DOCSLIB.ORG

01052019Building Fast Runs.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
01052019Building Fast Runs.Pdf Building Fast Runs on the Diatonic Harmonica: A Study in Arpeggios This material deals with creating fast runs using arpeggios. Playing fast lines can spice up your solo and there are more ways how to approach them (scales, patterns, arpeggios, and their combinations. I hear a lot of harmonica players use chromatic runs up and down the scale. These can be very effective when executed properly but also repetitive. Moreover, they might often sound jagged or forced due to changes in airflow direction and extensive bending and overbending. In contrast, thanks to harmonica’s layout arpeggios offer a much smoother transition from one note to another and create harmonic movement as well. The approach discussed in this learning material uses arpeggios. Jazz pianist Art Tatum was famous for his lightning-fast arpeggio runs and his work might be well worth studying even for harmonica players. Unlike the piano, the diatonic harmonica is an instrument difficult to control evenly and different technical aspects must be taken into account when playing. Changes in the direction of the airflow appear to be a very limiting factor for fast runs. Therefore, learning to minimise them and create meaningful lines is, in my opinion, essential. This study of 30 lines over 2-5-1 progressions attempts to do just that. Not all keys/positions are ideal for creating such lines and I will focus on 7 different keys/positions that are easy to arpeggiate due to their proximity to harmonica’s key centre, i.e. due to a smaller number of bends and overbends. By learning the principles of creating such lines you will be able to create your own variations even for the remaining 5 keys. I found that the following rules for constructing fast and seamless runs work the best. 1. Avoid changes in breath direction as much as possible. From my experience, the necessary changes are most acceptable when they occur at the end or beginning of an arpeggio phrase. 2. Proximity. This is a general rule not only limited to the harmonica. Keep the neighbouring notes of two arpeggio phrases as close as possible, i.e. use small intervals. Still, what you play will always depend on what you hear and what sounds best to you. 3. Playing arpeggios derived from a diatonic scale is fine but using notes outside the scale will add a little flavour to the lines. Mix in arpeggios from related scales/chords such as diminished or augmented. 4. Experiment with alternating between ascending and descending phrases. Try all combinations; it is possible to create long ascending or descending lines on harmonica as the instrument really offers three octaves. HOW TO USE THE MATERIAL All examples come with a short explanation. I use colour-code to highlight different aspects of the runs. Play through each line and read the notes to help you understand what is going on in each of them. Play in tempo, switch to 16th notes (over 2 bar 2-5-1). Play your favourite jazz standard and apply in your improvisation at appropriate places. Once you have played through a key/position, use the principles you have learnt to create your own runs and write them down at the very end. All arpeggio runs in this material can be altered, extended over more bars, or combined with scales or patterns. For reference, see additional examples. Arpeggios represent an essential element of playing but they are by no means the only one. This learning material’s focus is limited and further study is recommended. There are numerous books on music theory available online. To learn more and practice approach notes see also my learning material entitled ‘Approach Notes Exercises for Diatonic Harmonica’. For the purpose of this study, harmonica in the key of C will be used. All runs are written both in notes and tablature. The tabs use standard symbols: Symbol Meaning Example Meaning 1-10 Hole numbers 1 Hole number 1 + Blow +5 5 hole blow - Draw -5 5 hole draw o Overbend o6 6 hole overblow ’ Bend (a half step) -4’ 4 hole draw bend half step ’’ Bend (two half steps) -3’’ 3 hole draw bend two half steps ’’’ Bend (three half steps) -3’’’ 3 hole draw bend three half steps C major (1st position) Dm7 G7 Cmaj7 4 4 -4 -5 -6 +7 -7 +6 +5 +4 -3 -4 -5 -6 +6 +5 +4 -3'' -2 Example 1. This arpeggio line employs only C major scale notes and ends on the 5th of C major chord. It stacks four-note arpeggios in alternating directions, always starting directly below the last note of the previous arpeggio (orange). In itself the run is just fine but there are ways to make it sound more interesting. Let's consider Example 2, which uses an augmented chord arpeggio. 