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Enovation 8: Chord Shapes, Shifts, and Progression NOTE: Video and Audio Files Are Found in the Media Playlist at the Bottom of Each Lesson Page
P a g e | 1 eNovation 8: Chord Shapes, Shifts, and Progression NOTE: Video and audio files are found in the media playlist at the bottom of each lesson page. eNovation 8 Overview Summary: In eNovation 8 the focus is on recognition and secure performance of commonly found chord shapes and facility in moving between these different shapes Goals on the keyboard. The theoretical understanding of primary chords is emphasized so that students can quickly play chords, harmonize melodies, and realize lead sheets. Key Elements: • Technique: Chord Shapes: 5/3, 6/3, 6/4, 6/5 • Technique: Chordal Shifts and Progressions I, IV6/4, V6/3 and I, IV6/4, V6/5 • Reading: Chords and Inversions • Rhythm: Sixteenth Notes in Compound Meters • Theory: Inversions / Slash Chord Notation • Cadences: I – V7 • Styles: Broken Chord, Alberti Bass, Waltz Bass, Polka, Keyboard Style Go to eNovation 8 Topic Page Topic 1: Introduction to Chord Shapes and Inversions / Sixteenth Notes in Compound Meter Lesson Goals In this eNovation, students learn the 'feel’ of the different chord shapes and to quickly and comfortably shift between them. They will learn how the figured bass symbols for chords and inversions assist in reading and playing chords by shape. Students will also develop understanding of structure, content and fingerings for the different chord inversions. Activity Type / Title with Links Instructions/Comments ☐ Video Inversion Fingerings Watch instructional video Chord inversions have a distinctive shape on the staff and keyboard which Chord Shapes and Figured Bass Inversion determines its figured bass designation. ☐ Theory Symbols (Video and Flashcards) Watch the video: Chord Shapes and Figured Bass Inversion Symbols, then drill with the video flashcards. -
Discover Seventh Chords
Seventh Chords Stack of Thirds - Begin with a major or natural minor scale (use raised leading tone for chords based on ^5 and ^7) - Build a four note stack of thirds on each note within the given key - Identify the characteristic intervals of each of the seventh chords w w w w w w w w % w w w w w w w Mw/M7 mw/m7 m/m7 M/M7 M/m7 m/m7 d/m7 w w w w w w % w w w w #w w #w mw/m7 d/wm7 Mw/M7 m/m7 M/m7 M/M7 d/d7 Seventh Chord Quality - Five common seventh chord types in diatonic music: * Major: Major Triad - Major 7th (M3 - m3 - M3) * Dominant: Major Triad - minor 7th (M3 - m3 - m3) * Minor: minor triad - minor 7th (m3 - M3 - m3) * Half-Diminished: diminished triad - minor 3rd (m3 - m3 - M3) * Diminished: diminished triad - diminished 7th (m3 - m3 - m3) - In the Major Scale (all major scales!) * Major 7th on scale degrees 1 & 4 * Minor 7th on scale degrees 2, 3, 6 * Dominant 7th on scale degree 5 * Half-Diminished 7th on scale degree 7 - In the Minor Scale (all minor scales!) with a raised leading tone for chords on ^5 and ^7 * Major 7th on scale degrees 3 & 6 * Minor 7th on scale degrees 1 & 4 * Dominant 7th on scale degree 5 * Half-Diminished 7th on scale degree 2 * Diminished 7th on scale degree 7 Using Roman Numerals for Triads - Roman Numeral labels allow us to identify any seventh chord within a given key. -
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. -
Graduate Music Theory Exam Preparation Guidelines
Graduate Theory Entrance Exam Information and Practice Materials 2016 Summer Update Purpose The AU Graduate Theory Entrance Exam assesses student mastery of the undergraduate core curriculum in theory. The purpose of the exam is to ensure that incoming graduate students are well prepared for advanced studies in theory. If students do not take and pass all portions of the exam with a 70% or higher, they must satisfactorily complete remedial coursework before enrolling in any graduate-level theory class. Scheduling The exam is typically held 8:00 a.m.-12:00 p.m. on the Thursday just prior to the start of fall semester classes. Check with the Music Department Office for confirmation of exact dates/times. Exam format The written exam will begin at 8:00 with aural skills (intervals, sonorities, melodic and harmonic dictation) You will have until 10:30 to complete the remainder of the written exam (including four- part realization, harmonization, analysis, etc.) You will sign up for individual sight-singing tests, to begin directly after the written exam Activities and Skills Aural identification of intervals and sonorities Dictation and sight-singing of tonal melodies (both diatonic and chromatic). Notate both pitch and rhythm. Dictation of tonal harmonic progressions (both diatonic and chromatic). Notate soprano, bass, and roman numerals. Multiple choice Short answer Realization of a figured bass (four-part voice leading) Harmonization of a given melody (four-part voice leading) Harmonic analysis using roman numerals 1 Content -
