCK HARMONIZATION OF THIS COUNTER-LINE. top voice of background Dm7_G7(b9) # * harmonized backgroundJ im Here is ancther step-by-step illustration of the construction of a simple background to 2 given melody. SA lex. 6 - given melody op voice of background rmonized < pbackeround a ee a oe Fm? Bb7(b9) ye: SSS(At this point it would be advisable to complete Problem #1 of the lesson assignment.) a UNRESOLVED TENSIONS may often be used effectively in composing the imelodic counter-line which is to serve as the top voice of the background The proper use of these tensions will create many new and interesting ©. < possibilities for smooth melodic connections betwee ‘Here is an example of a background utili top voice.” Str Phi LL ® -jtop voice of| background BaersGm7___C7(b9) "Hilo and variations of hi-lo may also be tsed in background wr ften serve to provide melodic interest where needed. = top: voice of background % Am7_ ei) acstte ~ 7(b9) ea To be certain that all of the foregoing is perfectly clear, here is another example of a background to a given melody employing not only low degree chord notes in th ice, but unresolved tensions and varic:ions of Hi- Jo as well, = Ae ~ : * _top voice of backgroundharmonized = background 7 C7(b9), Fm7 Bb7_E7 a Gm7 ‘As with regular block harmony, a closed background may be converted to open position by dropping the second voice down one octave. Here is ex- ample #8b as it would appear in open position. wwe we ow a a So le oe ae“Am? -D7(b9) GG Poe Ss a ; 2 i parmonized > = - + ____TRANSPOSED not Possible Practical ~ a ge Da ea BE bint o a - - J No definite, possible upper limit may be set for the trumpet oF trombone, the range being dependent solely upon the proficiency a, ‘= of the performer, In any event, it is advisable to adhere to the - given practical range unless you are personally familiar with the capabilities of each member of the brass section. * as c. voIciNG | ~ : - 5 mores : The four-part brass section no¥mally consista as Bes I Bb trumpet | cee I Bb trumpet MI Bb trump. a- o— —-- -I Bb trombone _ : Letus assume that we have prepared a four-p: i in concert sketch f‘appear as follows: * he individual pasts transposed accordin, ig to the above veicing would » 2, I Trombone as Wer ee aot & & Pen Pen BNO Pm -- ar 2 Ee eae ett Leb Ey An alternate combination of instr section would be: I Bb trumpet Ir Bb trumpet I Bb trombone IL Bb trombone ments for a four-part brasshoa Pre oOnmaaA Ex. 6 {concert sketch) IL Bb Trombone Dae = +The five-part brass section would normally consist of: I Bb trumpet iI Bb trumpet Page 5t D. FIVE-PART HARMONY Since our work up to now has dealt exclusively with four-part Mung, it is necessary at this time to discuss some af the techniques relating to five-part harmony if we are to wore with @ five-part brass section. A simple five-part harmonization may be produced b the original melody one octave below the I j y doubling Ex. 8 “a. four-part harmony ‘ b. “five-part harmony (four-pait plus doubled lead) ~: The transposed parts from the preceding example (EX. 8) would appear as follows: Ex. 9 I Bb Trumpet T Rp eT. OS Se ee yee eee ee ~_ —a Bb Trumpet . aN ie 3 aoa I Bb Trombone oN Bb Trombone y pratt 2 A five-part harmony in open position may be achieved by doubling the original melody one octave below the lead AND dropping the second voice down one octave as well.The principles of modern Felation to the sax section may be efiectively applied te the brags section as well. (See examples 4, 6, § snd 10 oc this Jesson.) All of the previously mentioned approach techniques may be employed as well as ail of the principles of impro- vization covered in earlier lessons, NOTE: When scoring a block harmonization for brase (either closed or open), it is best to keep the — - - lead trumpet above Eb concest————p f A brass soli (or background) scored any lower than thie will result in a muddy and cumbersome : sound. ™) \ zep.op tue Baer veto Siey- . Ser. phen writing an improvised version of the original melody for the Brass section, a rhythmic treatment is usually more effective than the smooth, flowing melodic style that is so effective in the vax section. Although it is true that brass may occasionally be written i this lowing sax-like"' style (ust as saxes are occasionally used fo Provide a rhythmic, percussive "brass-like" effect) , it is gene ersily advisable to maintain some rhythmic interest in the brass soli. iven melodyF,_BRASS BACKGROUNDS ly when applied to slow-tempo ballads, waltzes, etc.. All principles of background writing as applied to the sax section still apply. Following is an example of a brass background of this type. Cup Mute — Wa covert: = a e Brass - sackground , Pe» 2 he a th a ackgro fl PS In the : effective to viously mmE! wea Bbm7 | Eb7 Loo Sa by-Ponaee te =F t id aaa sa1, “Write an improvised version of each of the following mel that it would be effective as the lead of a brass soli. Ine. . the melody line goes too low, transpose to a higher, mor key.— Emi(t5) AagT7 So Sa ) ad 12, score each ofthe improvised melodies in Peobtem No. 1 for a fee govt brass section nce exampice Bb ane Tob), Seate at lees eo of the hasmonseations tn open pooton, 3. Transpose parts from each of the harmonizations in Problem No. 2 for: Bb trumpet Bb trumpet Bb trumpet Bb trombone Bb trombone Baw 4, Using each of the following melodies as a guide, set up concert scores as shown below. a i — st cl adSAX SOLI med swing (a) iar EL Ss SL sS Bb7(b9) Eb Py a Peed —— GUITAR SOLO stow 4 . _ ° F__Gmy Am7_ Ab gs C20 _ (REEF RS iS Sey o ~ — a a 2) Gm? ___c70p Arc 5 . == =} po CLAR UNISON Mod!2 BeguineIt is important that you consider the cha. of the given melodies in de: De of background to use. Also a5 you compose each background, try to imagine the sound” —= - of the given melody as played by the indicated instruments soaeiL : 2 of the brass background. Use five-part harmony ' sed or open, — and feeling of each— ct: Using any standard tune of your choice, score a fiv. Soli in open position. Adapt the original melodic line in any way you choose and , if necessary, transpose the melody to a more | suitable key before scoring the under voices, . Transpose parts from the score written for Problem No. 5 for five brass (three trumpets and two trombones). Using any swing tune of your choice, write a five-part brass background. Picture the original melody being played by a | unison sax section. (Note: Set up the score as described in zoblem No. 4,) Transpose parts from the above score for the regular five part brass section, -PoOPi Pa Pa LESSON NO. 15 A, THE ERASS SECTION (cont.) 1, MUTING REV) SEY pre J In the event that you dre not familiar with the mutes commonly used in the brass section, following is a brief description of each: a. Straight mute --- produces a thin metallic sound --~ most effective in Latin-American etyle arrangements. b. Cup mute --~ best all around mute in the brass sec- tion --- has soft metallic sound --- effective in both ballads and swing tunes. ~ effec- most ¢. Harmon mute --- has soft, distant quali tive in medium high to high register only common in trumpet section. Brass hat --- unlike cther mutes, does not come into direct contact with the beil of the horn softens and mellows the sound almost to a French .Horn timbre --- same effect often produced by blowing "in stand closed" etfect --- (listen to Glenn Miller records - mn of plunger work in the brass section) --- similar effect raay be produced by using Brass hat or cupping hand over bell --- indicated as follows: Ex. 1 + ° + t+ re + = closed “ © = open NOTE: Avoid the use of mutes that are inserted directly inte the bell (cup, straight, harmen, etc,} when writing in the ster low or mediurIN OFEN POSITION Whenever you wish to achieve 4 tz: brass or sax soli, the following principle may be appl sez and more modern’ sound in the "WHEREVER POSSIBLE, HI MAY BE SUBSTITUTE! FOR LO IN THE SECOND VOICE (from the top) OF ANY OPEN VOICING." Following is a listing of the most practical and best sounding voicings employing the preceding principle: * . Major: 3 5 5 Minor: 5 Minor 7th: 5 b7 — 79~°9 9 9 #u 5 6 7 é a 1 3 3 b3 bs 5 Dominant 7th: lor9 5 b7 b9 or #9 b13 — F t 13° 9(b9) 11 B13 bo i 3 b7 9 3 b7 i t b7 30 5 AT 3 The preceding in musical notation would appear as follows:Minor 7th: ive. when the lead voice lies between! a concert. These voicings are generally most effect: NOTE: The preceding voicings should be-used enly where the lead voice goes no lower than With voicing marked *, the lead voice may be as low as concert. of a four-part sax soli in open position ngions: Here is-an example jllustrating the usage of inner voice te Ex. ning jerstand that these ovén voicings conta eve good taste dictates. Do not he possibilitiy to use It is important that you und ‘ensions should be used only wh: ofce tensions every time ¢! e sounds and tr: 1 be most efiective. inner voice t fecl that you must use inner v exists. Rathes, familiarize yourself with the them where you feel that their tense quality wil | the given meledy has been scored for @ five ¢ lead) in open position. Voic been used where desired, Jn the following exer part brass sol! (four- employing inner voice tensions have ReNOTE: Five-part brass soli in open position (2nd dropped) is most effective when the lead voice is between: | “be Uf) (& oe concert, fi C. THE FIVE-PART SAX SECTION The mest commonly used instrumentation in the five-part sax section is: I Eb Alto Ne I Eb