5 Dm7 G7 Cmaj7 -4 -5 -6 +7 -7o -6 -5 -4' +4 +5 +6 -7 -6 -5 -4' -3 +4 Example 2. substitutes the second arpeggio from Example 1. (C major 7th arpeggio) - with a Db augmented arpeggio (red). This will require an overdraw on hole 7, but the line is fluent because there is no change of air flow. Once 7 overdraw is mastered, it is really easy to execute. Then, there is an "inside-the-scale" C major arpeggio and the line continues down the Db augmented arpeggio (a tritone away from G) with an enclosure (see my practice material on approach notes) leading to the root (green). 9 Dm7 G7 Cmaj7 -3 -4 -5 -6' +6 +5 +4 -3'' -3''' -3 -4 -5 +5 +4 -3'' -2'' +2 Example 3. uses diminished scale arpeggios (blue) to supplement the standard diatonic scale arpeggios. The last of the first four notes - Ab - does not belong to the key of C major. In general, you can use the diminished chord starting half-step above the dominant chord; in this case, it is our odd note Ab (minor second above G7 chord). The run ends on the third of C major chord (green). 13 Dm7 G7 Cmaj7 -4 -5 -6 +7 -7 +6 +5 +4 -3 -4 -5 -6' +6 +5 -4' -3 +4 Example 4. employs the same diminished arpeggio device with an enclosure of the root at the end. F major (1st flat / 12th position) 17 Gm7 C7 Fmaj7 -2 -3' -4 -5 +5 +4 -3'' -2'' +2 -2 -3' -4 +4 -3'' -2'' -1 +1 21 Gm7 C7 Fmaj7 -4 -5 -6 +7 +6o +6 +5 +4 -3' -4 -5 -6 +6 +5 +4 -3'' -2'' Example 5. and 6. are simple diatonic lines in F major. Similar lines can be easily executed in the middle register starting on different notes of the scale.You can refer back to C major key lines on the previous page and construct lines starting on other notes too. 25 Gm7 C7 Fmaj7 -2 -3' -4 -5 +5 +4 -3'' -2'' +2 -2 -3' -4' +4 -3' -2 -3''' -3'' Example 7. a diatonic run with a diminished arpeggio ending on the third of F major chord approached from above chromatically. 29 Gm7 C7 Fmaj7 +7 -6 -5 -4 -4' +5 +6 +6o -6 -5 -4 -3' -3'' +4 +5 +6 -5 Example 8. is a diatonic run with a diminished arpeggio and ending on the root. This time starting with a descending arpeggio. 33 Gm7 C7 Fmaj7 -3' -4 -5 -6 -6' +5 +4 -3''' -2 -3' -4' +5 +6 +7 +8 +9 -9 Example 9. is a diatonic run with an augmented triad arpeggio (red) and a diminished arpeggio (blue). The second half of the line does not change the direction but continues up to the high register of harmonica outlining the C dominant chord by means of C major triad located on the "blow" notes. 2 G major (2nd position) 37 Am7 D7 Gmaj7 -3'' +4 +5 +6 +5o -4 -3 -2 -2' -3'' +4 +5 -4 -3 -2 +2 -1 Example 10. a simple diatonic arpeggio run. 41 Am7 D7 Gmaj7 -3'' +4 +5 +6 +5o -4 -3 -2 -2' -3'' +4 +5 +4o +4 -3'' -2' -2 Example 11. is the same as Example 10. but with a diminished arpeggio (blue) at the end. 45 Am7 D7 Gmaj7 +4 +5 +6 -7 +6o +5o -4 -3' -3'' +4 +5 +6 +5o -4 -3' -2' -2 Example 12. is a diatonic arpeggio run with a D augmented triad (red); the augmented triad has two common notes with D7 chord. Another option would be Ab augmented triad; it shares two notes with A minor chord and conveys the sound of the melodic minor. Also, Ab is a tritone away from D. 49 Am7 D7 Gmaj7 +2 -2 -3 -4 +4o +5o -6 +7 -7 +6 +5 +4 +4o +4 -3'' -2' -2 Example 13. has two longer runs and only one change of direction. The ascending line has a diminished arpeggio (blue); notice that it starts only half-step away from the preceding note. The descending line has a diminished arpeggio too, however, it now starts a minor third above the previous note. This is simply because the line preserves the direction of the air, which is mostly exhaled. 3 Bb major (2nd flat/11th position) 53 Cm7 F7 B♭maj7 +4 +4o +6 +6o -6 -5 -4 -3' -3'' +4 +4o +6 -5 -4 -3' -2 -2'' Example 14. is a basic diatonic line based on arpeggios. It is very fluent in terms of airflow direction, however, there is a two-hole jump between holes 4 and 6, which might represent a fluency disruption or pose difficulty for some especially with the 4 hole overblow.