COOK Referential Sets Referential Tonics and the Analysis Of
REFERENTIAL SETS, REFERENTIAL TONICS, AND THE ANALYSIS OF CONTEMPORARY JAZZ by Scott Alexander Cook B.Mus, McGill University, 2004 M.A., The University of British Columbia, 2006 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in The Faculty of Graduate Studies (Music) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) April 2012 © Scott Alexander Cook, 2012 ABSTRACT While jazz has become more integrated into academia, the repertoire that is commonly examined is out of date. Today's leading jazz scholars tend to focus on a handful of musicians who made their mark in the '50s and '60s. But jazz writing has continued to evolve in the last fifty years, particularly in regards to harmony. Though many rooted chords—including MM7, mm7, and Mm7—can be heard in succession, the relationships between adjacent chords are obscure, and rarely manifest the standard II–V–I progression found in classic jazz. Often, successive chords belong to different diatonic sets. Some composers have eliminated chord symbols from their lead sheets altogether, leaving harmonic interpretation and relationships even more open-ended. Since the inception of modal jazz in the late '50s, priority has been given to groups of notes and the ways that they can interact, as opposed to specific chords, keys, and function. This presents a challenge not only for harmonic analysis but also for improvising on these changes in performance. Nevertheless, pitch-class organization can often be heard to promote a hierarchical ranking amongst the chords, resulting in strong points of reference. This dissertation develops and applies a theory of referential sets, for analyzing and improvising over representative examples of chromatic chord successions found in some contemporary jazz. -
Figured-Bass Notation
MU 182: Theory II R. Vigil FIGURED-BASS NOTATION General In common-practice tonal music, chords are generally understood in two different ways. On the one hand, they can be seen as triadic structures emanating from a generative root . In this system, a root-position triad is understood as the "ideal" or "original" form, and other forms are understood as inversions , where the root has been placed above one of the other chord tones. This approach emphasizes the structural similarity of chords that share a common root (a first- inversion C major triad and a root-position C major triad are both C major triads). This type of thinking is represented analytically in the practice of applying Roman numerals to various chords within a given key - all chords with allegiance to the same Roman numeral are understood to be related, regardless of inversion and voicing, texture, etc. On the other hand, chords can be understood as vertical arrangements of tones above a given bass . This system is not based on a judgment as to the primacy of any particular chordal arrangement over another. Rather, it is simply a descriptive mechanism, for identifying what notes are present in addition to the bass. In this regime, chords are described in terms of the simplest possible arrangement of those notes as intervals above the bass. The intervals are represented as Arabic numerals (figures), and the resulting nomenclatural system is known as figured bass . Terminological Distinctions Between Roman Numeral Versus Figured Bass Approaches When dealing with Roman numerals, everything is understood in relation to the root; therefore, the components of a triad are the root, the third, and the fifth. -
Chord Reference Manual