Alto Il Bb Tenor Buy. 4 IV) Bb Tenor 5 é V -Eb Baritone Either four-part, doubled lead in closed position; or four-part, doubled lead with second voice dropped, may be used with the above combination, Following is an example of a five-part sax soli in open position. (Second voice dropped 8vb.) Ex. 5 FT, ae BbMaj7= | yoy p1t4 4 ma mam I Another pop I tr OI Iv Vv This pi fe concert. a in Ik is also interesting to note that this particular sound is commonly associated with the Glenn Miller band ay well as those bands which have adopted the basic Miller style; Ralph Flanagan, Tex Bencke, etc. Following is an example of a five-part sax soli instrumentation. voicing for the five-part reed section Bb Clarinet Eb Alto Eb Alto Bb Tenor Bb Tenor xticular voicing is most effective in closed position and in a fairly high register, with the lead clarinet written no lower than is as follows: hoo ans eqeernen (mesoten cored for the aboveSem mamasASSIGNMENT 1, Notate the chart of open voicings utilizing inner voice tension in all keys. (See Ex.2) 2, Score each of the following melodies for a four-part sax section (A, T, T, B). In each case use open position and utilize voicings containing inner voice tensions where desired. (See Ex. 3). c7 F £2G7(b9) == ae eee = (d) Fr Fee — pie Ts — . ~ Ene SI > em? _ 6Cctnpose a melodic improvisation based on each melodies so thet it would be suitable ae the lead of Where necessary, transpose to brase solis is to b brass soli her key since each of the scored in open position. Bm7(b5)__E7 Ti = 4. Score each of the improvised melodies from Problern No. 3 for five-part brass solis in open position. Again, apply the principles cf inner voice tensions as described in thie lesson. oe 5. Using melodies (a) and (b) from Pr. concert score as indicated below: blem No, 2, set up a om trumpet solo (given melody) five-part sax background (closed or ope: AVA, T,T,B rot6. Using melodies (c) and (d) from Problem No. 2, set up a concert score as shown below: five-part brass background (closed or open) (muted if desired) sax unison (given melody) ‘Transpose any standard tune of your choice to a higher key so that the melodic line will be suitable as the lead voice of a five-part clarinet lead reed section. Feel free to alter the original melodic line in any way you see fit. 8. Score the transposed melody from Problem No. 7 in closed position for: I Bb Clarinet iH Eb Alto I Eb Alto Ivy Bb Tenor Vv Bb Tenor Page 8L ESSON NO. 16 At this point in the course we come to ene of the most essential and least understood subjects in modern music ----Modern Chord Progression. In the course of the next few lessons you should achieve an excellent under- standing of those principles which control present day harmonic progres- sion. You should ultimately be able to harmonize given melodic lines, correct "in-corzect" chord changes and reharmonize basic chord progressions to suit your personal taste. A. TERMINOLOGY. For the purpose of this study, all chords will be named in relation to their position in the major key scale. Let us assume that we are composing (or analyzing) 2 chord Progression in the key of C Major: Ex. 1 Diatonic (i.e. , using scale tones only) seventh chords built on the scale degrees will assume the following structures: & = —- $ = —— ————— ue) lim? «IVMaj? V7‘ Vim? vitm(os) Non-diatonic chords may be indicated in a similar manne Ex, 3 Key of © major: bVI Maj bil m7 #Whe. a Dor nant seventh structure is used as 2 V7 chord (es moves to another chord a filth below), we will name ane Vi in relation to its forward tendency. For examplS, CT ta F in the key of C.would not b= analyzed as Hom? to iv Hdom7 to IV, but rather, as V7 of LY to LV. The symbol —™ will be used to indicate the hak resolution of any V7 chord, ie., V7 Of IV = IV. ] Some additional examples of this point follow: Ex. 4 Key of C Major: d —— B7 to Em V7 of I to” Wm 7 —~. D7 to G7 Vi of V¥ to v7 ——~ J AT to Dm7 V7 of I to m7 “ ete. Following is an example of a simpie chord progression outlined in the manner described and its appearence when related to a I given key. : ' Ex. 5 It —™ vet Lowow WV Wm 1 wr 4 ] Sy = Key of Cr] Cam? Cc ct |F rm fc ab? fo F Key of Ebi] Eb Cm7 Eb gb? | Ab Abm [Eb co7 | Eby f Key of A:| A Fin? [Bm7 ev [a az |p vm Ja F7 Ja = tL a en ee ey mal setae neni B. V7. (Dominant CadenceEx. 6 —s cow Py - = - — : Key of Cr © Gi | c Key of Ab: Eb7 | Ab ANY V7 MAY BE PRECEDED BY THE V7 OF V. (Extension of the - dominant cadence. ) “Again, this usually (but not always) occurs over the bar line. Ex. 7 —~ . avtely [wp a KeyofC; v7 «| G77 . c coos cet = oe cae . KeyofAb: Bb? “[ Eby | “Ab This same principle may be further extended as follows: —T* ar 77 pz Ver Te : — Key of bE et Pra Bur 3. ANY V7 MAY BE IMMEDIATELY PR. This usually occurs within the bar. = =Ex. 9 a - Key of C: Key of Ab: Bbm7 Eb7 | Ab The use of the above does not affect the V7 of V relationship as established in Principle Nu. 2.Using as a basis the progression: Ca ae viotv | Vtofv | viofv fv7 for This same principle may be developed as follows: Ex, 11 . Key of CG: _- aD VI ofV [vrs | very Leading into the key of A, the preéeding progression would appear as follows: - Ex, 12 HN —~ << V7 ofV | V7 dF | V7ofV vi I Db? G7 B7 ev A —— Spann) eae Abm? Db? [Dom7 Gb7 |Fam7 B7 |_8m7 £7 [A Lim? - V7 iim? - V7{iim?-V7 of Gb (7) fof B (7) | of E(7) Te7-Vi | Chang: ne eee ere a ee ee ee Ne from sharps to flats i over the bar line rather than within 4. ANY Ilm7 MAY BE PRECEDED BY THE V7 OF IL. able, but always e bar. This usually occurs over the bar line. Es B a ver | um? —s Key of C:_ A? | Dm? Key of ab: P17“ werLog. 4 - i a er ais FT | (m7) v7 of | (tim?) v7 of | (iim7) v7 Voy of C: Abm? Db? | “Fam7BY “Em? > ag Fr i Um7 - V7 | Um7 = V7 | Um? - V7 of Fs(m7) of (m7) of D(m7) ‘ } ——s —s a by of Ab; Em7 AT Dm7__G7 Cm7__ FT f Iim7 = V7 Um7 = v7 Im? - v7 5 of Dim?) of C(m7) of Bb(m7) of Ab ay aot — 5 The preceding progressions may be more easily understood by . og | realizing that ANY V7 chord, whether it be V7, V7 of V, V7 of IL TLS etc. ..may be preceded by the related IIm7, i. a | fee z i Since the Im7-V7 pattern plays such an important part in modern : chord progression, it would be advisable at this point to familiarize Sa ycurself with this pattern in all keys. _ Im’ va. a _ me : = a : Ex. 15 Dm7 GI —. oe : Ebm7 >> AbT Db Lan Em7 AT D Fm? Bb7 Eb me Fam? B7 ES - sit Gm7 cz F oa Abm7 Db7 ce Am7 D7 G =. Bbm7 Eb? Ab —~ Bm7 ET? A m7 F7 Bo - : Cim7 > FET B * Major, Minor, Dominant 7Ex. 16 eo 07 of ¥ | (Um?) V7 —_— or ee _Ffm7 37 Bm7_E7 Am7 DZ Dm7 G7 Um7 -- Vi} um7 - v7 Um7 - V7 um? - v7|{ of E (7) of A (m7) of G (7) ofc Following is ancther example of the result obtained by combini the V7 of V and the V7 of Il in a chord progression. 2 Ex. 17 : —_——_ a — at (in7) V7 of V | (im7)V7 of | (im?) v7 of 1] (lim7) v7 ll t . ens —~ 1 Key of GC: . Cfm7 FAT Fim? B7 Em7_ Az Bm7 G7 i? Ura? -V7 Um? -v7 | tun7-v7 | um7-v7 ~~ > of BV) | = of Em 7) ~of D{m7) of C : (At this point it would be advisable to complete Problem No. 1 of the lesson assignment.) - ~ A detailed analysis of the chord changes to many hundreds of popular and standard tunes has revealed the existance of certain definite harmonic patterns. Since these patterns occur so fre- queatly, it is certainly advantageous to be. able to-identify them and apply them in all keys, The value of a thorough knowledge of these patterns cannot be stressed too strongly. Sufficient familiarity with them will enable you to transpose or memorize the chord changes to any tune virtually at sight. Further, since you are dealing with those _ very same elements which go to make up the chord changes to most tunes, you should have no difficulty whatsoever in compos- ing original chord progressions in the same style. AMR RRR PATTERN #1 FIPATTERN #3 PATTERN #4 —e 7 va ViofV| m7 V7 Key Le Key of GC: © Ebdim| Dm7 G7 Key of Ab: Ab -Bodim |Bbm7 | EBT | p?7_[pm7 c7 lc “BET |Bom7 “7 | PATTERN £5 ae V7 of 11(b9) | m7 V7 Key of C: A7(09)~ | Dm7_G7 oo Key of: -O—c7 Ir —rmlc + Key.of Ab: F7(b9) | Bom? By Key of Abs Ab Ab7 [Db “Dom [Ab Using only those techniques which have been discussed up to this point, it is possible to create an infinite number of musical and practical (though still very simple) chord progressions. One further principle, however, must be known and applied; ive., ANYTHING MAY FOLLOW THE "I" CHORD. ~~ Following are some logical eight bar chord explanation of the function of each chord. this lesson have been used. A : i f Vim? jim? v7 IT c Am7 Dmi a7 ~ E = = SESS = — = = rt = 7” PATTERN #6 a PATTERN #4 > TF Wav 1v Vm L wie Tin Vi i c C7I i c. Key of Eb: j va ——— BbZ. & Key of G ee PATTERN #2 PATTERN #6 - f Tidim Tin? Wavy G__ Gidim Amz Gi E rE i TT 4 ~____ PATTERN #3 PATTERN #5 k T bilidim lim? v7 1 1 [weir Im? V7 — Bb - DIG Emo) 0: — TE r r f “NOTE: It is possible in the course of a progression to establish i a key other than the one indicated in the key signature. The following chord changes to "What's New?" effectively Ek illustraté this point. - 22 : ec. "What's New?" -- Key of C : Key of Ab\ASSIGNMENT 1, Work out each of the following chord progressions in every key. (In each case work back from the I chord.) | J}: “wid |ftim7 weil |i vil I BT Em? AT [| Dm7 ct Cim7__ F #7a fia? Wen | iv i Fim7 ~ _3B7 Em? Work out Patterns #1, #2, 93, #4, #5 Composé three eight-bar progres: those materials ons in every key using only s_centained in this lesson, Explain the function of each chord used as in Example #18 din the-pre ceding lessons {approach notes, tensions, tension-resolves-de-—~ layed resolution, etc.) compose original melodic lines to any twelve of the progressions resulting from Problem #5. 