Load more

Recommended publications
  • MUSIC THEORY UNIT 5: TRIADS Intervallic Structure of Triads
    MUSIC THEORY UNIT 5: TRIADS Intervallic structure of Triads Another name of an interval is a “dyad” (two pitches). If two successive intervals (3 notes) happen simultaneously, we now have what is referred to as a chord or a “triad” (three pitches) Major and Minor Triads A Major triad consists of a M3 and a P5 interval from the root. A minor triad consists of a m3 and a P5 interval from the root. Diminished and Augmented Triads A diminished triad consists of a m3 and a dim 5th interval from the root. An augmented triad consists of a M3 and an Aug 5th interval from the root. The augmented triad has a major third interval and an augmented fifth interval from the root. An augmented triad differs from a major triad because the “5th” interval is a half-step higher than it is in the major triad. The diminished triad differs from minor triad because the “5th” interval is a half-step lower than it is in the minor triad. Recommended process: 1. Memorize your Perfect 5th intervals from most root pitches (ex. A-E, B-F#, C-G, D-A, etc…) 2. Know that a Major 3rd interval is two whole steps from a root pitch If you can identify a M3 and P5 from a root, you will be able to correctly spell your Major Triads. 3. If you need to know a minor triad, adjust the 3rd of the major triad down a half step to make it minor. 4. If you need to know an Augmented triad, adjust the 5th of the chord up a half step from the MAJOR triad.
    [Show full text]
  • Music in Theory and Practice
    CHAPTER 4 Chords Harmony Primary Triads Roman Numerals TOPICS Chord Triad Position Simple Position Triad Root Position Third Inversion Tertian First Inversion Realization Root Second Inversion Macro Analysis Major Triad Seventh Chords Circle Progression Minor Triad Organum Leading-Tone Progression Diminished Triad Figured Bass Lead Sheet or Fake Sheet Augmented Triad IMPORTANT In the previous chapter, pairs of pitches were assigned specifi c names for identifi cation CONCEPTS purposes. The phenomenon of tones sounding simultaneously frequently includes group- ings of three, four, or more pitches. As with intervals, identifi cation names are assigned to larger tone groupings with specifi c symbols. Harmony is the musical result of tones sounding together. Whereas melody implies the Harmony linear or horizontal aspect of music, harmony refers to the vertical dimension of music. A chord is a harmonic unit with at least three different tones sounding simultaneously. Chord The term includes all possible such sonorities. Figure 4.1 #w w w w w bw & w w w bww w ww w w w w w w w‹ Strictly speaking, a triad is any three-tone chord. However, since western European music Triad of the seventeenth through the nineteenth centuries is tertian (chords containing a super- position of harmonic thirds), the term has come to be limited to a three-note chord built in superposed thirds. The term root refers to the note on which a triad is built. “C major triad” refers to a major Triad Root triad whose root is C. The root is the pitch from which a triad is generated. 73 3711_ben01877_Ch04pp73-94.indd 73 4/10/08 3:58:19 PM Four types of triads are in common use.
