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“Chordal Command”
Musician Transformation Training “CHORDAL COMMAND” This training will cover key insights and techniques you must understand in order to get the most out of the “Chord County” program, which covers Chordal Command concepts. Chords rule in contemporary music and having a deep understanding of how to build and manipulate them is the key to excelling to higher heights. From the most basic chords to complex voicings, this resource will equip you with the formulas and shortcuts to master them all! Enjoy! -Pg 1- © 2010. HearandPlay.com. All Rights Reserved Introduction In this guide, we’ll be starting with triads and what I call the “FANTASTIC FOUR.” Then we’ll move on to shortcuts that will help you master extended chords (the heart of contemporary playing). After that, we’ll discuss inversions (the key to multiplying your chordal vocaluary), primary vs secondary chords, and we’ll end on voicings and the difference between “voicings” and “inversions.” But first, let’s turn to some common problems musicians encounter when it comes to chordal mastery. Common Problems 1. Lack of chordal knowledge beyond triads: Musicians who fall into this category simply have never reached outside of the basic triads (major, minor, diminished, augmented) and are stuck playing the same chords they’ve always played. There is a mental block that almost prohibits them from learning and retaining new chords. Extra effort must be made to embrace new chords, no matter how difficult and unusual they are at first. Knowing the chord formulas and shortcuts that will turn any basic triad into an extended chord is the secret. -
Music Content Analysis : Key, Chord and Rhythm Tracking In
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ScholarBank@NUS MUSIC CONTENT ANALYSIS : KEY, CHORD AND RHYTHM TRACKING IN ACOUSTIC SIGNALS ARUN SHENOY KOTA (B.Eng.(Computer Science), Mangalore University, India) A THESIS SUBMITTED FOR THE DEGREE OF MASTER OF SCIENCE DEPARTMENT OF COMPUTER SCIENCE NATIONAL UNIVERSITY OF SINGAPORE 2004 Acknowledgments I am grateful to Dr. Wang Ye for extending an opportunity to pursue audio research and work on various aspects of music analysis, which has led to this dissertation. Through his ideas, support and enthusiastic supervision, he is in many ways directly responsible for much of the direction this work took. He has been the best advisor and teacher I could have wished for and it has been a joy to work with him. I would like to acknowledge Dr. Terence Sim for his support, in the role of a mentor, during my first term of graduate study and for our numerous technical and music theoretic discussions thereafter. He has also served as my thesis examiner along with Dr Mohan Kankanhalli. I greatly appreciate the valuable comments and suggestions given by them. Special thanks to Roshni for her contribution to my work through our numerous discussions and constructive arguments. She has also been a great source of practical information, as well as being happy to be the first to hear my outrage or glee at the day’s current events. There are a few special people in the audio community that I must acknowledge due to their importance in my work. -
Secondary Dominant Chords.Mus
Secondary Dominants Chromaticism - defined by the use of pitches outside of a diatonic key * nonessential chromaticism describes the use of chromatic non-chord tones * essential chromaticism describes the use of chromatic chord tones creating altered chords Secondary Function Chords - also referred to as applied chords * most common chromatically altered chords * function to tonicize (make sound like tonic) a chord other than tonic * applied to a chord other than tonic and typically function like a dominant or leading-tone chord - secondary function chords can also be used in 2nd inversion as passing and neighbor chords - since only major or minor triads can function as tonic, only major or minor triads may be tonicized - Secondary function chords are labeled with two Roman numerals separated by a slash (/) * the first Roman numeral labels the function of the chord (i.e. V, V7, viiº, or viiº7) * the second Roman numeral labels the chord it is applied to - the tonicized chord * secondary function labels are read as V of __, or viiº of __, etc. Secondary Dominant Chords - most common type of secondardy function chords * always spelled as a major triad or Mm7 chord * used to tonicize a chord whose root is a 5th below (or 4th above) * can create stronger harmonic progressions or emphasize chords other than tonic Spelling Secondary Dominant Chords - there are three steps in spelling a secondary dominant chord * find the root of the chord to be tonicized * determine the pitch a P5 above (or P4 below) * using that pitch as the root, spell a -