5. Using any one of the original melodies composed for Problem #4 set up a concert score as indicated below. Trumpet Solo Sax background (open or closed) ~ A,A,T,T,B Again, using any other original melody from Problem #4, set-up - a concert score as desctibed below. “on Brass BackgroundLESSON NO. 17 PRINCIPLES OF HARMONIC PROGRESSION (cont'd) Ex. (2) Key of C Dm7. SUBSTITUTE CHORDS © + "S Substitute chords of one type or another may often be effectively employed where a more "tense" or tore modern sound is desired. Needless to say, they should not be uaed indiscriminately, but sathes to achieve a specific effect at a specific point in the har~ monic progression. Following is a description of the most commonly used substitutions. . SUBSTITUTE FOR THE "I" CHORD. “The Iim7 may be used as a substitute for the Major I chord." ‘he relationship of the [lm to the I chord may be noted - in che following illustration. Ex. 1 I Maja 2 cy Gi Em? _A7(b9) Dm7, be —E t—F— = =f iim? (b) Key of ab: dn? pie a0 ___pomt_gv?__en7_E1b9)_ Bom? Eb Ab_ Se Fe AS EEE Fit iim? NOTE: This substitution is effective only in the middle of a progression and should not be used where the I nify a final cadence. chord is intended to sig It should also be noted that it is almost alw e form of the V7 of I. followed by so;EMIVm" CHORD, The DVT may be used as a eubstitute for the IVm. Again, the derivation of this substitution may be noted in the following illustration: Ex} Fmé “Bb7(9} Ivm bVIIT Application of this principle might appear as followa: Ex. 4 (a) Key of Cz (Fm) (0) Key of Eb: b EBT _Ab == Se 3. SUBSTITUTE FOR THE "V7" CHORD. The bII7 may be used as a substitute for the V7 chord. Notice that the third and seventh degrees (which establish the chord as a dominant seventh structure) are the same in each case. Ex. 5Le ae t m j 4d i m ror r “FFP. In the following examples are illustrated some of the many, many applic#tigas of this principle. (b) Key of Bb: ~-{Bb7) Following ie a reference chart illustrating all of the sub- stitute chords described in this lesson. + Ex. 7 - ~ {a)Substitute 1 (IlIm7) (b)Substitute IVm (bVII7) —_(¢) Substitute V7_(bL7) original substitute original ubstitute original Fm6. ~ at + DoT ~ > ———SGbmé. TART eves DT Gib 2... C7 AT in panne EDT Abm6é .. Bb7 Eq Am6 .... D7 BT FT Bbm6. cl 7 _Bmé . DT G7 Cmé . <— DT AbT” Dbmé,.. ET AT Ab... Cm7 Dm6 .... G7 ET ..e.25 BOT “OB ee. Cim7 Ebm6 wo ET BT Bb... Dm7 Emé ... G7... oc Bw... Dim7 2 the V7 chord with either the original Iim7 or tions are possibl. By preceding the related IIm7, the following var Page 3Key cf: Dm7 a © (or Gb} a Dmiz Dbz © (or Go) i Abm7 DBT. © (or Go) : . Abm7? G7 © (or Go) nuike the varied possibilities for a four chord cadence utilizing i this technique: ' Ex. 9 - i V7 of Em7 ———> a7 oa = | Bbm7 ——> rb7 tee or Bove - | Am7 > D7 Ebm7 ———» ab7 Vi of V Any combination of the above may be used providing that the forward motion is maintained, Following are some examples of chord progressions employing ail of the substitutions described in this lesson. Ex. 10 © S2r__aren SS(0) Key of Fs } (D7) dg Ez - AbT | LbEE = oad! oe (c7 Aon ea = | F Db? Arid “AST Gn? Ost on =F LF t= ‘Subst ‘Tim? Sit Subst J (OTE : qian VIS (c) Key of Eb: - ened (po7) ° pee = — _ a =| . Subst 1 an Fm? “Eb : 1 D) SaaS =I + abst > sabst Sabst Subst ve B ; =, NOTE: Principle of the substitute dominant may be more, 4 : easily mastered by remembering the following: . : “_ v7. RESOLVES DOWN A FIFTH. _ Jo So supsturure vif RESOLVES Ses iy DOWN A HALF-STEP. _ Pt 4 VARIATIONS OF THE BASIC 1 VI I V PATTERN c 4 The pattern "i | Vim7 - m7 - V7" is undoubtedly one’of the «+ > : - most commonly used in popula harmonic progression. Follow- 71 ing is a listing of the most 7 tions of this basic 4 chord pattern. Fach of the variations has a slightly different | Character and a thorough familiarity with the sound of each «+++ -- will be important to you in deciding just which one to use in a given situation. : . | por . ae ‘ . Page $g Vim? Um? v7 bildim Um? *3v7 fidira Im? #4v7 Viof¥ . Hm? *4V7 sub. V7ofV um? #87 V7 of 1(b9) Um? #4v7 oud, Viof- . m7 | *#V7 tim? . Lim biiidim Lim? #*V7 m7 Wim7 bln? m7 #47 4m? m7 V7ofli(e9) m7 *#V7 wIim7.. Him7 subV7ofil = m7 *#V7 Vi ofbVI bVimaj7_ aub. V7" — a (special case) 1. = tad : * .-Iim7 may be omitted in each case - J + sso! ## -Substitute V7 may be used where desired T- Tel she preceding list of vitatons wld appear flows i Jet the key of C. ry . mn a 6 C Am7 Dm? G7 Vee BC Eb dim Dm7 GT J ce c CH dim Dm7 GT L eS D7 Dm? G7 Vey eC Ab? Dm7 GT JR f. c A7(b9) Dm? a oy eC Eb? Dm? G7 j bo Dm? Em? = Ebdim Dm7 G7 EK i c Dm? Em? 9 Ebm? Dm7_— GT? x jC Dm Em7 — AT(b9). m7 G7 7 ke c Dm7 Em7 Eb7 Dm7 G7 i. EK LG Eb7 Ab Maj? DbT on x a More Complex Variations May be produced in patterns dey ess fageand Py 1, by preceding the V7 chord in the first bar with the related Im7. ir at Subst wllis Uuned'to indicate the arrival of the harmonic ‘on at a point of rest (usually on the I chord). vi 1. SUB-DOMINANT CADENCE 2, SUB-DOMINANT MINOR CADENCE - 3. BoMANT cabENCE =? ~ + The SUB-DOMINANT CADENCE is the least final'and most subtle in feeling of the three possible forms. It may be expressed 2 .- dn any of the following ways : Exod - to 1 = © in57 2 Special ease = — used primarily in blues, or te to establish "blues" feeling . aa 1s i= F to c _ Dm7 to 1- - Bea eetS 25 Tel Loris FI 2 to cz eo The SUB-DOMINANT MINOR CADENCE has a str a + + vtendency toward is somewhat mor. ¢ onger Fesolution than the sub-dominant, and @ modern in feeling. The sub-dominant minor cadence may be represented as;Possibilities for sub-dominant minor cadence would appear as follows: Ex.17 Key of Cz Em to c- * Dm7(b5) to c : Bb7 torre 3. DOMINANT CADENCE, which is the strongest and most final in feeling is the familiar form most commonly associated with the term "cadence! . Dominant cadence may be achieved through’: Ex. 18 veo to OUT buy to I Key of C Gr te 6c DbT to OC Sokibkiohsoncian EAE EE ‘There are also several less commonly used forms of sub- dominant and sub-dominant minor cadence whch bear men- tioning at this time. Although not usually found in basic chord progression, these variations may often be effective- ly applied in reharmonization or in the composition of original chord progressions. . SUB-DOMINANT CADENCE (less commonly used form) Ex. 19 vu7 to i Key of C: BT toee q Ab7 to wDbmaj7 _to, » Different cadential tendencies may be used in combination in leading toward the I chord. Any c smbination may be used providing that forward motion is maintained by using these -_ : tendencies in order of their relative strength. This order may be described as follows: SUB-DOMINANT :-- SUBDOMINANT MINOR --- DOMINANT --- TONIC Folléwing is a listing’of all of the possible cadential forms that could result from the above outline: a. SUB-VOMINANT ~ TONIC SUB~ DOMINANT MINOR =. TON:C c DOMINANT -- TONIC @. SUB-DOMINANT -- SUB-DOMINANT MINOR --— TONIC ¢.SUB-DOMINANT --—~- - DOMINANT -- TONIC L. SUB-DOMINANT MINOR -- DOMINANT -- TONIC SUB-DOMINANT MINOR_-- DOMINANT -- TONIC g- SUB-DOMINANT ‘To illustrat further, let us assume that we-have selected as our cadential forin: SUB-DOMINANT --- SUB-DOMINANT MINOR --- TONIC “to the possibil bed Referris jes for each tendency as desc earlier in this lesson, we find that u cadenceEx. 21 AV eeeedVia teed “Him? ...., Hm7(b5)-.. 1 m7 i Let us assume that we have selected as our cadence form: j SUB-DOMINANT --‘SUB-DOMINANT MINOR -- DOMINANT -- TONIC - Here are some of the possible variations that might result! IV ee.) BVIIT VT eee Llm7 or; Iim7....bVII7. etc. , etc. It should by now be apparent to you that literally hundreds of varied and interesting cadential progressions may be evolved through the use of this system. Most of these forms are cur- rently in common use in the basic chord changes td standard and popular tunes; al! may be effectively used in reharmon- ization or in the composition of original chord progressions. Remember, however, that forward motion must be maintained. bhpo i Be fe | Boy wpe emt err py ont cr | ies ASSIGNMENT 1. (a) Analyze each of the following chord progressions according to the techniques described in Lesson #16. (0) Renarmonize each progression by employing substitute chords as described in this lesson. pee = ==—= =| c AL Dm7 SSS Ss S ae 2s kee Se Am7__D7(b9) Gm7__¢7 FE Bom FE —t = ee ee Page 1a) Soy oo oy oo co oo 2. Work out all variations of the basic I, VI, I, V. pattern J in all keys. 3. Work out all possibilities for SUB-DOMINANT cadence in J all keys. 4, Work out all possibilities for SUB-DOMINANT MINOR ies for DOMINAWorking in all keys, show one possibility for each of the cadence forme listed on page 9- Using all of the materials contained in lessons sixteen and seventeen, compose two eight-bar progressions in every key. Using any standard tune of your choice as a guide, work out the following: a. Transpose to a key suitable for a female vocaliet. Range : b. Score a suitable background (to the vocai lead) for a five sax section (A, A, T, T, B) using closed and/or open position.To be certain that the foregoing is perfectly clear, here is an illustration showing the appearance of each of the preceding Patt in the Key of C. Note the chromatic linear motion achieved through