    [Show full text]
  • The Strategic Half-Diminished Seventh Chord and the Emblematic Tristan Chord: a Survey from Beethoven to Berg
    International Journal ofMusicology 4 . 1995 139 Mark DeVoto (Medford, Massachusetts) The Strategic Half-diminished Seventh Chord and The Emblematic Tristan Chord: A Survey from Beethoven to Berg Zusammenfassung: Der strategische halbverminderte Septakkord und der em­ blematische Tristan-Akkord von Beethoven bis Berg im Oberblick. Der halb­ verminderte Septakkord tauchte im 19. Jahrhundert als bedeutende eigen­ standige Hannonie und als Angelpunkt bei der chromatischen Modulation auf, bekam aber eine besondere symbolische Bedeutung durch seine Verwendung als Motiv in Wagners Tristan und Isolde. Seit der Premiere der Oper im Jahre 1865 lafit sich fast 100 Jahre lang die besondere Entfaltung des sogenannten Tristan-Akkords in dramatischen Werken veifolgen, die ihn als Emblem fUr Liebe und Tod verwenden. In Alban Bergs Lyrischer Suite und Lulu erreicht der Tristan-Akkord vielleicht seine hOchste emblematische Ausdruckskraft nach Wagner. If Wagner's Tristan und Isolde in general, and its Prelude in particular, have stood for more than a century as the defining work that liberated tonal chro­ maticism from its diatonic foundations of the century before it, then there is a particular focus within the entire chromatic conception that is so well known that it even has a name: the Tristan chord. This is the chord that occurs on the downbeat of the second measure of the opera. Considered enharmonically, tills chord is of course a familiar structure, described in many textbooks as a half­ diminished seventh chord. It is so called because it can be partitioned into a diminished triad and a minor triad; our example shows it in comparison with a minor seventh chord and an ordinary diminished seventh chord.
    [Show full text]
  • HOW DISSONANT IS the AUGMENTED TRIAD ? by JOSHUA
    HOW DISSONANT IS THE AUGMENTED TRIAD ? By JOSHUA CLEMENT BROYLES B.A. Music, California State University, Hayward, 1992 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (School of Music, Music Theory) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA April 1999 © Joshua C. Broyles, 1999 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of The University of British Columbia Vancouver, Canada Date DE-6 (2/88) 11 ABSTRACT: HOW DISSONANT IS THE AUGMENTED TRIAD ? Throughout the centuries, music theorists have consistently designated the augmented triad as dissonant, but not for entirely consistent reasons. In one interpretation of this "dissonant nature," an interpretation with which this thesis is concerned, the augmented triad is less harmonically "stable" than the major and minor triads in root position or in first inversion and, at most, only as stable as the second inversions of the major and minor triads. The various arguments against the stability of the augmented triad have largely been of the three basic types: acoustic/numerological, psychoacoustic/perceptual, and cognitive/tonal-syntactic.
    [Show full text]
  • The Death and Resurrection of Function
    THE DEATH AND RESURRECTION OF FUNCTION A Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By John Gabriel Miller, B.A., M.C.M., M.A. ***** The Ohio State University 2008 Doctoral Examination Committee: Approved by Dr. Gregory Proctor, Advisor Dr. Graeme Boone ________________________ Dr. Lora Gingerich Dobos Advisor Graduate Program in Music Copyright by John Gabriel Miller 2008 ABSTRACT Function is one of those words that everyone understands, yet everyone understands a little differently. Although the impact and pervasiveness of function in tonal theory today is undeniable, a single, unambiguous definition of the term has yet to be agreed upon. So many theorists—Daniel Harrison, Joel Lester, Eytan Agmon, Charles Smith, William Caplin, and Gregory Proctor, to name a few—have so many different nuanced understandings of function that it is nearly impossible for conversations on the subject to be completely understood by all parties. This is because function comprises at least four distinct aspects, which, when all called by the same name, function , create ambiguity, confusion, and contradiction. Part I of the dissertation first illuminates this ambiguity in the term function by giving a historical basis for four different aspects of function, three of which are traced to Riemann, and one of which is traced all the way back to Rameau. A solution to the problem of ambiguity is then proposed: the elimination of the term function . In place of function , four new terms—behavior , kinship , province , and quality —are invoked, each uniquely corresponding to one of the four aspects of function identified.