A Proposal for the Inclusion of Jazz Theory Topics in the Undergraduate Music Theory Curriculum
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 8-2016 A Proposal for the Inclusion of Jazz Theory Topics in the Undergraduate Music Theory Curriculum Alexis Joy Smerdon University of Tennessee, Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Music Education Commons, Music Pedagogy Commons, and the Music Theory Commons Recommended Citation Smerdon, Alexis Joy, "A Proposal for the Inclusion of Jazz Theory Topics in the Undergraduate Music Theory Curriculum. " Master's Thesis, University of Tennessee, 2016. https://trace.tennessee.edu/utk_gradthes/4076 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Alexis Joy Smerdon entitled "A Proposal for the Inclusion of Jazz Theory Topics in the Undergraduate Music Theory Curriculum." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Music, with a major in Music. Barbara A. Murphy, Major Professor We have read this thesis and recommend its acceptance: Kenneth Stephenson, Alex van Duuren Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) A Proposal for the Inclusion of Jazz Theory Topics in the Undergraduate Music Theory Curriculum A Thesis Presented for the Master of Music Degree The University of Tennessee, Knoxville Alexis Joy Smerdon August 2016 ii Copyright © 2016 by Alexis Joy Smerdon All rights reserved. -
Secondary Dominants (Applied Dominants)
Dr. Barbara Murphy University of Tennessee School of Music SECONDARY DOMINANTS (APPLIED DOMINANTS) DEFINITION: A secondary dominant is an altered chord having a dominant or leading tone relationship to a chord in the key other than the tonic. An altered chord is a chord containing at least one tone that is foreign to the key. Using secondary dominants results in the tonicization of the chord of resolution. Tonicization is the process of emphasizing a chord by making it seem like the tonic for a relatively short period of time. Usually this is accomplished by embellishing the chord with a chord that has a dominant or leading tone relationship to it (a secondary dominant). ANALYSIS: Secondary dominants are analyzed as 'x/y' where: x is one of : V, V7, viio, viio/ 7, viio7 y is a major or minor triad in the key. y can be one of: Major key: ii, iii, IV, V, vi minor key: iv, V, VI y can not be a diminished or augmented triad since diminished and augmented triads do not act as tonic triads. RESOLUTION: 1. Normal resolution: x/y resolves normally to y. 2. Irregular resolution: x/y may resolve to a chord that is a substitution (primary or secondary) for y. 3. Deceptive resolution: x/y may resolve to the chord whose root is a third below the root of the y chord. PART-WRITING: The part-writing of a secondary dominant is essentially the same as for the diatonic dominant or leading tone chords: For V and V7: 1. root resolves down a fifth to the root of the next chord (normal resolution). -
Altered and Enharmonic Modulation
Altered andmusic Enharmonictheory for musicians and normal people Modulation by toby w. rush œ œ w b œ œ œ nœ w Altered common chord modulation & œ œ is easy: remember diatonic common F: I IV V chord modulation, where we used a C: I V I chord that was diatonic in both the old and new keys? altered common chord modulation is the same thing, only using the œ œ pivot chord as an altered chord & b œ œ œ #nw in either the old key, the new key, œ # #œ w or both. F: I IV V n œ E: bVI V I Now, in both diatonic modulation and altered modulation, we have one chord that plays two different roles, one for each key. But the chord type doesn’t change... if it was a major chord in the old key, it’s still a major chord in the new key. ...but...but whatwhat ifif thethe chordchord typetype did change? this technique is in enharmonic modulation, we respell a chord so — well, odd — that so the enharmonically chord type itself there are only is different in the old and new keys. two specific ways to do it. ever notice that the german augmented sixth chord is just like fully diminished seventh chords are a major-minor seventh chord cool for a lot of reasons, and one of with the seventh respelled them is that they are equidistant chords: enharmonically? inverting a fully diminshed seventh yields another root-position fully dimished seventh chord. # w bw beethoven b ww b w did! & b w bw bw bww b ∫w 7 b w C: Ger.6 D : V b w b w w b & w7 invert & 6 & 7 a° a°5 respell c° we can take advantage of this and use it meaning that a fully diminished as a pivot chord.. -