the use of the passing diminished chords.To illustrate further, here is a short theme in which the chord Progression effectively emplays several forms of the passing diminished chord, * - Ex. 3 FF? Gm7 eS _— €. DECEPTIVE CADENCE The normal tendency for any V7 chord is to progress to another chord located a fifth below. Ex. 4 : - Gi_to G3 G7 to C7 ; G7_te Cm7 ; etc... . Sth . th ath : yl down down down 1 When a V7 chord is followed by some root motion other th that of down a fifth (or down a half step if it is a substitute dominant) the result is known as a "deceptive cadence", Deceptive cadences may generally be classified as being either: a. non-modulating ; or b. modulating For the present we shall be concezned exclusively with the first type, ice., those forms of deceptive cadence which under normal conditions usually continue to a conve cadence in the same key. The commonly used forms of “non-mocu eadence are listed below, In each case, normally follow the Page 3. a :. a7 5 4 mr LESSON NO. 18 PRINCIPLES OF HARMONIC PROGRESSION (cont'd) A. REPETITION OF THE Im? - V7 In the course of a harmonic progression, the IIm7 - V7 of the key may be repeated without affecting the basic forward motion of the progression. Ex. 1 (a) Key of G: (b) Key of AD: . = - subst. um? v7 | um? v7 [ot mm? v7 | um? v7 |i Dit Gty | yom7 arg] G pBbm7_eo7 4] ppb? att] Ab B. PASSING DIMINISHED CHORDS Very often it is possible to Progress from one "diatonic" chord to another through a "passing" diminished chord. In each case, the function of the diminished chord is to provide smoother and stronger near motion between the two diatonic chords. Following is a listing of the most commonly use¢ applications of the passing diminished chord : 1. I Taig I . vt Vai v7 3. I #idim m7 4, Um? #lIdim 1§ (3rd in the bass) 5. 8 bitgim In? 6. w sVdim 1§ (Sth in the bass) 2 1g Vadim VvEx. 5 Poo aN 1 yy7 tolum7, } vee | tar v7 [x 2. wi tolmim7(os)iv7 of m9) um7 v7 [x : ee oa 3 a tobvi of V of Vor wiyiviorverv | v7 ofv vi | x be . (07) 4. v7 tol vimi7) Evi ‘ety [mm v7 for 1 Example #5 would appear as follows in the key of Cj * Ex. 6 yer | ems at | pm? o [¢ 2 G7 | Em75),a7¢09) | m7 a |c .@ule om foo a Je 4.67 | Amz pt | opm? a [oc Although lessons to follow will continue with a further discussion . of the techniques of thodern harmonic progression, we have by ~, this time progressed far enough to be able to identify and analyze the chord changes which might be used with many ~ ‘standard and popular tunes. It should be clearly understood at this time that there is no such thing as the correct set of chord changes toa tune. Many difier= ent harmonic variations may be used with a given melody depend ing upon the harmonic style desired (commercial; modern; ste. ). In the following examples, the most commonly used basic changes have been indicated. Ex. 7 . (a) "DON'T BLAME ME" = 2 eT eye eat ey) el(Ex. 7 cont'd) TIME wast i Am? DI =~ G G7 c ] iE Eq | ] L__Wofit Tim? vy. il View Ww c Bb Am7 D7 G I... bvE? T - ~‘sub-dominant minor cadence’ (e) "1 MAY BE WRONG" ! Eb Bbm7 EB7 Ae Db7 TVm(subet) ADDITIONAL “APPROACH TECHNIQUES In conjunction with the work on harmonic progression, we now return to the technique of scoring with a discussion of some additional methods of harmoni 'g approach notes. These additional approach techniques should be used p: where the conventional approach note har: produce a satisfactoryit will necessarily take a’ certain amount of gctermine just where each type will be most effective, but the § results that approach harmonizations a. Lead moves up one whole step Lower voices move up one half step Ex. 8 be obtained fom these various a c7 experimentation to a Lower voices move up one half step 7} i p— I | Lead moves down one half step b. Lead moves down one whole step Lower voices move down one half step (pe pee e. Lead repeats == Lower voices move down one half step ~ Ex. 12 c. Lead moves up one half step Lower voices move down one half step Ex. 10 a Lead repeats Lower voices move up one half step | 5 | Ex, 13 BEE MGEEEE - wd_In using any of the foregoing forms of independent lead, care Tshould be taken to sée that the resulting approach chord forms _= "some logical structure. Do not use_an independent lead where — ‘the approach chord does not form a logical structure. 7" {a) Lead moves up one half step oa Lower voices move down one half step ae (BAD) = . (GOOD) : 52 ~"{b) Lead moves down one half step Lower voices move up one half step 2. DIATONIC APPROACH - + As the name implies, only scale tones are used in the icdiatonic approach. Each note of the chord is approached scalewise, with all voices moving in the same direction 4 as the lead. ob hers : -Distonic approach is usually most effective when it assumes the following appearance: i . APPROACH —* CHORD ! (a) Sub-dominant —> Tonic (b) Tonic ————> Sub-dominant 1 Sam oN Oa EO Shown below are examples of some effective uses of the diatonic approach. Ex. 16 i # F a 5 a a C a k NOTE: Any inversion of the above forms may be used. 3. PARALLEL APPROACH In the parallel approach, all voices move in the same direction and exactly the same interval as the lead, i.e., parallel. Ex. 177 7DOMINANT APPROACH To use th: is type of approach, simply harmonize the approach __note with some altered form of V7 of the chord being approached. ‘A dominant approach into a C chord (or C7, Cm. Cm7, ete.) would consist of some altered form of G7; a dominant approach * "form of F7. into any'type of Bb chord wi id be produced by using an altered In order to achieve the most effective result, it is'éssential that the approaching V7 be used in something other than its - original form. Any of the following may be effectively used: : vi vz v7 - VT - vi - v7 - v7 (5) (69) (45) (#9) (b5,09) (#5, 9) (45, £9) Following are several examples of the applic: n of the dominant approach in the block harmonization of a given = melody. - 2Ex. 19inished vise approach notes, mply special applications of the 4 approach. (V7 b9) notes harmo, 'W approach sounds. Naturally ne for purposes of + Independent lead + Diatonic approach + Parallel approach + Dominant approach eesZl z ty our us J In view of the varied approach techniques described in this aa well as in former lessons, it should become increasingly obvious to you that there is no single "best" method of h: As in the case of the selection of the basic itself; style, instrumentation and taste will factors. oF smonizing a given melody. harmonic progression all be determining More and more your taste, based gnd experience, will guide you in your selections and you will find yourself objectively using a particular technique because you are able to associate it with a specific sound on your increasing knowledge. ASSIGNMENT . 1, Notate variations of the passing diminished chord in all keys, - similar to Ex. 2. - 2. Work out the four forms of deceptive cadence described in - the a a | this lesson in all keys. (See Ex. 6) Analyze each of the following chord progressions which might be esed with the standard tunes indicated. (See Ex. 7) (a) "TALK OF FHE TOWN" + Fao Gm? CT Fras?’ EDT J == a 7 4 \ . he : Poge 13,(c) "CYNTHIA'S IN LOVE" BETO) Eb Fm7__Gm7_Gb?___Fm7. 4 Bb7 (4) "BLUE ROOM" gap? (c) "THERE'S NO You" + : FE Bom “FS Dom? Gb? FE _—Am7_Ab? Gm7_ ct (Q "MOONGLOW" #: Eb Ebm Bb CT Cm7 (g) "I UNDERSTAN Ent ¥? &7 Sa a lie Aa Ei a an In oo eee Am7 ! DT G Page lk(h) "GONE WITH THE WIND" _Em7_Bb7 ae, Eb Em7 -_Am7__D7 Bb7 Eb a “4 ~ (EbMaj9) Gm? i E7(b9) _Am7__D7. — 4 1b. Eb Hoag? Gnit5) C7_--_Fm7 - J il rr. =e I I Db7__Bb7 : i it 4. (a)Compose one eight bar chord progression in every key, employing any and all of the harmonic techniques des~,- >,» cribed in lessons 16, 17 and 18, ae it r (b) ‘Show the analysis of each progression as in Problem #3.” j Work out three practical examples of each of the six types WU of independent lead. (See Examples 8 through 13) rm i 6. Notate in all keys the applications of the diatonic approach chord that have been described in this lesson. (See Ex. 16) 7, Complete a block harmonization of the following melody, using some form of dominant approach at each point marked8. Work out 2 four-part biock harmo! following given melodies. Emplo: approach thethods deseribed in by tion of-each of the of the additional 7. DT 7G Gm7 cz ab Ban > a fo ear gS sea = > . Page 16 i IRR REE RORRRe eLESSON NO. 19 . As previously stated, some key other than the main key of the com- position may be established in the course of a chord progression. One of the commonest and most effective changes is achieved by establish- ing the relative minor key, i.e., that minor key that has the same signature as the relative major key. EX. 1 Major key ‘Relative Minor Key © Major A Minor Ab Major F Minor D Major B Minor The minor key is established by using: Iim7(b5) V7(b9) Im Ex, 2 Major (A Minor) “ Bm7(b5) E7(b9) Am Ab Major (F Minor) Gm7(b5) 79) Fm D Major (B minor) Citm7(b5) F#7(b9) Bm A smooth transition back to the major key is achieved by using the Im asa ot chord as follows: Relative minor: Iim7(b5) V7(b9) | Im Ima(maj7) [p= ae - Major: um? [V7 of V. val x Ex. 3 Cc Majo in Bm7o5) — E7(~o9} | Am Am(maj7) 27| 7 | Din? + G7 \ 1 1 _iconc. 