Popular Music Harmony Booklet
-
Upload
milton-mermikides -
Category
Documents
-
view
259 -
download
7
Transcript of Popular Music Harmony Booklet
-
8/8/2019 Popular Music Harmony Booklet
1/67
Popular Music Harmony
2011
2011 [email protected]
-
8/8/2019 Popular Music Harmony Booklet
2/67
The C Major Scale and its Diatonic Harmony
2010 Mermikides
44&
1. The 7 notes of C Major:
I
tone
Major 3rd
Perfect 4th
II
tone
Perfect 5th
III
Major 6th
semitone
Major 7th
IV
tone
V
tone
VI
tone
VII
semitone
&
2. Triads: Root 3rd & 5th starting from each scale degree:(These triad types occur in the same order in any major key)
'US'
'UK'
Major Triad: R, 3, 5
I
C
I
Major 2nd
ii
Dm
IIm
Minor Triad: R, b3, 5
iii
Em
IIIm
Octave
F
IV
IV
Diminished Triad: R, b3, b5
V
G
V
vi
Am
VIm
vii
Bdim
VII
-
8/8/2019 Popular Music Harmony Booklet
3/67
Major Diatonic Harmony Practice
&
Reference: The diatonic triads and 7th chords of C Major.
'US'
'UK'
IC
I ii
DmIIm
iii
EmIIIm
FIVIV V
GV
vi
AmVIm
vii
BdimVII
&
I
I^7Cmaj7
ii7
Dm7IIm7
iii7
Em7IIIm7
Fmaj7
IV^7
IV^7
V7
G7V7 VIm7
Am7
iv7 vi
Bm7b5VIIm7(5)
&
1. Find the key (add key signature), notate and analyse the following progression.
G7 E7 A7 D7
&E7 A7 D7 G7
&C7 D7 E7 A7
&
C7 D7 G7
-
8/8/2019 Popular Music Harmony Booklet
4/67
&
2. Notate and write chord symbols for this progression in a key of your choice
ii7 V7 Imaj7 IVmaj7
&vii7 iii7 vi7
##
3. Write chord symbols and analyse with roman numerals the following chords:
##
&bb
4. Write chord symbols and analyse with roman numerals the following chords(6 chords and secondary dominants are used)
&bb
&bb
wwww wwww wwww wwwwwwww
wwww wwww
wwww
wwww
wwwwn www
wbwwww
wwww
wwwwb wwww w
wwwn
wwwwnb wwwwb wwww
2
-
8/8/2019 Popular Music Harmony Booklet
5/67
Cycle of
5ths
C
G
D
AEb
F#
Gb
E
F
Bb
Ab
Db
The Cycle of 5ths2010 Mermikides
B
Am
Em
Bm
F#mCm
D#mEbm
C#m
G#m
Dm
Gm
Fm
Bbm
-
8/8/2019 Popular Music Harmony Booklet
6/67
Diatonic
Cycle of5ths
I
V
ii
viiii
IV
vii
1. Diatonic Cycleof 5ths2010 Mermikides
Imaj7
V7
ii7
vi7iii7
IVmaj7
vii
(augmented 4th/dimished 5th)
-
8/8/2019 Popular Music Harmony Booklet
7/67
Diatonic
Cycle of5ths
I
V
ii
viiii
IV
vii
2.Composing withDiatonic harmony
2010 Mermikides
Imaj7
V7
ii7
vi7iii7
IVmaj7
vii
They're are no compositional 'rules'But here are some effective mechanisms to tryI can jump to any chord ('I' as in 'one' not me)
Any chord can jump to I (or IV or V)
All other motion as indicated (dashed is less common)End on I
Chords can be in there triadic, 7th or other form (6th, 9th, 13th,add9 etc.)
(augmented 4th/dimished 5th)
-
8/8/2019 Popular Music Harmony Booklet
8/67
SecondaryDominants
V7/V
V7/iiV7/vi
V7/iii
C!7
G7
B7
B
F!7
Dm7
D7Am7
A7
Em7
E7
I7
G7
C7
I!7
V7
ii7
vi7iii7
IV!7
vii
3.SecondaryDominant 7ths
2010 Mermikides
-
8/8/2019 Popular Music Harmony Booklet
9/67
SecondaryDominants
V7/V
V7/iiV7/vi
V7/iii
C!7
G7
B7
B
F!7
Dm7
D7Am7
A7
Em7
E7
I7
C7
G7
v7
Gm7
I!7
V7
ii7
vi7iii7
IV!7
vii
4.SecondaryDominant 7ths Paths
2010 Mermikides
-
8/8/2019 Popular Music Harmony Booklet
10/67
44&bbb
The 7 notes of the C natural minor scale:
The C Natural Minor Scale and its Diatonic Harmony
tone semitone tone tone semitone tone tone
&bbb
Minor Triad: R, b3, 5
The triads in a minor key are:
Triads: Root 3rd & 5th starting from each scale degree:
ImCm
i
DdimII
ii
Diminished Triad: R, b3, b5
EIII
III
FmIVm
iv v
GmVm
Major Triad: R, 3, 5
VI
AVI
VII
BVII
&bbb
It is common in a minor key for the V chord to be changed from min7 to dom7.
So here Gm7 would become G7 eg V7 - i or ii - V7 - i.
7th Chords: Root 3rd 5th & 7th starting from each scale degree:
The 7th chord types in a natural minor key are:
Major 7 chord: R, 3, 5, 7
Dominant 7 chord: R, 3, 5, b7
Im
i7
Cm7
ii
IIm7(5)
Dm7b5
III^7
III^7
Emaj7
Minor 7 chord: R, b3, 5, b7
Minor 7b5 chord: R, b3, b5, b7
(Half diminished)
Fm7
iv7
IVm7
v7
Vm7
Gm7
VI^7
VI^7
Amaj7
VII7
VII7
B7
-
8/8/2019 Popular Music Harmony Booklet
11/67
Minor Diatonic Harmony Self-test
&
Reference: The diatonic triads of A natural minor.
'US'
'UK'
Imi
Am Bdim
iiII III
C
III
DmIViv
'US'
'UK'
VmEm
v VIVIm
F G
VII
VIIAmIm
i
Common alterations from Harmonic minor:
E
VV
G
viiVII
&
Reference: The diatonic 7ths of A minor.
'US'
'UK' i7
Im7
Am Bdim
ii
IIm7(5)
C^7
III^7
IIImaj7
Dm7
iv7
IVm7
'UK'
'US'
Em
v7
Vm7
VI^7
VI^7
F G
VII7
VII7
Am
Im7
i7
Common alterations from Harmonic minor:
E7
V7V7
G7
vii7VII7
&
1. Notate, write chord names and analyse the diatonic triads of
a) sharp minor key of your choice (using a key signature)- indicate the commonalterations of the v and VII chords
&
b) flat key of your choice (using a key signature) - indicate the commonalterations of the v and VII chords
##
# #
-
8/8/2019 Popular Music Harmony Booklet
12/67
&
2. Notate, write chord names and analyse the diatonic 7th chords of
a) sharp key of your choice (using a key signature) - indicate the commonalterations of the v7 and VII7 chords
&
b) flat key of your choice (using a key signature) - indicate the commonalterations of the v7 and VII7 chords
&
3. Notate, write chord names and key signatures for the following progression.
a) Cm: ii V7 i b) Dm: i iv V7 i
&4. Choose 4 different key signatures.Notate, write chord names and key signaturesfor ii V7 i7
c) Em: VI7 ii V7 i7 d) Bm: i7 bVI vii7 i
&
&
2
-
8/8/2019 Popular Music Harmony Booklet
13/67
Borrowing Chords from the Minor Scale-1
&'US'
'UK'
IC
I
In a major key, often chords are borrowd from the 'parallel' minor key. So in the key of C(top stave) triads from the key of C minor may be used (bottom 2 staves)
ii
DmIIm
iii
EmIIIm
FIVIV V
GV
vi
AmVIm
vii
BdimVII
&ImCm
i
DdimII
ii
Common uses
EIII
III
FmIVm
iv v
GmVm
VI
AVI
VII
BVII
&
The 'Beatles' chord
The 'subdominant minor' IVm, iv
minor key
Fm
iv
major key
I
C
the bVI bVII I
'Epic'
A
bVI
minor key
bVII
B
major key
I
C
b
b bb b b bb
b
b bb b n
-
8/8/2019 Popular Music Harmony Booklet
14/67
Borrowing Chords from the Minor Scale-2
&
I
I^7Cmaj7
ii7
Dm7IIm7
iii7
Em7IIIm7
Fmaj7
IV^7
IV^7
V7
G7V7 VIm7
Am7
iv7 vi
Bm7b5VIIm7(5)
&
Im
i7
Cm7
ii7
IIm7(5)
Dm7b5
III^7
Common 7th chord uses
III^7
Emaj7 Fm7
iv7
IVm7
v7
Vm7
Gm7
VI^7
VI^7
Amaj7
VII7
VII7
B7
&
The 'subdominant minor7'IVm7, iv7
minor key
iv7
Fm7Imaj7
major key
Cmaj7 Cmaj7
major key
Imaj7
The bIIImaj7 and bVImaj7
bIIImaj7
minor key
Emaj7bVImaj7
Amaj7 G7V7
major key
Cmaj7
Imaj7
&minor key
ii7
Minor to major ii-V
Dm7b5
V7
G7
major key
I^7
Cmaj7
bb b bbbb b bb bb
bb n b bb b n wwwwb
b
2
-
8/8/2019 Popular Music Harmony Booklet
15/67
{
{
{
{
D7G7 C7
D7 G7 C7
D7(b5) G7 C7
D7(b5) G7 C7
&
The 'guide tones' in 7th chords are the 3rd and 7th - determining much of the character of the chord.
In a ii-V-i progression the guide tones moves in a particularly elegant fashion (indicated)
Motion of 'guide' tones (3rd and 7th)
ii - V - I Voice Leading
?
&
A different voicing.
?
&
The motion is similar, but not identical in a 'minor ii-V.' The flat 5 in the ii chord is nottechnically a guide tone but is included for context
Motion of 'guide' tones (3rd and 7th)
?