    [Show full text]
  • Triad Chord Construction
    TRIAD CHORD CONSTRUCTION SECTION ONE: “Consonance & Dissonance” The terms “CONSONANCE & DISSONANCE”, refer to the relative emotional qualities of musical sounds. CONSONANCE: May be described as a feeling of stability or relaxation. DISSONANCE: May be described as a feeling of activity or tension. CONSONANT INTERVALS: DISSONANT INTERVALS: P8 P4 P5 Ma & Mi 2nd Ma & Mi 3rd Ma & Mi 7th Ma & Mi 6th All Augmented & Diminished Memorize all of the Consonant & Dissonant Intervals. SECTION TWO: “Triad Chords” A chord is the result of 3 or more tones sounding together. A triad is a 3 note chord consisting of the intervals of a 3rd & 5th above the lowest pitch tone, (called the root). A triads name is established when analyzing all of the triads tones from it’s root note. There are 2 consonant triads. CONSONANT: 1) The Major Triad: A consonant triad consisting of a Major third and a Perfect 5th above the root. Example: “C Major” triad = C E G 1 3 5 2) The Minor Triad: A consonant triad consisting of a Minor third and a Perfect 5th above the root. Example: “C Minor” triad: C Eb G 1 b3 5 Page (1) Copyright © 1992 - 2009 Creative Guitar Studio TRIAD CHORD CONSTRUCTION There are 2 dissonant triads. DISSONANT: 3) The Augmented Triad: A dissonant triad consisting of a Major third and an Augmented 5th above the root. Example: “C Augmented” triad = C E G# 1 3 #5 4) The Diminished Triad: A dissonant triad consisting of a Minor third and a diminished 5th above the root. Example: “C Diminished” triad = C Eb Gb 1 b3 b5 The 4 triad types are based on the different qualities of the 3rd and 5th tones.
    [Show full text]
  • Augmented Scale
    Augmented Scale Hexatonic – 6 notes, 2 mutually exclusive triads. Symmetrical - repeating minor 3rd and half-step intervals. C augmented can be constructed by taking a C+ triad (C, E, G#) and adding: 1) augmented triad a half-step below (B aug = B, D#, F## [G]), or 2) half-step leading tone into each note, or 3) augmented triad a b3rd above (Eb+). Scale degrees: R, #2 (b3), 3, 5, #5, 7. There are only 4 augmented scales. Repeated pattern of b3rd and b2nd produces three possible tonics (major thirds apart). C augmented scale can also be called E augmented or G# augmented. (In same way that C+ triad can be named E+ or G#+). © Dylan Kay 2012 www.dylankay.co.nz Applications Over diatonic chords from the scale There are many chords with roots C, E and G# contained within this scale: • Major, minor, augmented triads • Maj7, Maj7(with #9), Maj7#5, Min/maj7 • also 3 major triads with an added #9/b3rd: C/Eb, E/G, G#/B. This means it can be used over any of these chords. Chromatic tones can be viewed as passing tones, or as upper extensions if you alter the chord. II V I Dm7 G7 Cmaj7 – use C augmented scale. Can build an altered dominant 7th chord on leading tone of the scale. So for G7alt, use G# augmented scale (ie C augmented scale). C augmented scale over chords diatonic to A melodic minor Since the maj7#5 chord could be used as an upper structure for most, if not all, of the chords diatonic to the melodic minor scale: Amin/maj7, Bm7(b9), Cmaj7#5, D7(#11), E7(b13), F#m7b5, G#7alt B augmented scale over Giant Steps The augmented scale contains 3 major triads major thirds apart.