Altered Chords
TutorTube: Altered Chords Summer 2020 Introduction Hello and welcome to TutorTube, where The Learning Center’s Lead Tutors help you understand challenging course concepts with easy to understand videos. My name is Darren Churn, Lead Tutor for Music Theory. In today’s video, we will explore chords with lowered alterations. Let’s get started. Chordal Alterations The group of chords containing a bVI, bIII and bII have many things in common. These chords are all altered in a way that makes them major in a specific context. The alterations of these chords come from harmonic mixture that resulted in the lowering of specific scale degrees to create major chords. These chords are used in different situations. Let’s look at each chord, starting with the bVI. The bVI A chord with the 6th scale degree as its root is normally minor (vi). With harmonic mixture, our 6th scale degree is now lowered a half step to create a new chord. Let’s look at an example. If we were to look at a normal vi in the key of C Major. Our chord would be A C E. Now, with the inclusion of harmonic mixture, an Ab is introduced. Our chord would now be Ab C E. This results in augmented chord that has no context or use for common practice. In order to create a more stable chord, the root is accompanied by another altered pitch to create a major chord. In this example, we get an Ab C Eb chord. When writing a bVI, the flat at the beginning of the chord is showing that the root has been lowered. -
Lesson 10 Chromatic Chords Part 1.Key
What are Secondary Dominants? 1. They are the most common type of altered chord since the chromatic note creates a functional dominant harmony FUNDAMENTAL HARMONY 2. The normal dominant chord (V) acts as the 5th chord of the tonic chord (I). Dr. Declan Plummer Secondary dominants act as the 5th Lesson 10: Chromatic Chords Part 1 chord of any other major or minor chord (Borrowed Chords, Altered Chords & Secondary Function Chords) besides the tonic chord: Major Keys Minor Keys V/ii or V7/ii V/iv or V7/iv V/iii or V7/iii V/V or V7/V V7/IV V7/VI V/V or V7/V V/VII or V7/VII V/vi or V7/vi Progression without secondary dominants 7 Progression with V/V and V7/IV secondary dominants Kinderscenen (‘Träumerei’) by Schumann 3. Secondary dominants often give the effect of a V-I cadence in a key other than the tonic. In other words they act as the dominants of the chords that usually follow them. 4. Secondary dominants are used primarily for colour instead of modulation,so they are followed by chords which continue in the old key, with the foreign note quickly cancelled. 0:16 5. Chromatic note in a secondary dominant chord should not be doubled. (V - I) (V - I) 9 6 6 F major: I V 7 /V I 4 V ii V/ii ii V I Prelude No.7 (Op.28) by Chopin Start A major I V7/ii ii 6. Secondary Dominants are usually 7. Secondary Dominants can also be followed by a seventh chord or followed by the chord for which (V - I) another secondary dominant chord. -
Reharmonizing Chord Progressions
Reharmonizing Chord Progressions We’re going to spend a little bit of time talking about just a few of the techniques which you’ve already learned about, and how you can use these tools to add interest and movement into your own chord progressions. CHORD INVERSIONS If a song that you’re playing stays on the same chord for several beats, it can begin to sound stagnant if you play the same chord voicing over and over. One of the things you can do to add movement into the chord progression is to stay on the same chord but choose a different inversion of that chord. For instance, if you have 2 consecutive measures where the 1(Major) chord forms the harmony, try playing the first measure using 1 in root position and start the next measure by changing to a 1 over 3 (in other words, use a first inversion 1 chord). In modern chord notation, we’d write this as C/E. Or, if you don’t want to change the bass note– you can at least try using a different ‘voicing’ of the chord: instead of (from bottom to top note) C, G, E, C you might try C, C, G, E or C, G, E, G. For a guitarist, this may mean just playing the chord in a different position. For a keyboardist, you may have to consider which note names are doubled and whether the spacing between notes is closer or farther apart. SUBSTITUTE CHORDS OF SIMILAR QUALITY One of the things we’ve talked about previously is that certain chords in any given key sound ‘at rest’ and certain chords sound with a great deal of tension and feel like they ‘need to resolve’ to a place of rest. -