&
Motion of 'guide' tones (3rd and 7th)
?
ww ww ww
w ww
ww ww ww
w w w
ww ww wwbb
wwb w w
ww ww wwbb
wwb w w
-
8/8/2019 Popular Music Harmony Booklet
16/67
Cpedal
C5 C(b5)
C C C& C
C(4) C(2)
C7 C7 C7 C7(b5) C7
C(7) C7(b5) C7(#5) C7(b5) C7(#5)
&[R]
(Almost) all the chord symbols you'll ever need.
There'll always be more but all 'standard' chords should be derivable from these...
Chord Directory - 1
1-note
&[R, 5] [R,5]
3-note (triads)
2-note
& (major, maj)
[R, 3, 5]
(minor, min, -)
[R, 3, 5] [R, 3, 5]
(aug, #5) (diminished, dim)
[R, 3, 5]
3-note (sus chords)
&(sus)
[R, 4, 5] [R, 2, 5]
&[R, 3, 5, 7] [R, 3, 5, 7] [R, 3, 5, 7] [R, 3, 5, 7] [R, 3, 5, 7]
4-note (7th chords)
&[R, b3, 5, 7] [R, 3, 5, 7] [R, 3, #5, 7] [R, 3, 5, 7] [R, 3, #5, 7]
w
ww wwb
www wwwb www# wwwbb
www www
wwww wwwwb wwwwbb wwwwbbb wwwwbb
wwwwb wwwwb wwww# wwwwbb wwwwb#
-
8/8/2019 Popular Music Harmony Booklet
17/67
C6 C6 C(b6) C(b6)
C(9) C(9) C7(4)
C9 C9 C9
C7(b9) C7(#9) C(9) C(4b9)
C% C%
&[R, 3, 5, 6] [R, 3, 5, 6] [R, 3, 5, 6] [R, 3, 5, 6]
Chord Directory - 2
4-note (add and sus chords)
4-note (6th chords)
&[R, 3, 5, 9] [R, 3, 5, 9] [R, 4, 5, 7]
&[R, 3, 5, 7, 9] [R, 3, 5, 7, 9] [R, 3, 5, 7, 9]
5-note (9th chords)
&[R, 3, 5, 7, 9] [R, 3, 5, 7, #9] [R, 4, 5, 7, 9] [R, 4, 5, 7, 9]
&[R, 3, 5, 6, 9] [R, 3, 5, 6, 9]
wwww wwwwb wwwwb wwwwbb
wwww wwwwb wwwwb
wwwww
wwwwwbb wwww
wb
wwwwwbb wwww
w#b wwwwwb wwww
wbb
wwwww wwwwwb
2
-
8/8/2019 Popular Music Harmony Booklet
18/67
C11 C11 C11 C11(b5) Csus11C9(4)
C7(#11) C7(#11) C7(#11) C(7#11)
C13 C13(#11) C13 C13(#11)
C13(b9)
C13(#9) C7[] C9(b13) C7[]
C7
&[R, (3), 5, 7, 9, 11] [R, (3), 5, 7, 9, 11] [R, 3, 5, 7, 9, 11] [R, 3, 5, 7, (9), 11] [R, (4), 5, 7, 9, 11]
(a 5-note chord)
Technically 11th chords include a root, 3rd, 5th, 7th, 9th and 11th.
But '11' is also used to mean a 7th chord with an added 11th and no 9th (sometimes called 7add11) -
In addition, C11 is sometimes used as an (incorrect) shorthand for C9sus (R, 4, 5, 7, 9, 11) which has no 3rd.
So the 'rare' 3rds ar bracketed below.
The only common 'real' 11 chord is a min11 chord. #11 chords, however are often found.
6-note (11th chords)
&[R, 3, 5, 7, 9, #11]
[R, 3, 5,7, 9, #11]
[R, 3, 5, 7, 9, #11] [R, 3, 5, 7, 9, #11]
The most common the above are Cm11, Csus11, Cmaj7(#11) and C7(#11) The latter two are often played without 5ths
&[R, 3, 5, 7, 9, (11), 13][R, 3, 5, 7, 9, #11, 13] [R, 3, 5, 7, 9, (11), 13][R, 3, 5, 7, 9, #11, 13]
13th chords technically contain root, 3rd, 5th, 7th, 9th, 11th and 13th (all 7 notes).
However the 11th, unless on a min13 chord is very rarely intended, the 9th often (but not always) is,and unless indicated otherwise, as a natural 9th (D on a C13).
Often a 13th chord just implies root, 3rd, 5th, 7th and 13th (ie C7add13) unless other degrees are stated (eg. C7(b9/13).
Some but not all 13th chords are listed below, although you should be able to derive most from those below.
7-note (13th chords)
&[R, 3, 5, 7, 9, (11), 13]
[R, 3, 5, 7, 9, (11), 13][R, 3, 5, 7, 9, (11), 13]
[R, 3, 5, 7, 9, (11), 13]
[R, 3, 5, 7, #9, (11), 13]
7-note (Altered)
&
[R, 3, 5, 7, 9, #9, 13]
An altered dominant (alt.) chord includes a root, 3rd and 7 andany number (or all) extensions from an altered scale.(ie. 9,#9, #11/5, 13)
wwwwww
wwwwwwb wwww
wwbb wwwwwwbbb wwww
wwb
wwwwww# wwwwww#b wwwwww#bb wwwwww#b
wwwwwwwwwwwwww# wwwwwwwb
wwwwwww#b
wwwwwwwbb wwwwwww
#b wwwwwwwbbb wwwwwwwb
b wwwwwww#bb
wwwwwwwbbb#b
3
-
8/8/2019 Popular Music Harmony Booklet
19/67
C7 C7 D7 D7 E7 E7 D7 D7
F7 F7 C/G F7 F7 C7/G
C7 B7 C7 F7 B7 C7
B F C F7 B7 C
C7 B7(#11) C7 B9(#11)
&
Diminished chords are often used as passing chords between chords I, ii and iii in either direction.
Imaj7
The #IV7 chord is often used between chords IV and a 2nd inversion I chord
#I7 IIm7 #II7 IIIm7 bIII7 IIm7 bII7
Passing Diminished [email protected]
&
IVmaj7 #IV7 I IV7 #IV7 I7
&
The bVII7 chord (borrowed from the parallel minor)is sometimes used as a resolution to I
The bVII major triad, particularly when in proximity to a major IV chord is a very common rock deviceand can be seen as being drawn from the parallel mixolydian mode.
Imaj7 bVII7 Imaj7 IVm7
The bVII7 chord may also be preceded by a related II.We could call this the 'Aeolian ii-V' as it isdrawn from the Aeolian mode and is quite common.
bVII7 Imaj7
The bVII7 chord
&
The bVII7 chord when it includes a #11 (and/or 9) is a common jazz device,not borrowed from parallel minor but Mixolydian b13 (a melodic minor mode)
bVII IV I IVmaj7 bVIImaj7 I
The bVII chord from Mixolydian
&
Imaj7 bVII7(#11) Imaj7 bVII9(#11)
The bVII7(#11)
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
-
8/8/2019 Popular Music Harmony Booklet
20/67
{
{
D7G7 C7
D7 D7 C7
D7 D7
C7
A7 D7 C7
&
Taking another look at the guide tones in the ii-V-I progression, we notice that the 3rd and 7th of the
dominant chord form a tritone interval.
Motion of 'guide' tones (3rd and 7th)
3rd
7th 3rd
7th 3rd
7th
Tritone [email protected]
?Root Root
Root
&
Since the tritone interval may be inverted. This implies that a dominant chord a tritone awaymay be substituted with the guide tones maintained (with an enharmonic adjustment).
3rd
7th
3rd
7th (B-nat = Cflat)
3rd
7th
?Root Root Root
&
Notice that the tritone substitution dominant chord now resolves down a semitone rather than a 5th,When a 'sub V' resolves down a semitone, let's analyse it with a dashed arrow. Similarly, a min7 ormin7(b5) chord going down a semitone to a dominant chord gets a dashed bracket.
IIm7
subV7
subV7Imaj7
Imaj7
&
SubVs may be preceded by min7 chords a 5th above
Tritone subs often have 9ths and /or #11 intervals added. The latter sometimes written as b5.
ww ww ww
w ww
ww wwb ww
w wb w
V V V V V V V V
V V V V V V V V
-
8/8/2019 Popular Music Harmony Booklet
21/67
A7(b5) G7 C7
C7 D7(b5) G9(#11) F7 E7(b5) E9
D7 D9(#11) C7
F7A7 D9(#11) C7 A7 A7
G7 G7(b5) F7 A7 D7(#9) G7(#11)F%
&
And occasionally standard dominants may be preceded by min7 (or min7b5) chords a semitone above.
V7
And substitute secondary dominants may also exist
Imaj7
&
IIm7
And substitute secondary dominants may also exist, with related IIs of both types.
Imaj7 subV7/IV IVmaj7subV7/II
&Pick a key and write chord symbols for the following progression
subV7 Imaj7
&
Imaj7 subV7/II IIm7 subV7 Imaj7
&
Analyse in the key of F, the following progression and mark with symbols. It's a bit tricky...
&
V V V V V V V V
V V V V V V V V
V V V V V V V V
V V V V V V V V
V V V V V V V V
V V V V V V V V +
2
-
8/8/2019 Popular Music Harmony Booklet
22/67
B7 E7 A7 A7 D7 G7 C7
B7 E7 A7 A7 D7 G7 C7
B7 E7 A7 A7 D7 G7 C7
B7 E7 A7 A7 D7 G7 C7
B7 E7 A7 A7 D7 G7 C7
&Identify the key (it may not be in the key signature) usually ends on tonicand write out the diatonic 7th chords for reference if necessary
Jazz Analysis - [email protected]
Label any diationic chords correctly ('US' used here)
Example Analysis
&
VIIm7(b5)
Check for any dominant chords a 5th above diatonic chords(see 'Secondary Dominant 7ths')
VIm7 IIm7 V7 Imaj7
&VIIm7(b5) V7/VI VIm7 V7/II IIm7 V7 Imaj7
Label any dominant chord a 5th above a diatonic chord.
Draw Arrows for dominant chords resolving down a 5th
&VIIm7(b5)
V7/VI VIm7 V7/II IIm7 V7 Imaj7
Draw brackets for minor 7 (or half-dim) chords resolving down a 5th to dom.