    [Show full text]
  • The Complete Musician, Steven Laitz
    Topics in Chapter 35 of The Complete Musician, Steven Laitz 1. Augmented triads, pp. 813–19. 2. Altered dominants, pp. 813–19. 3. Common-tone sevenths and augmented sixth chords, pp. 820–24. For extra fun: The Omnibus Progression, pp. 845–86. CHAPTER 35 THE RISE OF SYMMETRICAL HARMONY IN TONAL MUSIC 813 asymmetry-specifically the asymmetry associated with major and minor scales. Imagine what would happen to tonality if scales were composed solely of whole steps or half steps or of consistently alternating half and whole steps. If you try singing the scales in Example 35.5, you will soon dis­ cover that a sense of goal-directed motion and tonal grounding disappears because every scale step is as stable (or as unstable) as every other step. EXAMPLE 35.5 chromatic = all half steps A 1 1? a Ia ;;----=-e 11 ' tT iii------az;z II 11 a II #II whole tone = all whole steps A 1? Ia- ;; ;;;p- e II a ' 1 =- == - octatonic =alternating half and whole steps A A 1? 1 ===----e a II a Ia ' IT $1------ z; II Just as symmetrical structures (major and minor triads) help to create tonality, the use of symmetrically constructed harmonies and harmonic pro­ gressions results in tonal ambiguity, an important feature of nineteenth­ century music. Symmetrical harmonies and symmetrical tonal progressions develop from two late-eighteenth-century precedents: chromatically altered dominant harmonies and chromatic sequences. We devote the rest of this chapter to the exploration of chromatically altered harmonies. T~~ A~~m~nte~!~ia~~~-~~~,~,,,,,~,,~~,~~,,,.~~~~~~·~·~~~"~,~~~~,~,··~~~~~· So far, we have considered only one symmetrical triad-the diminished triad.
    [Show full text]
  • Triads and Seventh Chords
    Triads and Seventh Chords Triads: A triad is a three note chord created by adding notes a third and a fifth above a root note: (The three notes of the triad are called the root, the third, and the fifth.) & w If we build triads on each note of the C Major Scale (using notes of the scale - all the white notes): w w w w w & w w w w w w wI ii iii IV V vi viiº Triads are often referred to by using roman numerals to indicate the scale degree they are built on (note the upper and lower case and the º sign to indicate type. we will find we have built three different kinds of triads: On C, F, and G (the first, fourth and fifth note of the scale we have created Major triads (A Major third and Perfect fifth above the root). w & w w w wI IV V On D, F, and A (the second, third, and sixth note of the scale) we have created minor triads (a minor third and Perfect fifth above the root). w & w w w wii iii vi On B (the seventh note of the scale) is a diminished triad (a minor third and a diminished fifth above the root). w & w viiº Triads and Seventh Chords page 2 if you take a major triad and expand the fifth you will create an Augmented triad (a Major third with an Augmented fifth above the root). + is used as an abbreviation for augmented & #w w Here are all four triad types built on the root of C.