3 > conttdy Ab Major: ft Gmi(b5) C709) [P= Fentsin | Pro Fm7 | Bb7 sear ot [an D Major: Cfm7(b5) F47(09)| Bm Bm(maj7) | Bm7| E7 [= ow AT |p Following are two eight-bar chord the application of this principle: progressions further illustrating Ex. 4 "FP Major: : |e ppm7 font 1 cr |r vit femres 1 axes) 1 | | Dm / Dm(maj7y 1 |om7 1 a7 1 [om7 md | G Major: . Jastrrtforsriferry Fim7(b5) / B79) f | [Bm 7 Emimain / Jemr pars [ama 1pt iors 1 I B. FORM Thus far we have applied the principles of harmonic progression to bar phrases only. These same principles, however are still iyzing or constructing the chord progression to a complete F study, we shall discuss the two forms most commonly used in song construction (although there are other . al & B a3 a Spars @ bars 8 bars 8 bara al 8B a c b. — 8 bars 8 bars 8 bars 8 bars P above, Al, a® and A? would be virtually the same, (except for cadential vari ¢ last two bars of each) while the B th "channel" or "release", onic contrast, alse ¢: would provi | i _ai’ Lat ie nlExamples of this (type "a.¥) construction may be found in tunes such as: : ‘I'M IN THE MOOD FOR LOVE" "I COVER THE WATERFRONT" = "EVERYTHING HAPPENS TO ME". : “ONCE INA WHILE" . 2: . ETC:, ETC.,... nian sf L L Le : L \ h The equally common Al, B, A2, Gstructure (b.) may be found in the construction of tunes such as: _ . : "DEEP PURPLE" "EMBRACEABLE YOu" ae “PENNIES FROM HEAVEN" . “BUT BEAUTIFUL" ETC. ,ETC. __It should be understood that the techniques of song construction (actually an involved study in itself) cannot be completely explored in this course. To gain a further understanding of harmonic progres- i sion as applied to song structure, it will be necessary for you to : devote considerable time to the analysis of popular and standaré 4 tunes. (See examples 5 and 6, and Problem #1 of this lesson i assignment.) _ Ex. $41 3 . “MOOD FOR LOVE" ae wee Fm?Am7(b5)_D7(39)___ Gm Gm? ET Fm7____ Bb7 aT Vv 7 a tet on im? VidV) (im? v7 Fm? Fm? Bb? Eb fa Bi T Tint Vi I Gm7 Ge? m7 * Em? 2Be7 _|_Eb Tia? — biz Tim? fim? v7 I ap # cy LAURA" G T T eed Key of G FE I T Bm7(os)_ E1b9) tee eterna i iNOTE: A thorough discussion of the "blues-type" twelve bar construction will be included in a later lesson. ©. DECEPTIVE CADENCE = . woe The following forms of deceptive cadence would not normally be found © in the chord progression to a standard or popular tune but, rather, would be used to create a special harmonic effect for purposes of modulation or variation in the final cadence. — ~ 1. V7 to _bVIMaj7__ (1) Key of C; G7 wo AbMaj7 - _ AC) _ = Key of Eb: Bb7 CbMaj7 (Eb) 2. vz to _buMaj7_-- (1) . ee KeyofC G7 Key of Eb Bb7. " E Maj? - | NOTE: Where the deceptive cadence is to be followed y by a modulation into another key, there is no’ 7 need to return to the "I" chord of the original {as in parentheses above). 3. Modulating Deceptive Cadence a. Establish a strong melodic cadence on any one of the following degrees of the I chord: 1, 3, 5 6, 7% 9 b. Consider this note to be either the ninth or “the scale eleventh of some minor seventh chord. c. Assume thi Iim?... and continue on to the related V7. 3 minor seventh choré to be a| i €. Cadence ditectly to the I chord established by this un? - V7, or progreseas derived to any other key. (See Beet} Ex.7 D. COMPOSING INTRODUCTIONS AND MODULATIONS. All of the techniques of harmonic progression and melodization discussed in these lessons may be applied to the construction of introductions and modulations. * One harmonic-factor that all introductions and modulations will have in common is that the final chord or chords must form some sort of cadence into the first chord of the chorus. 1, INTRODUCTIONS (most commonly four bars in length, but may be two, four, six or eight bars long.) Generally speaking, in ductions may be classified as being either thematic, i.e., based on the material contained in the tune itsel based on new material not contained in the body of the tune. Ie is vi : impossible to > an 9b4 | i_ aa 4 i ae Aa Cc cee cee age of the writing of non-thematic introductions since g0 many variations are possible. To be certain that the principle is clear however, following are some examples of non-thematic introductions. : Dm7 7.G7(b9) , motif contained in the arrange: Thematic introductions (the most tommonly used typd may be based on any rhythmic, melodie or harmonic nt or in the original fare possible in melody: Again, countless vari: + constructing this type of introduction, but it is inter- esting to note that many are based on some sort of sequential development. - Following are examples:of the introductions to "I'm In The Mood For Love" Nc pot__ot__pu¥)__sr_ pmt_ct_ qe acy (Ala ae a @) omf3®.. cre GY ett ctEx, 10 (a) 3, Needless to say, the style of the introducti the style of the arrangem:ent by establish: ter of the music to follow. (on should compliment .g the mood and Bright Swing - "Dancing On The Ceiling" E mic? IDE re te) Slow Waltz - "Our Waltz"! ce AbT BS Fa Sais MODULATIONS The primary consideration in constructing any modulation is to provide an interesting transition from one key to another. As in the case of introductions, modulations may be based on either thematic or non-thernatic material. There are, of course, many ways in which this transition may be accomplished, and countless variations of the following examples would be possible. Be sure to coasider these examples as a starting point for your thinking, rather than an attempt at a com- plete coverage of the subject of modulation. Ex. 11 : (a) "PENNIES FROM KEAVEN" © to Eb odulation q [ [ f [ i i t { i a(b) "MOONLIGHT IN VERMONT" Eb to Bb 7] (no extra bars) . lop TS oon 8 SSS 7 (c) "LAURA" to Db (starting chord Bbm7) (last two bars omitted) D705) Bbm7 oe ee Cae Ste Rigg i | * modulating deceptive cadence 5 { (a) “OVER THE RAINBOW" EB to. Gb (two extra bars) 2 modulation . Fv Fm7 Bb7 Eb Eb oe eS a o— Zo * BP ee ee r i et NOTE: VT ae Ge -Ebm? bb?” Gr cur _) PREEer SS = ue teoEer poneter or ec 1 cmt Dem a (32-5 Se Ea be , Am7 D7(b9) G E7(b9) —— 1. eS igs eee i ..ASSIGNMENT me 1, Analyze the chord changes to each of the standard tunes included " at the end of the assignment. (see Ex. 5 and Ex. 6.) 2. Compose one eight-bar progression in every key, establishing the relative minor key at some point in the progression. (see Ex. 3) 3, Notate the following deceptive cadences in every key. © fa) v7 to ~ bVIMaj7 (1) m. (>) v7 to bIlMaj7 «) .. 4, Utilizing the principle of modulating deceptive cadence as des- 5, cribed in this lesson, construct a modulation of any length from the key of C into each of the eleven other keys. Compose both - melody and chord progression for each of the eleven modulations. i ro - 5. Compose a thematic introduction of any desired length (melody and chords) to each of the following standard tunes. (see Ex. 9) - a. You Are Too Beautiful g- September Song b. Can't Help Lovin' That Man h. Somebody Loves Me 7 c. Body and Sou! i, Someone To Watch Over Me - d. [Only Have Eyes For You I Cover The Waterfront : e. How High The Moon Jeepers Creepers 7 f. Deep Purple Gone With The Wind NOTE: In the event that you are not familiar with any of the foregoing tunes, simply sub- stitute tunes of your own choice. 1 | 6. Compose both the melody and the chord progression for twelve non-thematic introductions (one in every key) in each of the fol- red wi jowing styles. These introductions may be of any de: length. (see Ex. 10) wt (a) Waltz ‘| +(b) | Slow Ballad (c) Bright or Medium Swing (a) Beguine (or any other 7 Latin-American best) Construct a modulation of eny desired length leading from: wad (isted on next page.) Ce eeaC to Ab g Gb to Be b. Bb to » h. Db to for c. Ab to A i Fl te. Bb 4a. Eb to G J. A to Eb e D to 8B k. Bb to c ££ G to F LG to Eb Se NOTE; Any of the techniques of melodization and chord Progression discussed in these lessons may be used. The modulations may be either non-thematic or thematic (if based on specific tunes). 8. Using any standard tune of your choice: a. transpose the melody to a key suitable for a five-part brass soli in open position. : compose a percussive, rhythmic improvization of the original melody. ©. score for: I Bb Trumpet a II Bb Trumpet UI Bb Trumpet ee, I Bb Trombone Bb Trombone hor ae NOTE: In scoring Problem No. 8, try to make use of inner voice tensions as dis- cussed in Lesson No. 1 or el ag Re E- e ry(@) "1 CAN'T GIVE You aNYTHNG BUT LOVE" ie G 2 ue - ye . =: Sea 2 ra (©) "TLL NEVER ‘SMILE AGAIN" Bh Ses — =e Bb7 Gm7 oe Em7 : Fm7_"" Bb7"I'LL NEVER SMILE AGAIN" (cont.) 4 -Eb Dz Gm? Bm7G$) F729) rm7 : 4d =a a pet om? Go pmt ee - Se i a pet per og f E SSS | = a pet es A SSS eg ‘ee o__ = = a 48 = 2 =" 54 4d eee a , 4 ve “cmt org cr | I = SSE | 4 c amies) p79)" pm? ata Yo REMEMBER YOU" (cont) 7 Cim? FAT c ss Bm7(b5)__E7 ——- | — + IF E | Am7(b5) AbT ee Am7__ Bm7 Am? t ' me iH | | i] | — hate. HI | ea ny \ jaa + (a) “I'LL STRING ALONG WITH You" | (re-harmonized) = Be Eb a ee Fm7. ae qS5 cn = poy cosy Fm? Eb Sem? Bb7 Fm? Bb7T Eb _EbT«. LESSON NO. 20 ral . . ‘A. The principles of chord progression as discussed in the past few lessons may be applied effectively in the "re-harmonization" of a given chord o progression. Reharmonization of a given progression may be necessary . or desirable for either or both of the following reasons: rm a. to correct chord changes that for one reason or '. another are incorrect on the existing piano part i or lead sheet. rel . to provide harmonic motion through the use of 4 added chords, or harmonic interest through the et application of substitute chords. Mi, ZL. oth of these principles have been considered in the reharmonization vet t- of the following chord progressions. In each case, the basic chord ' has been taken from the printed piano copy. Needless to say, the melodie line has been carefully considered in constructing the rehar- re monized progression. . a. To derive the maximum benefit from these examples; a, study'each carefully, being certain that the logic behind each of the reharmonizations is clear to you. b. play (or have someone else play) the melody, first with the original chord progression, and then with the reharmonized chord progression. Listen closely to the sound of each and try to associate the harmon- a ic techniques involved with the resulting musical sound. Ex.t . . original (a) "LOVE LETTERS ~ pe ¢ c Em 4 == ——j-— 4 ‘charmonizationpeo C1 osisina on Eb__Cm__, Gm = Eb Ee oe . —_, 0 : = SSS a q = a pt Gm7 ET Eb7 | Ab Adim. Eba Eb7 = = Zi ——— = 4 SS et f LTD morn:|e te eo orev ow | I : ————() "You ARE Too BEaUTO Em?