&
VIIm7(b5) V7/VI VIm7 V7/II IIm7 V7 Imaj7
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
-
8/8/2019 Popular Music Harmony Booklet
23/67
G7 G7 C7 E7
A7 D7 G7
A7 F7 B7 E7
C7(b5) F7 B7 E7 A7
F7 E7 A7 D7
A7 D7 G7 C7 F7
&
Only fill in what you can from page 1 for now Test 1
&
&
Test 2
&
Test 3
&
&
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V V V V V
2
-
8/8/2019 Popular Music Harmony Booklet
24/67
I7
IV7 I7
V7 IV7 I7
I7 IV7 I7
IV7#IV7 I7
V7 IV7I7
I7
I7
I7
VIm7
IV7
V7
I7
IIm7
V7
V7V7
44&'Statement'
This is the very basic form based around I7, IV7 and V7. In this case I7 and IV7 are notconsidered secondary dominants as they do not have the same tendency to drop down a 5th.IV7 does not compel a resolution down a 5th and a piece can happily start and end on I7.Consider these dominant chords as idiomatic substitutions for I and IV (ot Imaj7 and IVmaj7)
Note that the 12 bars are divided into 3 groups of 4 bars and that I, IV and V begin each group.
Basic Form
The 12- Bar Blues (Major)
&'Restatement'
'Response'
&The basic form is often embellished with harmonic inflections, the 'quick change', the #IV7 and the 'turnaround'.
&
'quick change'
&
The #IV7 raises the rootof the IV7
The 'turnaround', the last 2 bars, is a little turnresolving the harmony back to the beginning of the form.There are many variations, 4 of them are given below
&
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
-
8/8/2019 Popular Music Harmony Booklet
25/67
I7
C7 F7
IV7
C7
I7 Vm7
G7
V7/IV
C7
F9
IV7
F7
#IV7
C7
I7
E7(b5)
IIIm7(b5) V7/II
A7
IIm7
D7 G7
V7 I7
C7
VIm7
A7 D7
IIm7 V7
G7
I7
F7 E7(b5) A7 D7 G7 C7 F7
B7
IV7
B7 E7 A7 D7 A7 D7
IIm7
G7
V7
C7 F6 D7 G7 C7
&
A 'jazz blues' takes the basic 12-bar blues form and embellishes it with secondary dominants.Bars 9 and 10 are typically IIm7 to V7 rather than V7 to IV7.Jazz-blues appear in many different forms and a typical example is given below.Although not written, 7th chords are often extended to 9ths, 11ths and 13ths for added colour
&
&
&b
A complex jazz-blues progression is found in Charlie Parker's 'Blues For Alice'Even though there is much embellishment of harmony, the 3 basic 4-bar divisions are
still in place (analysed below).A jazz analysis on the remaining chords will be helpful in unravelling its complexity.
&b
&b
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
2
-
8/8/2019 Popular Music Harmony Booklet
26/67
C7
Imaj7 V7/II
A7
IIm7
D7
V7
IVm6
G7
IIIm7
E7
V7/II
A7
IIm7
D7
V7
G7
C7
Imaj7
C7
V7/IV IVmaj7
F7 F6 E7
IIIm7
A7
V7/II IIm7
D7
V7
G7
C7
Imaj7 V7/II
A7
IIm7
D7
V7
G7
IIIm7
E7
V7/II
A7
IIm7
D7
V7
G7
C7
Imaj7
C7
V7/IV IVmaj7
F7
IVm6
F6 E7
IIIm7
A7
V7/II IIm7
D7 G7
V7
C6
I6
E7
V7/VI
A7
V7
V7/II
D7
V7/V
G7
C7
Imaj7 V7/II
A7
IIm7
D7
V7
G7
IIIm7
E7
V7/II
A7
IIm7
D7
V7
G7
C7
Imaj7
C7
V7/IV IVmaj7
F7
IVm6
F6 E7
IIIm7
A7
V7/II IIm7
D7 G7
V7
C6
I6
44&
This is the basic form of a rhythm changes. Deviations from this form occur but usually only minimally,through secondary dominants, passing diminished chords, tritone substitution, and related ii chords,to the dominants (particularly on the bridge). Maj7 and 6 chords are interchanged.This is a very important musical form to know by heart and you will recognizeit in tunes such as The Flintstones,I've Got A Rhythm (Gershwin) andJumpin' at the Woodside (Basie)
A1
Rhythm Changes
&A2
&
&&
B
&
&A3
&Note that the A sections are made of I-vi-ii-V implications (bars 1-2, 3-4 and 7-8) and a move to the IV then IVm6from the parallel minor (bars 5-6). The bridge (B section) is a series of dominant chords descending 5ths beforeresolving to the original key (A 'cycle V'). As an exercise, identify with arrows all the resolving dominant chords, andwith brackets, ii-V relationships. Hunt through jazz books to find and analyse rhythm changes.Anthropology,Oleo and CottonTailshould get you started, and give you ideas for composition.
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
-
8/8/2019 Popular Music Harmony Booklet
27/67
C C& C6 C&
C C& C6 C&
C C7 C7 C6 F
C C/B C/B A7 F/A
C C(7) C7 C6 F9
C C/B C/B C/AA7(b5)
F9/A
&
I
There are harmonic progressions that may be described as a chord with achromatically altered scale degree. Below are some common examples
Minor Triad with moving 5th (5,+5,6,+5)
Major Triad with moving 5th (5,+5,6,+5)
I+ I6 I+
2010 Mermikides
Chromatically Embellished Static Harmony
&bbbIm
Major Triad with moving Root/7th (R,7,b7,6)
Im+ Im6 Im+
&I Imaj7
...similar progression with bass motion
I7 I6OR
IV
&I
Minor Triad with moving Root/7th (R,7,b7,6)
Imaj7 (3rd inv.) I7 (3rd inv.) VIm7 ORIV (1st inv.)
&bbb
Im Im(maj7)
...similar progression with bass motion
Im7 Im6 OR IV9
&bbb
Im Im(maj7) (3rd inv.) Im7 (3rd Inv.) VIm7(b5)
OR
IV9 (1st inv.)
IV9
www www# wwwwn www#
www www# wwwn www#
wwww wwww wwwwb
www www wwwb
wwww wwwwn wwwwb n
www
wwwn ww
wb
n
n
-
8/8/2019 Popular Music Harmony Booklet
28/67
{F C
G F C
G7 F7 C7
C G A F
&
Much of the course material has focused on the V-I resolution, which is a fundamental component
of tonal harmony. However in rock, pop, folk and modal music the IV-I is an equally importantresolution. In classical music a IV-I resolution may be called aplagal cadence (The 'a-men' of a hymn)
Here's one of many possible voicings
The IV-I and [email protected]
?
&
The IV-I appears very often in rock and pop tunes, perhaps as frequently as the V-I.Often IV is interjected between V and I in a resolution.
V IV I
&
In rock, blues and pops major triads are often extended to dominant 7 chords (even if they are non-diatonic)The V7-IV7-I7 is found in the last 4 bars of a basic blues form.
The IV-I also forms part of one of the most common chord sequences in rock and pop music:The I-V-vi-IV progression. See: http://www.youtube.com/watch?v=5pidokakU4I
V7 IV7 I7
&
I V VIm IV
www wwww
w
V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
V V V V V V V V
-
8/8/2019 Popular Music Harmony Booklet
29/67
B F C
A E B F C
&
In the bridge of a rhythm section for example, a series of dominant chordscan be linked together, with each resolving down a 5th until they arrive at the I chord.A series of 4th-descending major triads may also be linked together.In the following sequence this pattern of major triads means that the first three chords arederived from the (C) natural minor scale, while the last 2 are from the major key.This exact sequence is used, in the key of E, in Jimi Hendrix's Hey Joe.
Because a minor pentatonic scale can be played over both a minor and major key, it can beused over this entire sequence.
The IV-I resolution may be extended backwards by one step.This is a very common rock sequence, which involves major triads gong down in 4ths.The I, IV and bVII all appear in the mixolydian mode, which is implied by the sequence.
bVII
(down 4th)
IV
(down 4th)
I
& (down 4th)
bVI bIII
Minor
(down 4th)
bVII
(down 4th)
IV
Mixolydian
(down 4th)
Major
I
V V V V V V V V
V V V V V V V V V V V V V V V V
2
-
8/8/2019 Popular Music Harmony Booklet
30/67
The Derivation of Modes
2010 Mermikides
44&
The major scale has a particular pattern of tones and semitones.
I
tone
II
tone
III
semitone
IV
tone
V
tone
VI
tone
VII
semitone
&
Since these intervals are not regular, we get a different pattern, and set of scale degreesdepending from which of the 7 notes we start with. Each of these 7 starting pointsgives a 'mode' of the major scale and each has its own distinct and beautiful character,harmonic language and repertoire.
tone
Mode 1: Starting on the 1st degree: Ionian. In this case:C Ionian (C, D, E, F, G, A, B) with degrees (R, 2, 3, 4, 5, 6, 7)
Identical, of course, to the major scale.
semitone
2. DORIAN
1. IONIAN
&tone
Mode 2: Starting on the 2nd degree: Dorian. In this case:D Dorian (D, E, F, G, A, B, C) with degrees (R, 2, b3, 4, 5, 6, b7)
Natural minor with a 'sweet' and 'funky' major 6th.
semitone
&semitone
Mode 3: Starting on the 3rd degree: Phrygian. In this case:E Phrygian (E, F, G, A, B, C, D) with degrees (R, b2, b3, 4, 5, b6, b7)
Natural minor with a 'sinister' and 'moorish' minor 2nd.
tone
3. PHRYGIAN
-
8/8/2019 Popular Music Harmony Booklet
31/67
&tone
Mode 4: Starting on the 4th degree: Lydian. In this case:F Lydian (F, G, A, B, C, D, E) with degrees (R, 2, 3, #4, 5, 6, 7)
Major with a 'bright' and 'magical' raised (augmented) 4th.