    [Show full text]
  • The Basic Jazz Guitar Chord Book
    The Basic Jazz Guitar Chord Book By Dirk Laukens / January 25, 2005 Hello and welcome to the basic jazz guitar chord book, brought to you by www.jazzguitar.be. How are guitar chords built? What makes a chord minor or major? If you fail to answer these questions, read on... Contents p.2 …………………………………………………. Jazz Guitar Chord Theory p.17 …………………………………………………. Major Guitar Chord Chart p.18 …………………………………………………. Minor Guitar Chord Chart p.19 …………………………………………………. Dominant Guitar Chord Chart p.21 …………………………………………………. Diminished & Other Chords p.22 …………………………………………………. Useful Resources You are allowed to distribute this free e-book to others. It may however not be reprinted in electronic, print, web or other format without express written permission and without mentioning the author and www.jazzguitar.be. Contact: [email protected] Page 1 Copyright © 2005, Dirk Laukens (www.jazzguitar.be) Jazz Guitar Chord Theory In this tutorial I’ll teach you how guitar chords are built and how this translates to the guitar. Let's get started with the C major scale : C Major Scale C D E F G A B 1 2 3 4 5 6 7 Triads (a chord that is built with 3 notes) and seventh chords (chords that are built with 4 or more notes) are based on thirds. There are 2 kinds of thirds (or 3rds) : minor third interval of 3 half notes symbol : b3 major third interval of 4 half notes symbol : 3 Let's start by stacking 2 thirds on the first note (1) of the C major scale : C E G 1 3 5 The result is a C major triad or C.
    [Show full text]
  • WS 47: Brain Teasers II NAME A. Triads
    WS 47: Brain Teasers II NAME A. Triads 1. D is the fifth of the minor triad whose root is the submediant of the major scale that has a signature of two flats. 2. B is the third of the augmented triad whose fifth is the leading tone of the harmonic form of the minor scale that has a signature of one sharp. 3. Bß is the sixth above the bass of the first-inversion minor triad whose root is the supertonic of the major scale whose relative minor has a signature of four flats. 4. Dƒ is the fourth above the bass of the second-inversion minor triad whose triadic third is the raised submediant of the minor scale whose parallel major has a signature of three sharps. 5. E is the bass of the first-inversion diminished triad whose triadic fifth is a P4 above the mediant of the minor scale that has a signature of two sharps. 6. Bƒ is the third above the bass of the first-inversion minor triad whose root is the mediant of the major scale whose parallel minor has a signature of four sharps. 7. C is the third above the bass of the first-inversion major triad whose root is the submediant degree of the harmonic minor scale whose parallel major is the relative major of the minor key that has a signature of three sharps. 8. G is the sixth above the bass of the second-inversion minor triad whose triadic fifth is ^6 of the melodic minor scale whose relative major is the parallel major of the minor key that has a signature of four flats.
    [Show full text]
  • 7. Chords 219
    Tagg: Everyday Tonality II — 7. Chords 219 7. Chords Even if Chapters 3‐5 were mainly about melody and the mono‐ phonic aspects of mode, it was impossible to totally avoid men‐ tioning chords and harmony. Now, harmony is no side issue in the rest of this book: it’s the central topic. If that is so we’ll need a vo‐ cabulary capable of designating harmony’s nuts and bolts. That’s why this chapter is devoted to explanation of the chord‐naming FFBk07Chords.fm. 2014-09-13, 14:53 2014-09-13, FFBk07Chords.fm. conventions used in the rest of this book. And that, in its turn, means that this is not a discursive chapter. It’s intended rather as a reference resource whose core consists of the various charts and ta‐ bles displaying TERTIAL chords, their designations and abbreviated labels (pp. 223, 226, 232‐233, 235). Please note that QUARTAL har‐ mony is dealt with separately in Chapter 10.1 Definition and scope CHORD, from Greek χορδή (chordē, Latin chorda), originally meant the string of a musical instrument. Eventually, chord came to de‐ note the simultaneous sounding of two or more different tones by any polyphonic instrument or by any combination of instru‐ ment(s) and/or voice(s). The simultaneous sounding of notes of the same name, i.e. unison pitches or pitches separated by octave inter‐ vals, does not qualify as a chord. A two‐note chord is a DYAD, a three‐note chord a TRIAD, a four‐note chord a TETRAD and a five‐ note chord a PENTAD.
    [Show full text]