___at Dm? G7 c7 Fadi cfa ens ~ “" (a) "Il MARRIED -AN ANGEL" F7__c7 Gm? czar a, = === = 3 sehargrotzation . . Am? ___p7(b9)_f_ Gm7__c7 pe Am7_thm? 4 i é = =] = I Dz ca? cr TF - = r SSS i | Am7 Dz Gm7 cz Di__ci_cz | = SF 1 G7 c Gt £ i ar c a socz cz C7 Ebm E (e) "FocGY par# Gm7 I =‘blues has come to-represent se pat muy twelve-bar harmonic phrase regardless of its resem~ lance to the simple traditional blues outline, - - Jn this dlacussion i is not our purpose to analyze the historical ues" nor to establish strict definitions tain twelve ‘elopment of the "b Shich will enable us to determine whether or not 8 ce “bar ph ely defines as Melues". se may or may not be ‘athe; using the traditional blues pettera as a guide, we shall _ Rothe? Jevelop related twelverbar phrases using the techniaues ot te oe nstion and veharmonization as discussed in previous lessons: 5 The basic traditional blues chord progression consisted oferal examples of variations on Notice that the 2 criginal twelve-bar blues hav, elements ned in each ential © been re: Bar 1 ,., tonic b-dominant tonic dominant (or Iim7-y7) tonic Cpe per on p 1 ERE aE = Do? _@ pat _oi CB aver AES Ea a LaBy applying previously discussed melodic techniques to - harmonic progressions, we may now co: blue i uct some ort to fisidered, ifs teal "blues" feel ing is desired is the incorpo: melody of the so- called "blue notes", i,e., the b3 and the b7 of the major scale. Following are examples of melodized blues chord changes: } Soe oe a fy 4 -. (a) Medium bright swing pc EPage 10 eeeees oo f. ASSIGNMENT 1. Rekarmonize each ef the following chord progressions. In each case, write out the melodic line fi consider it carefully as you re-write the givemchord progression. The finished reharmonization should appear 2s follows: |. reharmonized chord Em? EBT Amn? progression ¥ a ~ meloéy (as is or improvised) CHORD PROGRESSIONS (for correction and reharmonization) _Fm_Bb?_, Eb_Cm_ Em? genie poe Cm. Bb7___Eb EA ‘Bb7__Eb__Cm Fm _Bb7_ Eb - Ee EEE =I eee TE -EEt Fe Em7 ___ Eb ~ Fm7 Bb7__ Eb Em7 Bb7 Bo ~ Sao Pape ee a Abm Dbm_Gb e1__ymtT per OSel_ ep Sp See er Ee eee DAY BY DAY geDON'T TAK: i AKE YOUR LOVE FROM sex FOR ALL WE KNOW ge nee paar E EEm i ni iW { 4] 4 eee maw _ — > (SSS aay Baa Cc Eb LN br_¢ Am? _p7_G : , Se ee ( Bese pres ea eSaaJn the event that you Bre not famiia. “with any of above, substitute -— Standard tunes of your own choice, Compose two “bhies Each may be either ¢ Shosd progressions in ovety key, traditional or modern in feeling, Gompose a melodic HAE to any feii-of the’ resulting from Problem No. 2” through the utilization o! > degrees as deser: hore progré Achieve a" {the lowered 3rd bed.in this lesson. blues" fecling~ and lowered 7th Jsing any Of the blies éampositions from Problem N sect up 2 Score for each of the followin (using a different original fox 10.3, g Musical situations each problem): ) ~ original blues > sax soli ~ five-part. — block- A, A, T, T, B original blues sax uni. brass background — (closed or open) 3 trumpets ~ - 2 trombones sax background ~~ {closed or open) ALA, T, 7, 3B # page)(Problem 4 - cont'd) _ = - brass soli five-part {open or closed) Using one of your original blues compositions as.a guides set up a score as follows using layout as shown belo —7 brass 3 trumpets : 2 trombones - A~ Ist 12 bars original melody ... sax unison (or octaves) B 2nd 12 bars” original melody ... sax unison - - brass background (cup mutes) 12 bars se mprovised melody -.. trumpet selo background (closed oF open)improvised melody .., trombone solo Sex background... A, a, T, T, B (closeay E 5th 12 bars “O42 bars original melody ... brass soli (closed or openy Fo 6th 12 bars aR U2 bars * fhe musical quality of the original composition .., fo select those which sound best. te you. bs your ability to visualize the timbre and individual characteristics of each of the instruments or instrumental sections for which you are writing... fry to literally "hear as you write,_ roa _—_ hora > = = LESSON NO, 21 In this lesson we discuss the four function in the orenestra. nts of the rhythm section (percussion) The dance band or jazz drummer makes use of a number of different percussion instruments. a, Bass Drum ...., notated on the bottom space with stems down (bass clef), Ex. 1 b, Snare Drum ...,, notated in the third space with stems up. Ex. 2 pas SSSE NOTE: "Snares on" will produce the sound normally associated with the snare drum; "snares off"! will result in a more muffled "tom-tom" like sound. c. Cymbals up. + notated in the fourth space with stems special note shapes as follows: a quarter note d half note@. Torn-Tom (9: but w: oF several) ..,.,. not: "TT." indicated before the Following is a list of abbreviation, 3 and expression marks commenly associated wit snare drum Tom-tom Cymbal Rim shot Sticks Brushes repeat preceding bar + repeat preceding two bars Roll NOTE: a drum roll should always have an ending attack; ieesy g-} . Remember that 2 drummer's primary function is to provide a steady rhythmic foundation for the band and that he should de- part {20m this only for occasional special effect (i.e. to pro vise Sll-ins between ensemble passages; to emphasize percus- sive orchestral figures; etc, } i owing aze some of the basic beats commonly, used by the dance-band drummer, Ex. 4 (a) straight 4 To Pee aGow rw wd Oey mg ty iw reer = fb tts PR Ph tw i ight 4 (brushes) alaiaioninintsly fe (4) swing (cymbal or hi-hat) _ (e) beguine ae (f) tango SS — (g) rock and roll #1!!! v > > So Be ita ee In using each of the above, the term "tad li on the drum part allowing the drummer freedom in following the arrangement. It is also customary to indicate the pre~ dominant solo or section activity on the drum part. rrange for the NOTE: The tendency will always be to overa) ed, give him @rummer. Unless some specific effect is desir as Little as possible to read.is notated in the 3 clef and written My sounds. The four strings Ex. 5 ——— but higher notes are possible and are used for special effect in solo passages. The following illustrations will serve as a guide in the writing of bass parts: > . (a) with one chord per bar CTs or Tg (b) when aI chord is followed by its V7 rT I 1 5 z 5 2 L 2 ~~ (c) with two chords per bar Ex. 9 aErests may be replaced by repeated notes ei 4 i (ce) or: 1 5 may be used instead of 1 1 Ex. Mg ii ({) chord or scale Hotes other than 1 and 5 (usually 3 or 7) may be used to provide melodic rnotion. : AT Dm? GT * eo: - . Ex, 12 c {g) where the roof motion of the chord progression moves down a fifth, a passing b5 may be used on © either dom. 7th or minor 7th chords to provide chromatic bass motion (5 - b5 =" /1). ] Ex, 13 en Fe L ‘The preceding must necessarily be considered as a general out: and other techniques may be used where they appear to be musically justified. io ] 3, GUITAR Freer is written one 1 When useé {or g passages, the g 4 octave higher cally sounds. The six strings of the Guitar ere tuned as follows: 1 erTactical solo range of the guitar {transposed} i In zhythm work, the actual voicing of the chord is normally Jefe to the guitarist, with the arranger simply indicating the chord symbols and the number of beats each chord is to occupy. Ex. 16 . Special rhythmic effects may be indicated as in the follo illustratio -LANO The a parts, depending upon: anger may use either of two styles in writing piano the style of playing desired, an: b. the demands of the arrer,It is also desirable in certain situations to indicate the melodic line in cue form to guide the piano player as he improvises « background. . Bx.719 . maj? -A7(b9) Although somewhat more demanding of the arrang following type of piano part should be used when: a specific piano effect is desired, or b, the pianist is unable to spontaneously create his own part from the chord symbols and bass line. In writing this type of piano past, try to consider the following principles a. let the left hand duplicate the bass part. b. consider the technical Minitations of the plantst. c. write no highes tian PES — ” Roe&: Keep smooth voice leading between Adjacent chords in the right hand, “+ feat the piano as a rhythm iastrume: for the piano part to outline ev, the ensemble. nth it is nog necessary ‘ery accent and nuance of f, in writing "boom-chick" st th: ‘trial vile piano pasts, use mostly jopaTt chords in the right hand (usually 1,3,5 with + 143,7%, or 3,5,7 with seventh chords). Following is an example of a piano Part of this type: Ex. 20 Sevice in creating fall soundin, piano backgrounds is the “thumb couhter-melody", In this technique, the low i in the right hand © the upper two voices « nd attacks on the Ist and 3r.