4. LYDIAN
semitone
&tone
Mode 5: Starting on the 5th degree: Mixolydian. In this case:G Mixolydian (G, A, B, C, D, E, F) with degrees (R, 2, 3, 4, 5, 6, b7)
Major with a 'bluesy' and 'majestic' flattened 7th.
semitone
5. MIXOLYDIAN
&tone
Mode 6: Starting on the 6th degree: Aeolian. In this case:A Aeolian (A, B, C, D, E, F, G) with degrees (R, 2, b3, 4, 5, b6, b7)Just like natural minor but without the alteration of the 6th and 7thdegrees as found in typical tonal harmony.Aeolian is a 'bleak' and 'sorrowful' mode.
semitone
6. AEOLIAN
&semitone
Mode 7: Starting on the 7th degree: Locrian. In this case:B Aeolian (B, C, D, E, F, G, A) with degrees (R, b2, b3, 4, b5, b6, b7)Phrygian with a flattened 5th.Locrian's diminished quality is 'demonic' and 'twisted'.
tone
7. LOCRIAN
2
-
8/8/2019 Popular Music Harmony Booklet
32/67
&
Use the 'root chord' regularly e.g. A minor or Aminor 7 in A Aeolian.This should occur on strong beats and bars (Every downbeat, or on every 2 or 4 bars for example)
Since 7 modes are derived from one scale, they all share the same notes,and diatonic chords. How then can we make, for example D Dorian sound differentto E Phrygian or F Lydian? Here are 5 methods to help write effective chord progressions.You don't need to use them all, but they are excellent principles.
A aeolian: Root chord appears on the downbeat every 2 bars, solidifying mode.
A D
Writing Modal Chord Progressions
1. Return to Root Chord often
F7 E7 A7 G F G
&
By keeping the root of the mode constantly below diatonic chords, the mode is clearly established.
F Lydian: Root of mode is kept as a pedal tone below diatonic chords, solidifying mode.
F7 G/F A7/F
2. Use a Pedal Tone
G/F F7 G/F A7/F E7/F
&
By keeping the root of the mode constant above a modal bassline, the mode is clearly established.
G mixolydian: Root chord of G is kept constant while the bass line outlines important notes of the mode.
G G/F
3. Static root chord with modal bass line
4. Non-triadic harmony
G/E G/F G G/F G/E G/C G/F
&
Discover the 'character' chords of the mode - the chords that best describe themode and show its unique identity - and use them. The melody should also containthe character notes of each mode, and return to the root often.The character notes and chords are described for 5 very useful modes below.
To avoid tonal references, chords can be constructed in 2nd, 4ths, 5ths and 7ths(and combinations there of) rather than just 3rdsD Dorian: These chords are built in 4ths creating a more 'open'
D11 E11
5. Character
C11E11
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
3
-
8/8/2019 Popular Music Harmony Booklet
33/67
Root
Let's look at the dorian mode, and choose A dorian so we can easily see its relationshipto A natural minor. Since A dorian is derived from G major (the 2nd mode of G major) we'll useone sharp in the key signature. However A (and not G) should be considered the root, and we'll work out allscale degrees and chords with A as the root. The scale degrees are (R,2,b3,4,5,6,b7)
A Dorian
Maj2 Min3
Dorian
P4 P5
( )
Maj6
Min7 Octave
Im
Note that Dorian is different from natural minor in that it has a major 6th (not minor 6th) - in this case F# not FThis is its character note. In fact it is the presence of both a minor 3rd and major 6th that gives much of Dorian's vibe.
A Dorian
Here are the triads of A Dorian , together with a ('US') roman numeral analysis.Chords containing the character major 6th (F#) are underlined. The IIm and IV are the most common
dorian modal chords (the VI ir unstable and not commonly found)
A
IIm
B
bIII
C
IV
D
Vm
E
VI
F
bVII
G
Im7
A Dorian
And here are the 7th chords with roman numeral analysis. A very common and effectiveDorian chord is the IV7, as it contains both the minor 3rd and major 6th of the mode.
Of the seventh chords IIm7, IV7 are the most often used to describe Dorian modality, but most ofthe other diatonic chords may be found in progressions. In addition the Im6 is chord is often used.
There are may examples of the Dorian mode in popular music here are a few:
So What - Miles Davis (alternates between D Dorian and Eb Dorian)Scarborough Fair and Drunken Sailor traditional songs,Pink Floyd 'Another Brick in the Wall' ( D Dorian:Dm7, F, C, G Im7, bIII, bVII, IV)The classic arpeggio of 'Sine On You Crazy Diamond' (G dorian.and most of the 'Dark Side of the Moon' album (E Dorian: Em (or Emadd9,Em7) to A7-Im to IV7)The opening riff of Lenny Kravitz' 'Always On the Run' (E dorian)Beatles - Eleanor Rigby (Verse melody in E dorian)Joe Satriani - 'Ice 9' opening melody (C# dorian)Loads of funk tunes: eg 'Brick House' - Commodores 'Le Freak' ChicMoondance - Van Morrison. The verses are Am Bm/A C/A Bm/AOye Como Va - Santana (Am D7 -Im IV7)
A7
IIm7
B7
bIIImaj7
C7
IV7
D7
Vm7
E7
VI7
F7(b5)
bVIImaj7
G7
#
www
wwww
4
-
8/8/2019 Popular Music Harmony Booklet
34/67
&bRoot
Now Let's look at the 3rd mode, the phrygian mode, and choose A phrygian so we can easily see its relationshipto A. Since this is derived from F major (the 3rd mode of F major) we'll use one flat in the keysignature. However A (and not F) should be considered the root, and we'll work out allscale degrees and chords with F as the root. The scale degrees are (R,b2,b3,4,5,b6,b7)
A Phrygian
( )
Min2
Min3
Phrygian
P4 P5 Min6 Min7 Octave
&bIm
A Phrygian
Note that Phrygian is different from natural minor in that it has a minor 2nd (not major 2nd) - in this case Bb not BThis is the character note of Phrygian which gives it its unique 'flamenco' quality.
Here are the triads of A Phrygian , together with a ('US') roman numeral analysis.
Chords containing the character minor 2nd (Bb) are underlined. The bIIm and bVIIm are the most commonphrygian modal triads (the V if unstable and not commonly used)
A
bII
B
bIII
C
IVm
D
V
E
bVI
F
bVIIm
G
&b
Im7
Here are the seventh chords of A phrygian with roman numeral analysis.Of the seventh chords bIImaj7 and bVIIm7 are the most often used to describe Phrygian modality, but most ofthe other diatonic chords may be found in progressions. In additional the Im(addb9) chord is also used.Also note that 'power chords' (chords with just roots and fifths) are found in Phrygian (and other modal) contexts.
A Phrygian
There are may examples of the Phrygian mode in popular music, particularly when 'spanish' andsinister atmospheres are required. Here are a few:
White Rabbit - Jefferson Airplane. (F#5 and G5 and the notes from F# phrygian are used)
Symphony of Destruction - Megadeth (the opening riff uses E5, F5 and G5 from E Phrygian)
The God That Failed - Metallica (Eb5, Fb5, Gb5, Bb5 from Eb Phrygian)
War - Joe Satriani (E5 and Fmaj7(#11) from E phrygian)
A7
bIImaj7
B7
bIII7
C7
IVm7
D7
Vm7(b5)
E7(b5)
VI7
F7
bVIIm7
G7
b
www
wwww
5
-
8/8/2019 Popular Music Harmony Booklet
35/67
Root
The 4th mode of the major scale, the Lydian mode, is often found in film soundtracks for its 'floating' and'magical' quality. The lydian mode can be derived from C major from F to F.If we calculate Lydian with a root of C,we can easily see how it compares to a major scale. In this casewe get an F# instead of an F. Lydian is a major scale with a raised (augmented) 4th. (R, 2, 3, #4, 5, 6, 7)
C Lydian
Maj2 Maj3
( )
Lydian
#4
P5 Maj6 Maj7 Octave
I
C Lydian
Note that Lydian is different from major in that it has an augmented 4th (not perfect 4th) - in this case F# not FThis is the character note of Lydian which gives it its unique 'magical' quality.
Here are the triads of C Lydian , together with a ('US') roman numeral analysis.
Chords containing the character augmented 4th (F#) are underlined.The II and VIIm are the most commonlydian modal triads (the #IV if unstable and not commonly used)
C
II
D
IIIm
E
#IV
F
V
G
VIm
A
VIIm
B
&
#Imaj7
Here are the seventh chords of C lydian with roman numeral analysis.Of the seventh chords II7 (often in 3rd inv.), Vmaj7 and VIIm7 are the most often used to describe Lydian modality,
but most of the other diatonic chords may be found in progressions. In addition the Imaj7(#11) chord is also used.
C Lydian
There are many examples of the Lydian mode in popular and film music, particularly when a floating andmagical atmospheres are required. Here are a few moments from pop songs:
Sara - Fleetwood Mac. (Opens with F, G/F and Am/F all from F Lydian)
Man on the Moon - REM (the intro and verses use C major to Dadd11 from C Lydian)
The Simpsons theme - Danny Elfman (One of the most famous lydian melodies of all time in C Lydian-In fact some of the harmonic material implies Lydian dominant - a mode of melodic minor)
The Riddle - Steve Vai (Open in E Lydian with an A# (sharpened 4th as the opening melody note)
Other examples include Blue Jay Way - The Beatles, Every Little Thing She Does is Magic - The Police,All I need - Radiohead (C Lydian) The verses of Tonight, Tonight - Smashing Pumpkins.
C7
II7
D7
IIIm7
E7
IVm7
F7(b5)
Vm7(b5)
G7
VIm7
A7
bVIIm7
B7
#
www
wwww
6
-
8/8/2019 Popular Music Harmony Booklet
36/67
&bRoot
The 5th mode of the major scale, the mixolydian mode, is often found in rock and blues.It is also found in superficially 'eastern' influenced pop music due to its similarity with some Ragas.The mixolydian mode can be derived from C major from G to G.If we work out a mixolydian scale with a root of C,we can easily see how it compares to a major scale. In this casewe get a B-flat instead of a B, so mixolydian is a major scale with a minot (flattened) 7th. (R, 2, 3, 4, 5, 6, b7)
C Mixoydian
Maj2 Maj3
Mixolydian
P4 P5 Maj6 Min7
( )
Octave
&bI
C Mixolydian
So Mixoydian is different from major in that it has a minor (not major) 7th - in this case B-flat not BThis is the character note of mixoydian which gives it its 'dominant' quality. In fact it is the combination of the major3rd and minor 7th that sets it apart from all the other modes of the major scale.
Here are the triads of C Mixolydian , together with a ('US') roman numeral analysis.
Chords containing the character minor 7th (Bb) are underlined.The Vm and particularly the bVII are the most common mixolydian modal triads(the III if unstable and not commonly used)
C
II
D
III
E
IV
F
Vm
G
VI
A
bVII
B
&bI7
Here are the seventh chords of C mixolydian with roman numeral analysis.Of the seventh chords I7 , Vm7 and bVIImaj7 are the most often used to describe mixoydian modality,
but most of the other diatonic chords may be found in progressions, particular the IV chord.bVII/IV/I, for example, is a common mixolydian progression.