Musical MIDI Accompaniment MmA Chord Reference Manual This document was prepared from version 21.09 of MmA. Bob van der Poel Wynndel, BC, Canada [email protected] September 29, 2021 Chapter 1 Chord Reference This document is a reference to the chords and scales use in MmA. It has been generated directly from the module chordtable.py in the MmA sources. Each section shows the chord name, a brief description, the chord notes for a “C” chord, and the associated scale tones. These chords and scales are used in MmA to generate chords, bass, arpeggios, arias, harmonies and scales. In all cases you will need to preface the name with a chord pitch. For example, the reference for an 11th chord is listed simply as “11”; you would use a “C11” or “Eb11”, etc. in your MmA source file. Read the MmA Reference Guide if you don’t understand this. This document was prepared as a reference to verify the correctness of the chords and scales used in MmA. If you find an error, please let the author know. MmA defines 98 unique chords plus 62 aliases. Chords used in MmA via aliased names are listed after the main name. (♭5) — Major triad with flat 5th. MMA notatation requires the () around the name. E A EW EW E E E E E E E +7♭9♯11 — Augmented 7th with flat 9th and sharp 11th. EV EW EW EW A EV E E E E EV E E EW 11 — 9th chord plus 11th (3rd not voiced). E E EW EW A E E E E E E E E 2 Chord Reference 11+, 11♯5 — Augmented 11th (sharp 5). -
Diatonic Harmony
Music Theory for Musicians and Normal People Diatonic Harmony tobyrush.com music theory for musicians and normal people by toby w. rush although a chord is technically any combination of notes Triads played simultaneously, in music theory we usually define chords as the combination of three or more notes. secundal tertial quartal quintal harmony harmony harmony harmony and œ harmony? œœ œ œ œ œœ œ œ tertial œ œ œ septal chords built from chords built from chords built from chords built from seconds form thirds (MORE perfect fourths perfect fifths tone clusters, SPECifically, from create a different can be respelled as respectively. harmony, which are not major thirds and sound, used in quartal chords, harmonic so much minor thirds) compositions from and as such they harmony? as timbral. form the basis of the early 1900s do not create a most harmony in and onward. separate system of are the same as as with quintal harmony, these harmony, as with quintal the common harmony. secundal practice period. sextal well, diminished thirds sound is the chord still tertial just like major seconds, and if it is built from diminished augmented thirds sound just thirds or augmented thirds? like perfect fourths, so... no. œ œ the lowest note in the chord & œ let’s get started when the chord is in simple on tertial harmony form is called œ the the & œ with the smallest root. fifth œ chord possible: names of the œ third ? œ when we stack the triad. other notes œ the chord in are based on root thirds within one octave, their interval we get what is called the above the root. -
Fully-Diminished Seventh Chords Introduction
Lesson PPP: Fully-Diminished Seventh Chords Introduction: In Lesson 6 we looked at the diminished leading-tone triad: vii o. There, we discussed why the tritone between the root and fifth of the chord requires special attention. The chord usually appears in first inversion precisely to avoid that dissonant interval sounding against the bass when vii o is in root position. Example 1: As Example 1 demonstrates, placing the chord in first inversion ensures that the upper voices are consonant with the bass. The diminished fifth is between the alto and soprano, concealed within the upper voices. In this case, it is best understood as a resultant interval formed as a result of avoiding dissonances involving the bass. Adding a diatonic seventh to a diminished leading-tone triad in minor will result in the following sonority: Example 2: becomes This chord consists of a diminished triad with a diminished seventh added above the root. It is therefore referred to as a fully-diminished seventh chord. In this lesson, we will discuss the construction of fully-diminished seventh chords in major and minor keys. As you will see, the chord consists of two interlocking tritones, which require particularly careful treatment because of their strong voice-leading tendencies. We will consider its various common functions and will touch on several advanced uses of the chord as well. Construction: Fully-diminished leading-tone seventh chords can be built in major or minor keys. In Roman numeral analyses, they are indicated with a degree sign followed by seventh-chord figured bass numerals, o7 o 6 o 4 o 4 depending on inversion ( , 5 , 3 , or 2 ). -
The Augmented Sixth Chord