~ ‘The following example illustrat tes this principle of "counter-melody." The foregoing should not be interpreted as an exhaustive analysis of the instruments of the rhythm section. A thorough study of each of the instruments individually would te necessary for this and, ob= viously, the scope of this course does not allow for concentrated - coverage of any one ins formation give: Lesson No. 21 is in to arrange for guide in enabling you - A careful sectica ©Ex. 22 (a) Slow Ballad ee =f + | Gm7 4Gm:Ex. 22 (b) Medium Swinga Pot lee aEx. 22 (c) (cont.) ” aig SF 3 £ aS (#12) e z Q=p= : ; fb cavity = —— vi 7Ex 22 (4) Beguine Page 17 ASSIGNMENT: aj 1, Following are the common chord changes to some standard tunes. a. correct and/or re-harmonize the given chord changes. ue b. score parts for the rhythm section as follows: Melody (as is or improvised) eo Guitar Drums ie Bass 4 : = a Piano NOTE: In the event that any of the indicated tunes are not familiar to you, simply substitute standard tunes of your own choice. FF =(3) "LONG AGO AND FAR awayu eames (8) "HOW HIGH THE Moon Gm_C7 707 cb F6 E Cc Ab6 Bb7 Ab Bb7 Eb G E Z = F E Cm D7 br E 7 =| GG Gin = 41 i J (c) "MY FUNNY VALENTINE" Cm(maj7) - _ - | = FS = " Sent cm. Cm(maj?) a 7 > ~ | cmt Cmé Ab Fm__¥F7 : | -_ Bb7 ‘Eb Bb? Eb Bb7_"- Eb _Bb7 Eb __Bb7 Eb G7 Cm. Fm =~ Ab7__G7 Cm iE} UF LE, Cw, FO ={e] "MOONLIGHT IN VEKMONT# Eb Ebmaj7_Fm7_ cm Db9 Fm ___Bb7 —s P= = EF asa te em" fete? gem mg =F a ae z| . "Gj Fm 7 pb7 Bp An 7 . Ds ] Bbm7_Eb7_ éScore each of the following melodies as indicated. If range of given melody seems impractical for indicated instrumentation, transpose to more p * suitable key. - . oe " (a) Ballad ' - Fm? De? Eb ET See SS LI a, = Sax Unison - : --- Five Brass (Trp.,Trp., Trp.,Tbn., Tbn.,) Guitar, Drums, Bess, Piano (b) Swing PUN LAE : Bi mn & Em7_, Baus? pp Eb1b9) ay po? : eS Ae Ee ‘ Eb____.G7(b9) m7 4 Bb7 Eb ESSE aa 1 Melody ~~ : Rhythm FO ] Five-part Sax Soli (A,A,T,T,5) Guitar, Drums, Bass, Piano 1 Toad ~ Five-part Brass Soli (Trp.,Tzp., Trp. ~Gvitar, Drurss, Bass, Pieno(d) Ballad contain Stay Ee Ses Ss Dm7 pf Eb7 Ab Db7 c FSi eae 1 Melody ---~ Background Rhythm -=-~ Trumpet Solo Five Saxes (A,A,T,T,B) Guitar, Drums, Bass, Piano (e) Rhumba Gm7 ci F Dm7 Gm7 C7 Am7(b5) D7 ey, Hee 7 Er =F 2 F D9) Gm7_ J ie 7 ive Brass (Trp.,Trp., Trp.,Tbn., Tbn.) 4 ~Cuitar, Drums, Bass, Piano J (suggested piano accompaniment patterns) 7 Gat cr Gm? Sy cr = _ =| = C79) (f) Slow Ballad Ab Gm7 Fm7 Eb Melody Rhythba ai si es i es ss ee 3. Using any standa: d tune of your choice : {a) trenspose ti ins! y suitable for indicated umentation. (if necessary) (b) re-harmonize and/or correct chord changes. {c) make any desired rhythmic and/or melodic changes. : {a) score as follows: Melody ~ - Trumpet Solo Backg=ound Five Saxes (A,A,T,T,B) Rhythm - -+- Guitar, Drums, Bass, Piano (a) Compose thematic introductions to each of the tunes listed in Problem #1 (or any six stendard tunes). (b) Score each introducti any one of the followin, n for rhythm section plus 1, brass soli 2. sax soli «brass solo (or unison); sax background 4, sax solo (or unison); brass background' LESSON NO. XXL Vi. gyaLL BAND WRITING . TWO_HORNS any of the following When scoring for two melody instruments, may be used: 1, unison or octaves 2, duet style (i.e., two-part soli) 3. melody and counter-melody Unison -— son or octaves is ‘The decision as to whether to use unt: ts being used and Jargely dependent upon the instrument the range of the melodic line. Either is effective. Duet Style ‘Pry to observe the following principles in wziting 2 two-part soli: bots chord note, use chord note if lead voice is an approzch econd voices (a) If lead voice is a in second voice; note, use an approach in the s etc. Lo ervals of 3rds and étho es 1uch (b) Try to use int and & ay as possible. be freely us! Sths and 7th Consecutive 3rds ¢, but avoid using consecutively. Jew id LI J Co soe eo er es es ee| i (©) When using intervals other than 3rds or 6ths, try to have them lead directly to either a 31d oF 6th through contrary or oblique motion. Ex. 3 (a) Contrary motion - voices move in opposite directions, ee ee er EE Ex. 3 (b) Oblique motion - sustains or re, Fe emharmonized in duet style: Following is an example of 2 given melody 2 Bm7 Bb? AmT, Dry, ‘ pe ra L . "Melody and Counter-melody ‘This technique is cextainly the most modern form of Gio-past writing, and usually the most interesting seercally., A detailed explanation of counter-melody =. 22. Wilting has been included in that pazt of the course wands Eb bo be LT ur itis, of course, possible to intermingle the three techniques described thus far.In scoriig for'three melody instruments, any of the following may be effectively used: I : 4. Solo melody with harmonized counter-melody - 5. Duet style soli with sole counter-melody k & Three-part soli ~enn OnE rioru ria to bt I or VF Tee cnieloay © 3, Sélo melody with unison counter: 4, Solo melody with harmonized counter-melody Be 10 25. Duet style soli with counter-melody Ex, 11 Je Setting up a soli voicing for three horns, try to observe the following: (b) every Dom should in t 7th chord harmonis, de the seventh, (c) altered chords (45, b5, b9, ete..) should include the altered function. (2) do not use hit" and related "lo" in the same voicing, (c) harmonize chord notes, approach notes, etc., $5 they would normally be harmonized inva omitting the least important“Under voices J 3 (3) (9)* 7 (09) (7 PoP —- Under, voices Afective. # Irregular, but Geer the two under Jn any of the above voic to form open position. voices may be inverted TPPapplication to e, the technique of three-pa ring for (ise., three saxes, trombones, etc...) 7. Three i independent lines EES independent lines interesting metho: technique is as follows + ‘ombo writing, Tt soli writing may also any three horn section, three trumpets, three (a) set up melodic lead (b) compose a counter-melody {c) compose an additional counter-melody by: 1+ establishing "missing" chordal fan ctions at strong points of attack, and 2. filling in with pon-conflicting melodic motion, It wilt Necessarily, to become profici feke @ reasonable amount of experience fent at this type of writing. ee, ae, =, ee rf. , r. .< Em 7(b5)_AZ “pm Dele? G7, Gra? o = Tee Again, -in actual practice, any of the forms of three-part writing ‘described in this lesson-may be freely intermingled. and.experimentatica with various vi ly advisable - (1) Unison (or octaves} (2) Four-part soli (close¢ ° (3) ‘Three-part soli (doubled lead) (4) Coupled two-patt so! Following are illust: described above : s used inEx. 14 itsatie tie-in a-e_- epee FSS, | (3) Three-part soli (doubled lead)Ex, 18 (5). Solo melody with three-part background Numerous variations of the basic principles outlined in this lesson are possible when working with five, six or more horns, Following are some suggested voicings that are quite commonly used, but it advisable that you experiment as much as possible with other combinations. Remember, also, that a very effective technique in big-band scoring is the use of a "emall-band" within the "big-band", D. FIVE HORNS 1, trumpet four saxes .. + solo melody four-part background : , B, By, B, x B! soli + solo obligato 2. four saxes seeeseeeeeee trumpet ... L « 3. two tbns., two tenors, b: + five-part soli 1 + éuet = + three-part soli P.| pe um 3 BU. 8 SSE, Ae 6. trumpet (cup! ), clarinet , trumpet (cup), clarinet tehor + 7. tupt.,altor etce, etesee E. SIX HORNS 1, trumpet esse five saxes +++ three trumpets +++ three trombones 3. three trombones tenor, tenor, bari 4. three trpts.(cuP)» two trombones (open). ++ 5. guitar, three clarinets tenor,trbn. »bari...+ five-part 5} trbn. (cup)+ +++ clarinet(lead) tenor (doubled lead) 6. trumpet .+++ trombone alto, tenor, teno etc. etes r, bari ++ two-part soli vss solo counter-me! oli ass solo melody second voice) three part soli four-part soli |. unison counter five-part soli ts. solo obligato solo melosy ody five-part background sesteee* gixepart soli (four-part soli, doubled lead and | three-part background melody four-part background2. Using any of the techniques described in this lesson, score any standard tune of your choice for: ‘trumpet tenor piano bass guitar drums Similarly, score any other standard tune of your choice for: trumpet tenor trombone piano bass guitar drums 4, Score any standard tune of your choice for: mpet alto tenor trombone guitar drums 5. Score any standard tune of your choice for: trumpet trumpet trombone alto tenor bari bass guitar hee a ¥ ae eA = ee ee ee | = om = os a 2 oe meLESSON"NO. 23 OPEN VOICING (cont.) the only form of open voicing discussed has been that Thus far, {a closed block harmonization produced by dropping the second voice o down one octave. open voicing may be effectively use: ors must be considered and observed. Many other forms of 4, but for best results, certain fact 1. In closed block voicing (end 2nd dropped usually) the ear tends to identify melody and to accept @ concerted harmonization under it without separating the bottom note from the rest of the chord. iris wide-spread a chord is voiced, the more function (i.e. root or 2. The lower or m: important it becomes to have u "strong" fifth) on the bottom. 