There are countless examples of the mixolydian mode in popular music - particularly in the harmonyof a track (even if melodies and solos are in minor pentationic) The bVII/IV/I sequence can be foundin everything from AC/DC to Zappa.More 'pure' examples of mixolydian (when harmony and melody are both mixolydian) include:
Norwegian Wood - Beatles. (E Mixolydian)
Sweet Child of Mine - Guns and Roses and Sweet Home Alabama - Lynyrd Skynyrd(D, Cadd9, G D in verses and the notes of guitar intro are all from D mixolydian)
Champagne Supernova - Oasis (A, A/G, A/F# and A/E - derived from A mixolydian)
Other examples includeLed Boots - Jeff Beck,Within You or Without You - Beatles,
C Mixolydian
C7
IIm7
D7
III
E7(b5)
IVmaj7
F7
Vm7
G7
VIm7
A7
bVIImaj7
B7
b
www
wwww
7
-
8/8/2019 Popular Music Harmony Booklet
37/67
&Root
The 6th mode of the major scale, the aeolian mode, is a common mode in rock and pop music when amournful emotion is required.The aeolian mode can be derived from C major from A to A which gives us the following
scale degrees. (R, 2, b3, 4, 5, b6, b7)
A Aeolian
Maj2 Min3
Aeolian
P4 P5 Min6
Min7
Octave
&I
A Aeolian
You'll notice that the aeolian mode is identical to the natural minor scale.However in a minor key, the 7th note of the scale is often changed to a leading tone (harmonic minor)which allows for V7 chord for example. The 6th degree is also sometimes changed, as in melodic minor.However the aeolian mode has a fixed minor 6th and minor 7th which gives it its particular character.
Here are the triads of A Aeolian , together with a ('US') roman numeral analysis.Chords containing the character minor 6th (F) - distinguishing it from Dorian - are underlined -
the II (rarely used), IVm, VI. The Vm and bVII which contain the character minor 7th (G) are also underlined.
A
II
B
III
C
IVm
D
Vm
E
VI
F
bVII
G
&Im7
Here are the seventh chords of A aeolian with roman numeral analysis.All of these contain the minor 6th and minor 7th, and they are all used in aeolian progressions -although theIIm7(b5) is rare.
A Aeolian
There are many examples of the Aeolian mode in popular music - the Im/bVII/bVI/bVII sequence is common,as well as peices built around Im, IVm and Vm.Here are a few examples of the Aeolian mode in popular music
The X-Files Theme - melody in A Aeolian.
All Along the Watchtower - Jimi Hendrix(C#m - Bm - A all from C# Aeolian - although the guitar is tuned down a semitone)
Ain't No Sunshine- Bill Withers is built around Am7, Dm7 and Em7 (all from A Aeolian)
Stairway to Heaven (Led Zeppelin) outro solo has the repeated chords Am G F G from A Aeolian.
The Sound of Silence (Simon and Garfunkel) is in Eb Aeolian. (with chords Im bVII bVII and III)
A7
IIm7(b5)
B7(b5)
bIIImaj7
C7
IVm7
D7
Vm7
E7
bVImaj7
F7
bVII7
G7
www
wwww
8
-
8/8/2019 Popular Music Harmony Booklet
38/67
&
The major pentatonic is like a major scale but without the 4th and 7th.Note that the omitted 4th and 7th scale degrees are the ones with semitone relationships against a tonic triad,and the source of the most harmonic motion in the major scale. With the 4th and 7th omitted, the major pentatonicis a very neutral, singable and familiar scale.
Root
Pentatonics are hugely important scales in a wide range of musical styles.There are many 5 note scales in use, but the two most common are themajor pentatonic and minor pentatonic and are shown below.
Maj 2nd
C major pentatonic (C D E G A) (R,2,3,5,6)
MAJOR PENTATONIC
Maj 3rd Perfect 5th
2010 Mermikides
Maj 6th
Pentatonic Scales
&
The major pentatonic has 5 modes, the most common starts on the last note (the A here) and is calledthe minor pentatonicSo the notes of C major pentatonic (C D E G A) are the same as A minor pentatonic (A C D E G)
The minor pentatonic is like a natural minor (aeolian) but without the 2nd or 6th (which havesemitone relationships against a tonic minor triad) With the 2nd and 6th omitted, the minor pentatonicis an extremely useful, effective and commonly used scale.
Root
A major pentatonic (A C D E G) (R,2,3,5,6)
Min 3rd
MINOR PENTATONIC
Perfect 4th Perfect 5th Min 7th
&R
C major pentatonic
2
It is useful to compare major and minor pentatonic scales inparallel-here is C major pentatonic side by side with C minor pentatonic.
3
Comparing Major and Minor Pentatonic
5 6
C minor pentatonic
R b3 4 5 b7
w w w w w
w w w w w
b b
-
8/8/2019 Popular Music Harmony Booklet
39/67
&
The major scale has 7 modes, 3 major (ionian, lydian, mixolydian) 3 minor (dorian, phrygian and aeolian)and 1 dimished (locrian). Interestingly the 3 major modes all contain the major pentatonic, and
only differ in terms of there 4th and 7th degrees. Similarly, the 3 minor modes all have the minor pentatonicin common, with their 2nd and 6th degrees differing.
(Perfect 4th, Major 7th)
PENTATONIC SCALES AND THE MODES
R 2
C major pentatonic
3 5 6
&R
C Ionian
2 3 4 5 6 7
Add 4th and 7th
C Lydian
R
(Augmented 4th, Major 7th)
2 3 #4 5 6 7
(Perfect 4th, Minor 7th)
C Mixolydian
R 2 3 4 5 6 b7
&
(major 2nd, major 6th)
R b3
C minor pentatonic
Add 2nd and 6th
4 5 b7
&R
C Dorian
2 b3 4 5 6 b7
C Phrygian
R
(minor 2nd, minor 6th)
b2 3 4 5 b6 b7
C Aeolian
R
(major 2nd, minor 6th)
2 3 4 5 b6 b7
# b
b b
b b b b b b b b b
2
-
8/8/2019 Popular Music Harmony Booklet
40/67
G D E C(9)
B(9) A G D/F E B
E G A C D A E
F7 A B F A D B
G major pentatonic
Chords from G major
One approach in using pentatonic scales over a chord sequence, is to use the pentatonic scaleof the key over all the progression. For example if the sequence is in G major,then G major pentatonic may be used throughout.
And minor pentatonic may be used over a chord progression from a minor key.
Using Pentatonic Scales on Chords
#Chords from B minor
B minor pentatonic
&bChords from E major (and E minor)
E minor pentatonic
It is also common forminorpentatonic to be used over a majorkey (or ambiguous) chord sequence:
&b
Alternatively, a pentatonic scale may be used foreach chord, major pentatonic for major chords (includingmaj7 and dom7 chords) and minor pentatonic for minor or minor7 chords*.
* The minor pentatonic is sometimes used over dominant chords I7 or V7 chord - e.g. in a G bluesGminor pent on G7 and D minor pentatonic on D7. It is hardly ever found on the IV7 chord.
F maj. pent Ab maj.pent Bb maj.pent
F maj. pent
A min. pent
D min. pentBb maj.pent
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
3
-
8/8/2019 Popular Music Harmony Booklet
41/67
&
The major and minor pentatonic scales may be embellished with an added note(making 6-note - orhexatonic -scales) These added notes gives the 'blues' scalean idiomatic bluesy quality.
The Major Blues 6-note scale is created by adding a sharpened2nd (minor 3rd) interval between the 2rd and 3rd degree.This gives the scale an idiomatic minor 3rd as well as major 3rd.
C Major Blues
R
Major and Minor Blues Hexatonic scale
2 #2/b3
Major Blues
3 5 6
&
The blues scales are embellished versions of their pentatonic counterpoints creatingan idiomatic bluesy quality. They might be used wherever the pentatonic scale is - asdescribed on page 3. So for example a progression in B minor can be melodicized with
B minor blues, a G major progression with G major blues and a Dminor7 chordwithD minor blues.
On page 1 we created a minor pentatonic scale by starting a major pentatonicfrom the last scale degree. We can do the same thing to the mMajor Blues, tocreate the minor blues scale. This is a minor pentatonic scale with anidiomatic raised 4th (flattened 5th).
R
A Minor Blues
b3 4
Minor Blues
#4/b5 5 b7
#
#
4
-
8/8/2019 Popular Music Harmony Booklet
42/67
E G A B D B
G5 B5 C5 G5 B5 D5 C5 G5 B5 C5 B5 G5
G F F E
###
'Knock on Wood' Floyd/Cropper
Parallel Major chords on an E minor pentatonic scale
Some harmonic progressions include one chord type (usually a 5, major triad or dom7 chord)that is moved in a 'block' to create non-diatonic progressions. Often this can be best explainedas the 'block' harmonisation of a scale - often pentatonic -(regardless of diatonicism)Here are some examples.
POWER CHORDS ON A MINOR BLUES SCALE
MAJOR CHORDS on MINOR PENTATONIC
Parallelism
&bb
'Smoke on the Water' Deep Purple
Parallel Power chords (inverted root and 5th) outlining part of a G minor blues scale.
CHROMATIC PARALLEL MAJOR CHORDS
###
'I'm A Man' Steve Winwood
Parallel major chords moving down chromatically
nn
n
nnj
j
nnn
J
#
J
j
j j
j bb J nj
j j
j
wwwwwnnnn
#nnnnn www
www
-
8/8/2019 Popular Music Harmony Booklet
43/67
G7 B7 C7 G7 C7
E5 F5 E5 G5 E5 F5 E5 F5 G5 F5 E5
D5 E5 E5 F5 D5 E5 E5 F578
'Sgt. Peppers Lonely Hearts Club Band' (Chorus) - Beatles
Parallel dominant 7 chords on part of G minor pentatonic (G, Bb, C).
DOMINANT CHORDS ON PENTATONIC
Parallel 5th chords on implied modes. Bars 1-2: phrygian. Bar 3: aeolian mode. Bar 4: locrian/minor blues.