CHAPTER24 The Augmented Sixth Chord Characteristics, Derivation, and Behavior The two excerpts in Example 24.1 are from different style periods, yet they share several features. In terms of form and harmony, both divide into two subphrases and close with strong half cadences. Further, the pre-dominant harmony in both examples is the same: an altered iv6 chord. Indeed, we hear not a Phrygian cadence (iv6-V), but rather some chromatic version, where the diatonic major sixth above the bass is raised a half step to create the strongly directed interval of the augmented sixth (+6). The new half-step ascent (#4-5) mirrors the bass's half-step descent (6-5). We refer to such chromatic pre-dominants as augmented sixth chords because of the characteristic interval between the bass 6 and the upper-voice #4. Listen to both excerpts in Example 24.1, noting the striking sound of the augmented sixth chords. EXAMPLE 24.1 A. Schubert, WaltzinG minor, Die letzte Walzer, op. 127, no. 12, D. 146 472 CHAPTER 24 THE AUGMENTED SIXTH CHORD 473 B. Handel, "Since by Man Came Death," Messiah, HWV 56 Example 24.2 demonstrates the derivation of the augmented sixth chord from the Phrygian cadence. Example 24.2A represents a traditional Phrygian half cadence. In Example 24.2B, the chromatic F# fills the space between F and G, and the passing motion creates an interval of an augmented sixth. Finally, Example 24.2C shows the augmented sixth chord as a harmonic entity, with no consonant preparation. EXAMPLE 24.2 Phrygian Cadence Generates the Augmented Sixth Chord Given that the augmented sixth chord also occurs in major, one might ask if it is an example of an applied chord or a mixture chord? To answer this question, consider the diatonic progression in Example 24.3A. -
Augmented 6Ths
TutorTube: Augmented 6ths 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 Augmented 6ths. Let’s get started. Augmented 6ths Augmented 6th chords are appropriately named due to the fact that they contain an Augmented 6th interval. They are used most commonly as predominant chords that resolve to the dominant. Augmented 6ths are not written as roman numerals like most chords you would analyze. Instead, the chord is identified as one of three types of augmented chords: Italian, French, and German. These chords can be found in major or minor keys and each of these types uses the same solfege base of Le Do Fi. The solfege refers to a lowered 6th scale degree (Le), the tonic (Do), and a raised 4th (Fi) scale degree. Our augmented 6th interval is between the Le and the Fi. Let’s look at the specific types. Italian The first type of augmented 6th chord is Italian. Italian augmented 6ths are the only chords in this category that are not 7th chords. In an Italian chord, we still have our base of Le, Do, Fi. The last note that we add simply doubles Do. This example that we have is based in the key of C. Our Le will be Ab, our Do will be C, and our Fi will be F#. Since this is an Italian chord, we will simply add another C to double the Do. -
Celebrate Theory Level 7 Worksheets
Celebrate Theory Level 7 Worksheets Contents Chords and Harmony .......................................................................... Pg. 3 Form and Analysis ............................................................................... Pg. 12 Intervals ................................................................................................. Pg. 16 Keys and Scales ..................................................................................... Pg. 20 Melody Writing and Composition ..................................................... Pg. 27 Rhythm .................................................................................................. Pg. 29 Celebrate Theory Level 7 Worksheets: Chords and Harmony Intermediate Theory Diminished and Augmented Triads 1. Name the root, quality, and position of each triad. 2. Write the following triads using accidentals only. a. submediant triad of B major in second inversion b. supertonic triad of D minor, harmonic form in first inversion c. mediant triad of C minor, harmonic form in root position d. mediant triad of F sharp minor, harmonic form in second inversion e. leading-tone triad of B minor, harmonic form in first inversion Set 2, no. 25 Level 7 Theory © Copyright 2016 The Royal Conservatory Intermediate Theory Diminished and Augmented Triads 1. Name the root, quality, and position of each triad. 2. Write the following triads using accidentals only. a. supertonic triad of A minor, harmonic form, in first inversion b. leading-tone triad of C sharp minor, harmonic form, in second inversion c. mediant triad of D minor, harmonic form, in root position d. leading-tone triad of F sharp major in second inversion e. mediant triad of G sharp minor, harmonic form, in first inversion Set 2, no. 62 Level 7 Theory © Copyright 2016 The Royal Conservatory Intermediate Theory Triads 1. Write the following triads using a key signature and any necessary accidentals. a. the tonic triad of B flat major in second inversion b. the dominant triad of F sharp harmonic minor in root position c.