3, ‘The relative strength and soncrity of an open chord is largely Qetermined by the position of the two bottom notes. It is impor= tant that you observe the following "low-interval” limits. Do tat jae velcings where the inte>val between the two bottom notes Hes in a register lower than that indicated: degree as the bottom voice of any NOTE: Do not use 2 big pen chord. OARMajor 7th Minor 7th PSE be be Augmented 4th (Dim. 5th) Perfect sth & i = =F “fi SEs = = ee See = Hope —— be (sustained) (short duration) A, OPEN VoIciNGs 1, Four part voicings a. four part block harmonization (2nd voice dropped 8vb) Perfect 4th Major 3rd Minor 3ri+| oe ee, xb. four part block harmonization (3rd voice dropped 8vb) ex. 4 Caug? F Daug7 Db Gm7 bT B ra (b9) al ¢. four part block harmonization (2nd and 4th voices dropped 8vb) (use in sax section only)NOTE: Low interval limits have been.considered in establishing the proper melodic reeister for egch of the preceding examples. Normally, melody must be transposed from a third to a fifth higher when using 3ré dropped or-2nd and 4th dropped. 2. rave pare voicings d lead” 2. iour part block harmonization - (2nd voice dropped 8vb) ear: i vo Plage p— Bb7 Em7(05) Aaug? Dm ab. four part block harmonization - doubled lead (3rd voice dropped 8vb ) pb? wnc7 Fim7 B7 Em a (5) (05,09) = ae ae c. four part block harmonization - doubled lead ( 2nd and 4th voices dropped 8vb) yl Ex. 9 Gb7 to to J 4 wi LI 4 ed t.Again, any of these five intermingled in harmonizing a meloaic (ee try to establish root or fife chord. ‘hon the bottom of any sustained ever possible, stucy of the following examples will h, Ip in developing ‘anding of varia ble five part open voicing. When working veine’s UY f remember the following general prin given at the beginning of this lesson: ciples in addition to those 1. Closed or se: "open voicings are most effective in harm- onizing fast moving passages. 2, Wide-spread voicings, with root on th, effective on notes of relatively long curat Passages, e bottom, are most ion and in sustained 3. Use variable open voicings primaril resting inner voice motion and to esta © on notes of long duration. to acheive smooth and Normally, wide-spread voicings are more effective in saxes Te) tet f F F P r F F r iC7(b9) Ex. 14 c r3Bb7(b9) Eb Gee fe ee” a5 =the 5 i . oF D7(b9) ve aaa 2 oy oy = a OWFFRFARRP APS ay Harmonize each of the following melodies for a four-sax section (ATT) using: a. closed position 2nd voice dropped 8vb or: . 3rd voice dropped 8vb or: 2nd and 4th voices dropped 8vb or: @. any combination of the above If considered advisable, melody may be transposed to a different key before completing the harmonization.2. Compose a background to each of the following given melodie. Jn each case, indicate the instrumentation you for the solo and for the background. Use any of the vo: Given melody may be altere: listed in Problem No. 1. transposed before harmoniai F . Bb7 F dor SS *D7(b9) Cm7 == ° Zocor es Aaug?) Dm6 ET AmAm(#7)Am7D7 CASES SSeS se Em7(b5) A7 1 Dm Bb? Aaug7 AT Be f So ae! = Ee 3. Harmonize each of the following melodies for a section using: . closed position - doubled lead five part sax or: b. 2nd voice dropped 8vb - doubled lead or: . . ¢. 3rd voice dropped 8vb - doubled lead 2nd and 4th voices dropped vb - doubled lead or: te. closed po: ion - added root £. Zhd voice dropped 8yb - added root or: g- 34d voice dropped 8vb - added root h. any ¢! many way.POU LLL ed Sr “SPT Db7 c7(b9) Am7(b5) D7 ee Gm7 Eb? F D7(b9) Gm? c7 4. Compose a background to each of the following melodies using any of the voicings indicated in Problem Np. 3. In each case, indicate instrumention for which you are writing. G Cm(maj7) Cm? FT Fm7 Bb? BeansF7 £7 Eb? DTC cr c SSS Sas NOTE: The given chord changes to each of the melodies in the assignment may be re-harmonized wherever you feel that other chords would be more ‘effective with the particular voicings you are using. Score any standard tune of your choice as follows: Trumpet Solo Five-part Sax Background (open position) Bass Drums Guitar Piano Score any standard tune of your choice as follows: Five-part Sax Soli (open position) Bass Drums Guitar Piano forseLESSON NO. 24 ‘A. F°VE SAXES (cont.) Although the subject of soli voicings for a five sax section has been covered quite thoroughly in preceding lessons, there are some other techniques that may o:ten be effectively used. 1. Free Lead In this voicing, the lead alto moves freely while the other - four voices (A, T,T,B) provide a sustained or semi-sustained background. Free lead is often intermingled with conven- tional five part soli voicing. Ex. 1 “ Gaug?, FT. c Bbm7 Eb7 Ab Db7 c > 3 2. "Pastels" voicing The name for this voicing is taken from the Stan Kenton arrangement of "Opus in Pastels" which utilizes this style of sax sectio~ writing. The two altos play a dust style soli (preferatly in thirds) while the three lower voices (T,T,B) provide a strong sustained background. Most effective voicings for the three lower saxes are illustrated in the following cha: Ex. 2 Tenor 33 Tenor 2 73 Bari, 11SFree Baritone All of the sax voicings discussed in previous lessons may be inter- mingled with the three special cases described in Lesso composing a sax soli, Use high degrees freely in writing the alto duct and, again, remember that this style of writing may be effectively intermingled with conventional sax soli voicing. Following is an example of "pastels" voicing for a five part sax section: x a” EE = & This consists of a four part sax soli (A,A,T,7) in closed, 2nd dropped, 3rd dropped or variable open position’ with an independent baritone sax part. Since it will, for the most part, constitute a sustained line, the bari part should use root or fifth when it attacks with the rest of the section. Where the upper four voices sustain, the baritone part may {ill in with connecting melodic motion. G7 (69,13) CMaj7_ AT Dm7 G7 c a #24 in Page 2. (b5) Caug? Fm? Bb7 Eb €7(b9) Fm7 BT cmt” case a a. Eb Caug? m7 Bb 703). EbMaj7 El e 3 al a qu : \_B. SIX BRASS’ (3 trumpets - 3 trombones) 1, “Lead and 2nd voice doubled Caug7? = Am7 2 Citb9) * FPRPPFPROAARAS3+ Lead and 3rd voice doubled ~ 2nd voice dropped avb Ho a4 F FH? -Gm7 Caug7 — Am7 Abm7 = Gm7~—c7(b9) i= a ae Shah Ly pan) 4+ Lead and 4th voice doubled - 2nd voice dropped 8vb Ab ac Bbm7__ Ebaug? G7 Bm7 —-Bbm7_—-Eb7(b9) Re ee St a +a eh |p bie 2 Ce P| “5, Lead and 2nd voice doubled - 3rd voice dropped 8vb Ex. 10 Bbm7 Ebaug? — Cm7 Bm? Bom? En7 Ab ae im’ a ee ee ee SSS ae ea eo fatty be a fap * substitute low for hi in place of doubled lead © bix brass voicings to assure rds or to avoid violating low #23, aa Ree =._C. SEVEN BRASS (4 trumpets - 3 trombones) ¢ doubled a Los J 7 Ab Ae. . Bbm7 Ebaug7 Cm? Bm7 Bbm7 —~ Eb7(b9) p oh “Trombones = basic chord sound ‘Trumpets ~ “separate foD. CONCERTED VOICINGS (Brass plus Saxes) The expression “soli” is used to indicate a passage scored for one Sections the term "tutti"! to indicate a passage played by the entire ensemble, (In the case of the dance-band, brass plus saxes) There are virtually unlimited possibilities for combining the two Sections and it would be impossible to catalogue them all. Following 3s listing of those "tutti" voicings that are most commonly used and have generally proven to be effective. Range, low-intesval ‘al quality of sound desired should factors in deciding which to use, Limits and gen all be determining Note: To simplify analysis of the following examples, and four saxes have been used, four brass 1. Saxes built down from 2nd voice of brass Ex, 14 Bb7(b9) Eb lead alto doubles znd trumpet throughout pe 2 i2. Saxes built down from 3rd voice of brass4, Non-constsnt lad line composed for teed alto betare | hermenising vost of sx section Ex. 17 | 5b7(b9) Eb cee : per | It is important that you understand that these examples illustrate only 2 very few of the many, many possibilities for concerted ' voicing. For purposes of illustration variable open voicing has been used freely but it is, of course, possible to use constant closed, 2nd voice dropped, etc., etc. Mechanical couplings a cal open voicings are effective and will usually result in a good ensemble sound in upper, middle and medium-low registers. E, CONCERTED VOICINGS (cont.) To complete our discussion of ensemble voicings, it is also possible to have a brass soli with a harmonized sax background; or a sax soli with a harmonized brass background. All prin- ciples of background writing as covered earlier in the course still apply ply harmonize both sections.Bb7 L = Ct Re F th, | Se Ses $ ba se r oe aS 2 ae Dm? Fm? Se oad be = eS + oh 3 <2 £ eae gS $e pot Bbv7(b9) Eb Ex. 18 (a) G79) c SS EMM MAAASSIGNMENT 1. a. Score melody (a) for five saxes using "free lead". b, Score melody (b) for five eaxes using "pastels voicing". c. Score melody (c) for five saxes using "free bari", F Am7 D7(b9) Gm7 cl oF Em7(b5) AT ie PUL LL Liu p ZS aes eae Dm Dm(Maj7) Dm7 G7 Gm7 co — al 2 on Q s 8 Bb7(b9) Eb c7 ve HL 2. Score any stand the three styl voicing. Page 11 FRPPlody to a key you consider suitable. Closed, open or variable voicing may be used. c7(b9) Cc z—, pb — ¢ a SSS 4, Harmonize the following melody for seven brass. Transpose the weal melody toa Key you consider suitable. Closed, open. or variable voicing may be used. Gm7 c7 F Ab? Gm7 c7 Am7(b5) D7(b9) ard tune of your choice for six brass, five saxes 5. Score any stan and rhythm using concerted ensemble voicings. tune of your choice for seven brass, five 6. Score any stand saxes and rhythm as follows: Ist 8 bars .....+4+- brass soli brass soli sax background 2nd 8 bars .. . brass background sax soli 3rd 8 bars certed ensemble ie ee ee ee ee ee*

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