POWER CHORDS ON CHROMATIC and OTHER SCALES
'Enter Sandman' -Metallica
>
&b
Parallel 5th chords on D, Eb, E, F chromatic notes.
'Them Bones' - Alice in Chains
n bb b nn
b
n n # b n j
bb nnn
bbb nnn
2
-
8/8/2019 Popular Music Harmony Booklet
44/67
-
8/8/2019 Popular Music Harmony Booklet
45/67
C G/B A
C C7/B A
A E7/G A7/G
C G/B G/B C C G/B D A/C G/B C A/C D E
44&
I to V(1st inv) to vi creates a descending bassline:E.g. Let it be (Beatles) Tears in Heaven (Clapton - in A major) A Day In the Life (G major)
So far we have been looking mainly at root inversion chords, howeverinversions are often used to create compelling (often step-wise) bass-lines.There are countless examples, a representative selection of which are below.You'll notice that some of these will include, but are not limited to, CESH elements.
1. I to V(1st inversion)
Inversions and Basslines2011 [email protected]
&
Or the same bassline may occur using an inversion of Imaj7E.g. No Woman No Cry (Bob Marley)
&This mechanism of creating a descending bass line with I(i) to 1st. inv V can be employed in various ways,common in rock music, sometimes in parallel sequences. For example:
Or a similar concept in minor key:
&
wwww wwww
wwww
wwww
wwww
wwww
wwww
wwww#
wwwwn
# n # ww
-
8/8/2019 Popular Music Harmony Booklet
46/67
C E/B C E/B C7 E7/B
C E/B A C E7/B A C E/B F/A
C G/B A G F G C
C E7/B A A7/G F F/G C
C E/B F/A F/A C/G F C
C D C/E D C D D7 C/E
C D D7 C/E F F7
C/GG
&
Similarly a move from I to a second inversion iii (or III) chord creates a chromatic descent.7th forms of any of these chords may of course be used. Some examples:
The downward motion may be continued with the vi of IV (1st inv.) Some examples:
2. I to iii (2nd inversion)
&
&
Once the bass has reached the VI degree through 1. or 2. it may continue downwards with a V,3rd inversion vi7, 1st inversion iv or appropriate combinations thereof, followed by a cadence.Here are a few of many possibe sequences
3. Continuing down.
&
&
&
The use of a 1st inversion I chord can create an ascending bass-line of I-ii-I, this can be made morebluesy with a passing diminished chord.
4. I to ii to 1(1st inv.)
&
This device of inversions and passing diminshed chords can be taken further with a #iv to I(2nd inv)
www www www www# wwwwwn wwww#
www www wwww www wwww# www
w www wwww# wwww
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
2
-
8/8/2019 Popular Music Harmony Booklet
47/67
A E7/B A/C E7/B A
A E7/B A/C C7 D D7 A/E E7
C C7/B C7/B F/A F/A C/G G
A A/G A/F A/E A A/G A/F A/F
A A/G A/G A/F A/F A/E E7
C C/B C/A C/G C C/E C/F C/G
C C/B C/B C/A C/A C/G
A C/G F F/E D G A /G /G /F /F /E
&
A simple alternating i-V7 pattern can be given a step-wise bass motion through the use of inversions
5. i to V(2nd inv.) to 1(1st inv.)
&
Using passing diminished chords and a 2nd inversion I chords, an ascending bassline may be achieved.
&
The use of a continually moving bass line can create interesting progressions with harmonic implications.Here are some examples
6. Static chords with moving basslines
&
&
&
A bass-line can outline a mode under a static chord eg:
Mixolydian (Champagne Supernova) Ionian (Older Chests-Damien Rice)
&
Major triad with chromatically descending bassline (eg Something - Beatles in A)
##From Something-Beatles, note the use of inversions descending bass lines (both diatonic and chromatic)
Putting it all together
V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
3
-
8/8/2019 Popular Music Harmony Booklet
48/67
Rock and Soul Harmonic Devices2011 [email protected]
Other than the diatonic, secondary dominant, modal, parallel and other
harmonic functions covered in the first half of this course there are othercommon and effective techniques that deviate from these theoretical
foundations. Here we look at the II chord, interpolated IV, III, VII andVI
chords, theVsus9 and bVIIsus9hybrid chords and sliding chords. Note
that most of this terminology is coined here so dont expect to hear the terms
elsewhere. However you will find these devices used widely, and regardlessof how they are named (if at all) it is very instructive and useful to understand
and recognize them.
The non-functioning II or II7 chord.
Although this may be seen as a V/V or V7/V there are times when it doesnt
have this function, acting more as a momentary Lydian implication (an
example ofmodal interchange) In these cases it is more appropriate to call
it a II (or II7) rather than V/V (or V7/V).
Examples:
Youre all I need to get by Marvin Gaye/Tammi Terrell.
A B Dm6 A
A: I II iv6 I
School of Rock This use of II occurs in the following progression.
D E G D
D: I II IV I
Sometime a V/V is resolved but with an intervening IV chord delaying the
resolution. eg. V/V IV V I. This device of delaying a resolution to V we can call
an interpolated IVfor lack of a pre-existing term.
Heres a real-life example from Beck - We Live Again
!5th resolutions
Bb Gm C Eb F Bb
Bb: I vi V/V IV V I
[---ii V---]
We can think of the C chord as a V/V here, partly because of the preceding ii
chord, and partly because of the eventual resolution to the F. The difference
-
8/8/2019 Popular Music Harmony Booklet
49/67
-
8/8/2019 Popular Music Harmony Booklet
50/67
The VII-I on the other hand has a more parallel feel, with the 2 non-diatonic
notes (the F# and D# of B in the key of C) both resolving upwards.
The VII/I - in combination with II appears here:
Bb C A Bb I II VII I (We Live Again - Beck)
The VI chord
The VI chord is a non-diatonic triad that doesnt always fall into a V/II
function. Since the VI chord isnt a parallel minor or common modalborrowed chord, what can it mean? One possible explanation is that it is
simply the replacement of the expected VI minor chord with a major chordtype. Indeed it seems to be used like a VIminor chord- C A instead of C Am
for example as if its the I major of the relative minor key. Odd I know.
Whatever the explanation, the VI chord has a really distinctive and surprisingsound.
An example in a well-known tune is the whistle section of Sitting on the
Dock of Bay Otis Redding: A looping 4-bar section: 3 bars of G (I), one bar
E (VI).
Softening the V7-I
The V7 has a very implicit function in tonal harmony, the resolution to I is
particularly expected, which is due to:
1) The bass on the 5th degree (which wants to resolve down a 5th)2) The leading tone (7th degree) which wants to resolve up.3) The 4th degree of the scale that wants to resolve down.4) It contains a tritone interval (which wants to be somehow resolved)
Sometimes we dont want all of these devices they might seem to twee and
obvious when used together. The tritone substitution - for example - dropsthe first characteristic, and keeps the other three.
We could soften the cadence by removing the 4th degree (and thus the
tritone) leaving only item 1) and 2). This is a V-I cadence.On the other hand if we do not include the leading tone (using the root
instead) we also erase the tritone dissonance, and only have items 1) and 3).
This is a Vsus7-I cadence.Removing the leading tone and the 4th degree also removes the tritone and
creates the relatively soft Vsus-I.
These degrees of softness of V-I resolution are useful and commonly used.
V7I subV7 V-I Vsus7I Vsus I
Hard cadence! " Soft cadence
-
8/8/2019 Popular Music Harmony Booklet
51/67
The IV over V bass hybrid chord
There is another common - and very effective - device to create analternative cadence.
This involves taking the first item 1) from the list above and merging it with
the softer IV-I (plagal cadence). This involves a IV chord with a V bass. Thisdevice of using a chord with a non-chord tone is known as a hybrid chord and there are many beautiful examples.
In this case we are taking the IV chord and putting a V root in the base,
So in the key of C this would be F/G.
The F/G chord (G, F, A, C) can be considered as a Vsus9 (without a 5th).
This idea can expanded for example the IV-I cadence can be elaborated as a
IVmaj7I by using the 7th form of the chord. An Fmaj7/G (G F A C E) canalso be considered a Gsus13 (with no 5th) a more open and colourful
sound than Gsus9.
One final example (althought there are many more) is to use aminoriv-Icadence that weve seen before as a borrowing from the parallel minor, but
with the V degree in the root of the iv chord : Fm/G (G, F, Ab, C) which
creates a Gsus(b9) implication.This technique is a simple way of creating cadences that have the sense of a
V7-I resolution but with more harmonic sophistication and openness.
See Blame it on the Boogie as one of many examples where an Ab/Bb
(Bbsus9) chord is used at the end of the verse and a Cbmaj7/Db (Dbsus13) in
the chorus.
Sliding Chords
Weve looked at parallelism before, where one chord type is moved in a
usually systematic fashion creating moments of non-diatonicism (e.g. a
series of major chords moved in a minor pentatonic scale).
There is a special case of parallelism that is quite short and specific:When two diatonic chords are the same type and a whole tone apart,
sometimes a chromatic non-diatonic passing chord of the same type can be
interpolated which we can call a sliding chord underlines below.E.g.
If I Aint Got You Alicia Keys
G: Bm7 Bbm7 Am7 Gmaj7
IIIm7 bIIIm7 IIm7 Imaj7
Wind Cries Mary Jimi Hendrix
F: Cadd9 Cbadd9 Bbadd9 Fadd9Vadd9 bVadd9 IVadd9 Iadd9
-
8/8/2019 Popular Music Harmony Booklet
52/67
Modal Interchange2011 [email protected]
Here is a quick survey of commonly modes and their characteristic chords
that are often borrowed into parallel keys. They have been divided into minorand major modes depending on whether the mode has minor or major 3rd.
The most common interchange chords are bold.