Altered Chords
ALTERATIONS If you're under the impression that if you don't like something in jazz you just alter it, you're wrong. It's a bit less straight-forward than that. Read on. ALTERATIONS Certain notes in each type of chord can be altered. The notes in question are the 5th, the 9th, the 11th and sometimes the 13th. (The root, 3rd and 7th notes are not altered as they will produce a different type of chord.) Alterations are shown by the symbols + or # meaning that a note is to be raised by a semitone, and - or b meaning that a note is to be lowered by a semitone. The 2 chord types most affected by alterations are the dominant 7th and the major seventh/major sixth. 1. In a dominant seventh chord the 5th and the 9th can be raised or lowered. Various combinations of these altered notes are often found, eg. C7(b9-5), C7(#9-5), C7(b9+5), C7(#9+5), etc. These chord can also be written like this C7(-9-5)... or C7(-9b5)... The 4 chords are shown below: C7(b9-5)FÜ C7(x9-5)FÜ C7(b9+5)FÜ C7(x9+5)FÜ ÜFFÜ ÜFFÜ ÜFÜF ÜFFÜ : F F FFÞ FFÞ A dominant seventh with altered 9ths and 5ths is often called an altered chord,eg.C7 alt. A dominant seventh chord can also have an unaltered fifth and a sharpened eleventh: C7(+11) or C9(+!)FÚ C7(b9+!)FÚ sometimesHÜ written thus FÜ F ÜFFÜ ÜHHÜ : F F ( H ) The (+5) is almost never found with a 13th. -
Chord-Scale Networks in the Music and Improvisations of Wayne Shorter
Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic Volume 8 Issue 1 Article 7 April 2018 Chord-Scale Networks in the Music and Improvisations of Wayne Shorter Garrett Michaelsen University of Massachusetts, Lowell, [email protected] Follow this and additional works at: https://trace.tennessee.edu/gamut Recommended Citation Michaelsen, Garrett (2018) "Chord-Scale Networks in the Music and Improvisations of Wayne Shorter," Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic: Vol. 8 : Iss. 1 , Article 7. Available at: https://trace.tennessee.edu/gamut/vol8/iss1/7 This Article is brought to you for free and open access by Volunteer, Open Access, Library Journals (VOL Journals), published in partnership with The University of Tennessee (UT) University Libraries. This article has been accepted for inclusion in Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic by an authorized editor. For more information, please visit https://trace.tennessee.edu/gamut. CHORD-SCALE NETWORKS IN THE MUSIC AND IMPROVISATIONS OF WAYNE SHORTER GARRETT MICHAELSEN ayne Shorter’s tune “E.S.P.,” first recorded on Miles Davis’s 1965 album of the same Wname , presents a number of fascinating challenges to harmonic analysis. Example 1 gives the tune’s lead sheet, which shows its melody and chord changes. In the first eight-bar phrase, the harmony moves at a slow, two-bar pace, sliding between chords with roots on E, F, and E beneath a repeating fourths-based melody that contracts to an A4–F4 major third in the last two bars. Shorter’s melody quite often emphasizes diatonic and chromatic ninths, elevenths, and thirteenths against the passing harmonies, thereby underscoring the importance of those extensions to the chords. -
The Altered Mode Introduction Understanding
www.pianogroove.com The Altered Mode Introduction The altered scale is an excellent way to gain access to all of altered tensions of a dominant chord. In fact, the altered scale contains every possible altered chord tone which is the b9, #9, #11 and #5 (or b13) – remember that the #5/b13 is the same note, but jazz musicians use both names which can be confusing. With all of these alterations, it’s no surprise that the altered mode is a tough one to visualise and memorise in all 12 keys. Understanding how to resolve the Altered Tensions in the scale So now that we have a good understanding of the construction of the altered mode. Let’s explore how we can resolve the altered tensions in the scale. This is perhaps the most valuable piece of information to take away from this lesson. If we think back to the 251 progression, we know that the 7th of the chord always resolves down a half step to become the 3rd of the next chord. You can use this resolution in your lines to outline the chord change that is taking place, let’s look at a few examples. In the same way that the 7th wants to resolve to 3rd in a 251, the alterations of the altered mode have strong resolution points that you can utilise in your improvised lines. Remember that one of the hallmarks off jazz is the creation of tension and then resolution of tension and so having an understanding of how to resolve alterations is very important.