Minor Mode Notes with C root Description Character chords
Dorian C, D, Eb, F, G, A, B
(Mode 2 of major)
Natural minor scale
with major 6th
IIm, IIm7
IV, IV7
Phrygian C, Db, Eb, F, G, Ab, Bb
(Mode 3 of major)
Natural minor scale
With minor 2ndbII, bIImaj7
bVIIm
Aeolian C, D, Eb, F, G, Ab, Bb
(Mode 6 of major)
Natural minor scale
(minor 6th & 7th)
IVm, IVm7
bVI, bVImaj7
bVII, bVII7
Melodic Minor C, D, Eb, F, G, A, B Natural minor scale
with major 6th & 7th
(Or major with minor
3rd )
Im(maj7)
bIII#5, bIIImaj7(#5)
IV7(#11)
VIIm7(b5)
Harmonic Minor C, D, Eb, F, G, Ab, B Natural minor scale
with major 7th
Im(maj7)
V7(b9), V7(b13)
VIIdim7
Major Mode Notes with C root Description Character chords
Lydian C, D, E, F#, G, A, B
(Mode 4 of major)
Major scale with
raised (augmented)
4th
II, II7, Imaj7(#11)
Vmaj7
Mixolydian C, D, E, F, G, A, Bb
(Mode 5 of major)
Major scale with
minor 7th
I7
Vm, Vm7
bVII, bVIImaj7
Lydian b7 C, D, E, F#, G, A, Bb
(Mode 4 of Melodic
minor)
Major scale with
raised (augmented)
4th and minor 7th
I7(#11)
I7 and II7 found
together
Phrygian
Dominant
C, Db, E, F, G, Ab, Bb
(Mode 5 of Harmonic
minor)
Phrygian with major
3rd or
Mixolydian b9
Or Major with minor
2nd, 6th and 7th
I and bII found
together
Harmonic Major C, D, E, F, G, Ab, B Major scale with
minor 6th
I(b6), Imaj7(b6)
IVm(maj7)
Altered C, Db,Eb,E,Gb,Ab,Bb
(Mode 7 of Melodic
Minor)
All degrees flattened
(major #1 !)
I7 (b9/#9/b5/b13)
I7 alt
-
8/8/2019 Popular Music Harmony Booklet
53/67
{
{
{
{2011 Milton Mermikides
C D/C D/C
E/C E/C F/C
G/C G/C A/C
A/C B/C B/C
&
As we've seen briefly in Rock & Pop Devices, basic triads - when placed over non-chord tones - can createsophisticated harmonic/modal implications while retaining a sense of simplicity. Here's a roster ofupper structure chords (major, minor and 7th) with their harmonic/modal implications in relation to the
bass note and - where appropriate - the triad. The implications depend very much on context,remember it is how these devices are heard- not dispassionately analysed - that is important.These devices are used in a wide range of music from Stevie to Stravinsky and the best way to
learn them is to identify them in music of others and use them in your own writing.These are termed variously as upper structure triads, slash or hybrid chords.Basic inversions are included from completeness.
Upper Structure Major [email protected]
?Alternative spelling:
Intervals from root:Modal implication:
C
(R, 3, 5)C Ionian
Dbmaj7 3rd inv.
(b9, 4, b6)C Phrygian
D7 3rd inversion / Cmaj13(#11)
(9, #4, 6)C Lydian
&?
Alternative spelling:Intervals from root:Modal implication:
Cm7 / Eb6 3rd inv.(b3, 5, b7)C Aeolian etc.
Cmaj7#5(3, #5, 7)C Lydian #5
F 2nd inv. Csus6(R, 4, 6)C Ionian
&?
Alternative spelling:Intervals from root:Modal implication:
C7alt(b9, b5, b7)C Altered
C maj9 (no 3rd)(9, 5, 7)C Ionian / Lydian
Ab 1st inv. Cm(b6)(R, b3, b6)C Aeolian etc.
&?
Alternative spelling:Intervals from root:Modal implication:
C6(b9) / A7#9 4th inv.(b9, 3, 6)C Major b9
Csus9(9, 4, b7)C Mixolydian
Cm(maj7(#11)) Ab7(#9) no root(b3, #11, 7)C Melodic Minor (#11) orDouble Harmonic Minor
www wwwbb www#
w w w
wwwbb www# www
w w w
wwwbbb www wwwbb
w w w
www# wwwb www##
w w w
-
8/8/2019 Popular Music Harmony Booklet
54/67
{
{
{
{
C D/C D/C
E/C E/C F/C
F/C G/C A/C
2011 Milton Mermikides
A/C B/C B/C
&
Here is a list of the implications of every minor triad over a fixed root.
Upper Structure Minor [email protected]
?Alternative spelling:Intervals from root:Modal implication:
Cm(R, b3, 5)C Aeolian etc.
Dbm(maj7) 3rd inv. C(b6/b9)(b9, 3, b6)C Phrygian Dominant
Dm7 3rd inv. Csus(69)(9, 4, 6)C Ionian / Mixolydian
&?
Alternative spelling:Intervals from root:Modal implication:
Cm7(b5) / Ebm6 3rd inv.(b3, b5, b7)C Locrian
Cmaj7(3, 5, 7)C Ionian / Lydian
F 2nd inv. / Csus(b6)(R, 4, b6)C Aeolian etc
&?
Alternative spelling:Intervals from root:Modal implication:
C6(b9/b5)(b9, b5, 6)C half/whole diminished
C9 (no 3rd)(9, 5, b7)C Mixolydian / Aeolian etc.
Ab(#9) 4th inv. Cm(maj7)(b6)(b3, b6, 7)C Harmonic Minor
&?
Alternative spelling:
Intervals from root:Modal implication:
C6 / Am 1st inv.(R, 3, 6)C Ionian etc.
Csusb9(b9, 4, b7)
C Mixolydian(b9)C Phrygian/ Phrygian Dominant
C(maj9(#11)) no 3rd(9, #11, 7)C Lydian
wwwb wwwbbb www
w w w
wwwbbb www wwwb
w w w
www## wwwb wwwbbb
w w w
www wwwbb www#w w w
2
-
8/8/2019 Popular Music Harmony Booklet
55/67
{
{
{
E7/C E7/C E7(b5)/C
G7/C G7/C G7(b5)/C G7/C
2011 Milton Mermikides
B7/C B7/C B(7)/C B7/C
&
There are dozens of possible seventh chords over non-chord tones, but here are some very effective,and often used examples
Upper Structure 7th [email protected]
?Alternative spelling:Intervals from root:Modal implication:
Cm9(b3, 5, b7, 9)C Aeolian etc.
Cmaj9(9, 3, 5, 7)C Ionian / Lydian
C9(9, 3, 5, b7)C Mixolydian
&?
Alternative spelling:Intervals from root:Modal implication:
C7alt(3, b5, b7, b9)C Altered
Csus9(4, 5, b7, 9)C Mixolydian
Csus(b9)(4, 5, b7, b9)C Mixolydian (b9)C PhrygianC Phrygian Dominant
Cmaj9(#11) no 3rd(#4, 5, 7, 9)C Lydian
&?
Alternative spelling:Intervals from root:Modal implication:
Csus(9/13)(4, 6, b7, 9)C Mixolydian
Csus(9/b13)(4, b6, b7, 9)C Mixolydian b13
Enjoy.
Csus(b9/13)(4, 6, b7, 9)C Mixolydian b9
Cdim7(addmaj7)/ B7(b9) 4th inv.(b3, b5, 6(bb7), 7)C Whole/Half Diminished
wwwwbb wwww wwwwb
w w w
wwwwbbbb wwwwb wwwwbb wwww#
w w w w
wwwwb wwwwbb wwwwbb wwww##w w w w
3
-
8/8/2019 Popular Music Harmony Booklet
56/67
2011 Milton Mermikides Complete Track Analysis 1
Complete Track Analysis2011 [email protected]
With the important elements of harmony in place, its time to integrate these
aspects into a complete picture of a track1
. Heres a very brief but pertinentchecklist of various musical features that when taken together can help
further musical understanding and in turn enhance creativity.
These concepts and questions are all worth considering when approaching a
track analysis. In this course were looking mainly at the pure harmonicmechanics, rather than lyrical interpretation and song structure, but we must
remember that the impact of a track is multi-faceted, so understanding these
other important elements will give a more nuanced and more applicable understanding of popular music harmony.
Many of these concepts may be addressed to the score of the track.However it is very important that an analysis is conducted through the
receptivelistening of music. The musical practice is about the listening and
creative process, and although notation is an extremely useful way to
communicate, consider and conceptualise a track, it is only a tool in order toenhance, and not replace, the musical experience.
The Basics
Style Genre(s) - Instrumentation - Production
Tempo Time Signature - Groove Rhythmic Subdivision - Feel
Lyrical content Impact Vibe - Meaning
Do any of the above change during the course of the track?
1 Well use the term track to denote any relevant composition be it pop
song, metal instrumental, jazz standard or folk tune. Piece or work is a tad
pretentious, song is an odd term for instrumental music and tune is a bit
ambiguous. So, for convenience, track it is. We neednt get distracted
further with semantics, or get overly fussy with terms, so that said, lets just
get on with it.
-
8/8/2019 Popular Music Harmony Booklet
57/67
2011 Milton Mermikides Complete Track Analysis 2
Structure
Can the track be divided into logical sections using such terms as
Intro, Verse, Prechorus, Chorus, Instrumental Solo, Bridge or Middle 8,
Instrumental Interlude and Outro? Can you provide a simple map of thesections? Can that map be further simplified using repeats, DS, DC, Coda,
Fine etc?When sections occur more than once, how are they varied, truncated,
extended, reinterpreted, transposed or otherwise reinterpreted?
Do any of the sections share features? For example does the guitar solo havethe same chords as the verse?
Sketch, or write out the basic form. Heres an example, it doesnt have to be
exactly like this, any way that communicates the whole structure as simplyand clearly as possible.
-
8/8/2019 Popular Music Harmony Booklet
58/67
2011 Milton Mermikides Complete Track Analysis 3
Key and Harmony
What is the key area, mode or tonic note of the track?
Does it change through modulation?
If modulations occur are they simply shifting previous material to a new keyor does new material accompany the shift?
Are the key modulations closely related to the original key (eg. F to Aminor)or a parallel shift (Cmajor to Db major)?
Is the modulation pivotal (by using chords that are related to both keys) or is
it direct and unprepared?Once a modulation occurs, does the track end in this new key, return to the
original, or continue to another maybe similar modulation?
Does the chord progressions fit into any of the harmonic devices covered in
this course? (E.g. Diatonicism, parallel major/minor/borrowing, inversions,
secondary dominants, Blues chords, parallelism, pedal tones etc.)Can the progression be generalized and quickly absorbed using roman
numeral (or similar) analysis (e.g. i iv i - V7).
Harmony is of course, is the main content of this course so we neednt
repeat it here. However its important to remember that:
a) As noted before, harmony is just one of several important musical aspects
and it its interaction with other features that creates musical impact.
b) All the harmonic concepts presented in the course are only importantbecause they are usedand can bereapplied effectively. Harmonic analysis is
not an intellectual diversion like sudoko, it has direct musical relevance.
Melody
There will be supporting material for the study of melody but here are some
salient points that will help understand how to approach the analysis andcreation of melodies.
Listen (and look) at the entirety of the melody. Can it be broken into logicalphrases? Often this can be done at a few levels:
1) The entire melody2) The melody at each of the structural sections (see Structure)3) Phrase groups within each section4) Commonly used intervals/motifs within phrases.
For each of the above it can be useful to explore:
-
8/8/2019 Popular Music Harmony Booklet
59/67
2011 Milton Mermikides Complete Track Analysis 4
1) Range and contour. What is the highest and lowest pitches in themelody (or phrases)? When does the peak occur, what is the overall
shape of the melody, or contours of the phrases? How and where do
any of these contours repeat, perhaps transposed? When a phrase is
repeated closely, look out for any variations particularly at the end ofphrases. When the melody is played in isolation which phrases feel
unresolved (questions) and which feel like resolutions (answers)?
2) How are phrases separated? Do phrase lengths change?3) Is the melody (or are the phrases) drawn from a common scale/mode
(is it heptatonic, hexatonic or pentatonic?) Does it does change at any
point and if so, how and when?
4) What intervals does the melody make against the chords? Are they allchord tones? How are non-chord tones resolved if at all? Whenmelodic shapes are repeated against different chords, does the
melody stay the same (changing the intervals against the chords) or is
the melody transposed or sequenced (perhaps preserving the same
intervals)?
5) What are the most distinguishable, characterizing and memorableaspects of the melody?
The Big Picture
You should now be able to combine the important aspects from all of the
above into a complete picture. Your final project will include such an analysis
of a complete track and a composition (with commentary) of your own.This process will help to understand the track in its entirety, improving your
musical perception, appreciation and ability to create your own music, which
in turn will increase your understanding of music. Keeping this positive cycleof theory-practice active will improve your understanding, communication,
creativity and enjoyment of music.
Not a bad deal.
-
8/8/2019 Popular Music Harmony Booklet
60/67
2011 Milton Mermikides
R 2 3 4 5 6 7
R 5 3 2 6 4 7
R 5 3 2 6 b7 4 7 b3 #4 b6 b2
&
As mentioned, in 'Complete Track Analysis', harmony can only be fully understood in relation to other musicalconsiderations. This handout looks at melody's relation to harmony in a little more detail. Remember that
context is crucial in music, so none of the following are immutable laws, just helpful guidelines and incentivesto notice the most salient features.Music is multi-dimensional, there is expressive power in timbre, rhythm, groove, melody and harmony as isolatedfeatures, and in their complex interactions. First we look at some expressive features of melody in itself, and thenits interaction with melody.
Note Hierarchy of the Major Scale
Melodic Tension
Melody and [email protected]
&
A scale is usually written, and conceived, in ascending form (see above).However, in terms of hierarchy, the 7 notes may be better arranged in terms of degrees of resolution.
more resolved
Triad tonesDiatonic Tonesfrom pentatonic
Non-pentatonicscale tones
less resolved
&
The layout above gives a general impression of how the notes of a major scale compare in terms ofresolution level. This explains why we see certain shapes of melodies, and how phrase endingsdiffer between phrases of a melody.
We may also extend this concept ofmelodic tension to include non-diatonic notes, an impressionis given below. Although subjective, there are technical reasons for the rough layout below.However, although we are still considering melody as independent of harmony, the followingshould be taken only as an approximate guide - context of surrounding melody notes, implied keys,
phrasing and rhythm are still critical.
more resolved less resolved
b n b # b b
-
8/8/2019 Popular Music Harmony Booklet
61/67
R 5 b3 4 b7 2 6 7 #4 b6 b2 3
D D7 F7
E7 A7
D D7 F7
E7 G
54 44
44 24
24 44
&
We have so far been looking at a 'major' context. If however a minor (or modal) context is establisheda different pattern may emerge, still noting all the caveats previously mentioned. Here's an impressionof a melodic tension continuum in a minor context:
more resolved less resolved
#
So far we have looked as melody as separate (as far as possible) from harmonic context. This is animportant component of analysis (and context) and establishes the sense of expression in an isolated melody.The following extract (Beatles-Across The Universe) gives a simple general impression of the melodictension in the melody. Note how a phrase is repeated almost identically, except for the ending which is at
first unresolved, and then resolved.
Resolved (Root) Quite resolved (5th)
#Less resolved (4th)
Unresolved (7th)
#Resolved Root) Quite resolved (5th)
#
If we look at the chords in isolation we get another pattern of tension and release, which sometimes correlates withthe melodic tension and sometimes doesn't. They differ most notably here when the melody resolves at the end ofthe 2nd phrase while the harmony holds down a colourful and unresolved subdominant minor (iv) chord. This is anexample of the multi-level property which makes music so endlessly fascinating and absorbing.
Now we've looked at melodic tension, and also mentioned that it exists in relationship (but not direct correlation)with a sense of harmonic resolution, we now turn our attention to consonance and dissonance, how particularmelody notes are heard against specific chords - sometimes referred to as the verticalrelationship.
Less resolved (4th)Resolved (Root)
b b n # b b n
J
J
2
-
8/8/2019 Popular Music Harmony Booklet
62/67
R 5 3 2 6 b7 7 4 b3 #4 b6 b2
R 5 3 4 b7 2 6 #4 7 b6 b2 3
R 5 3 7 9 13 7 11 #9 b13 b7 b9
R 5 3 b7 9 6 #2 4 # b13 4 7
&
The following diagrams give an indication of the level of consonance/dissonance over a few commonchords. Remember context is important - for example - whether the note is diatonic, or if it stressedrhythmically or left unresolved will alter the sense of dissonance. Still, it is certainly worth trying these outyourself and considering this important mechanism in both your analysis and composition.
Major chord
Consonant
Consonance and Dissonance
Dissonant
&Minor or minor 7 chord
Consonant Dissonant
&Major 7 chord
Consonant Dissonant
&
The above guide treats chords in isolation, divorced from harmonic context - whether the chord is a I, ii or IV forexample. A general persepective of consonance and dissonance which includes this element might be represented thus:
There are some exceptions to this guide. Most notably the minor 3rd, which is a very commonly usedand stylistically fundamental non-diatonic note in a major or blues context.
Chord Tones(CTs)
Consonant
Common
Dominant 7 chord
Diatonic notewhole tone or abovenearest chord tone
Consonant
Non-diatonic notewhole tone or abovenearest chord tone
Diatonic notesemi tone abovenearest chord tone
Non-diatonic notesemi tone abovenearest chord tone
Dissonant
Rare
Dissonant
www b n b # b b
wwwn b b # n b b n
wwww
# n # b b b
wwwwb b # n b b
3
-
8/8/2019 Popular Music Harmony Booklet
63/67
3rd
F7
3rd
B7
7th 3rd
E7
7th
A7
3rd 7th 3rd
D7
3rd
D7
3rd
G7
7th 3rd
C7
(Gm7)
Root 9th 3rd 3rd
C7
7th
F7
Root 9th 3rd 3rd
B7
7th
E7
Root 9th 3rd 3rd
A7(b5)
7th
D7
Root 9th 3rd 3rd
G7
&bbbb
In the following example (All The Things You Are - Hammerstein/Kern) the melody is constructed entirelyfrom chord tones (CTs) from the underlying chord sequence. Chord degrees (not specifically major minor) are given.
The study and understanding of melody is a life-long pursuit, but let's look at a succinct representative selection ofbroad concepts addressing how melody may effectively integrate with harmony, how dissonance is resolved andcommon 'tensions.'
There are 3 powerful devices in the following extract (Autumn Leaves - Kosma/Mercer)1) Diatonic sequence: A fixed pattern of chord degrees are moved through a harmonic progression.2) Passing Tone: Stepwise resolution of NCTs between CTs.
Note how the NCTs here (9ths) are approached from, and resolved to, CTs using a diatonic scale.3) Chord-tone pivots (a new term): Note how held notes change from one CT to another CT of a new chord.
Melody on Harmony
Chord-Tone Melody
&bb
CT
Diatonic Sequence, Passing Tones and CT pivots
(step)NCT
(step)CT CT
&bb
CT
(G melodic minor)
w n wn
w w
w n # w
4
-
8/8/2019 Popular Music Harmony Booklet
64/67
CT
C
NCT CT
E
NCT CT
F
NCT CT
C
CT
A
NCT CT CT
E
NCT CT CT
F
NCT CT CT
E7
CT NCT CT
CT
C
NCT CT CT NCT CT CT NCT CT CT
F
NCT CT CT NCT CT
CT NCT CT CT
G
NCT CT CTNCTCT CT
A
NCT CT CT NCT CT
CT
C
NCT CT CT NCT CT CT NCT CTCT CT
NCT CT
&
A CT is played before the harmonic change, resulting in a momentary NCT (usually but not always diatonic).In other words, the NCT is created (and resolved) by anticipatinga harmonic change.
Now the concept of passing tones has been introduced, let's take a survey of many of the typical devicesfor handling NCTs.
(same note)
Common NCT Devices
Anticipation (ANT)
(same note) (same note)
&
A NCT (usually diatonic) is played above or below a CT and is approached, and resolved in step wise motion.
(step) (step)
Neighbour Tone (NT) or Auxillary Note (AUX)
NT NT NT
&
(aka appoggiatura)(skip) (step) (skip) (step)
Incomplete Neighbour Tone
(skip) (step) (skip) (step)
(non-diatonic)
(skip) (step)
&(skip) (step) (skip) (step) (skip) (step) (skip) (step) (skip) (step)
&
A NCT is approached by a skep and resolved by a step (usually but not always in the opposite direction)Appoggiatura.A NCT may also be approached by a step from a CT and resolved by a skip (usually in the opposite direction)This is very similar to the idea of escape tone, where the skip occurs on a harmonic change.
NCTs are usually but not always (see bar 3) diatonic.
(skip) (step) (skip) (step) (skip) (step)
(same-direction)
(step) (skip)
w
#
b
J J
5
-
8/8/2019 Popular Music Harmony Booklet
65/67
CT
A
NCT CT
G
NCT CT
F
NCT CT
E7
CT
C
NCT NCT CT
A
NCT NCT CT
F
NC