Contents C D T r a c k L i s…… t …………………………… … ……………………………… V lntroduction _ _ _ _ …… … … …― ―V l e s s o n 3 7 M a l o r T H a d s……… … ……… ………………………… … … 1 Lesson 38 1´ inor■iads _… … … … ………… …… … ……… … …3 Lesson 39 Au8mented■iads _ … ……… 4 … … … … … …… … L e s s o n 4 0 D i m i n i s h e d T r i a d s _ … … …………………… …… … …… … … 5 Lesson 41 Chord Symbo s … … …… …… …… … … … 6 EXERCiSES′ LESSONS 37-41 TRIADSAND CHORD SYMBOLS ………… … …ア Lesson 42 Triad inve「 sions … … …_ … … … …… ― -9 ………… … Lesson 43 Bass/Chord Theory …… … … … …… ……… ……… … … 10 Lesson 44 ヽ /oice Leading _ _……… … … … …… … ………… …… 12 Lesson 45 0pen―Pos tionヽ /oice Loading and Chorale Notation _ _ … … 14 L e s s o n 4 6 C o n t r ab r ゾ a l e M O 」o n V o c e L e n d n g _………………………… … 15 EXERCiSES′ LESSONS 4246 1NVERS10NS AND VOiCE LEADiNG… Lesson 4フ ト 4a10rァ chords Lesson 48 Dominantア Lesson 49 Minorア
_
… … 1ア 19 …
…… …
Chords
_
Chords _ _
…
Lesson 50 Minorア
15)ChordS Lesson 51 Diminishedア Chords
_
… _
…
_
_
_ _ _
_20 21
………
_
…… … EX[RCiSES′ LESSONS 47-51 SEVENTH CHORD TYPES AND SYMBOLS
_ 24
……… 22 _ 23
Lesson 52 1nvers ons oF Sevonth Chords_ … … … ………… 26 Lesson 53 ヽ /oice Leading Seventh Chords … … ……… …… … 2ア …… Lesson 54 Contrary and bra‖elヽ /oice Leadin8 0f Seventh ChOrds…… … 29 Lesson 55 Third′Filth′ a nd Seventh Overthe Bass _ … … … … … …… 30 E X E R C I S E S ′L E S S O N S 5 2 巧 5 S E V E N T H _ C H O R D I N V E R S I O N S A N D V O i C L L E A D I N C … …………………………… … … … …………………………… … 3 2 Lesson 56 Harmonic Accompanimentfrom a Lead Shoot __ 34 … ……… Lesson 57 Arpeg8iat ng Accompaniment Chords 36 … … … … …… Lesson 58 using the Third′ a nd Seventh overthe Root as Accompaniment Fifth′ Chords
… … … … …… … … … … … …… … ―……… … … 3 ア Lesson 59 2:l Accompaniment Pattorn … … 38 …… … EXERCiSES′ LESSONS 5← 59 HARMONIZiNG AND ACCOMPANIMENT PATTERNS
… … … ヽ 4elodicヽ4ot on
……… … _ _… … … Lesson 61 ヽ ´ ′rting a Chord‐Toneヽ 4elody _ … … … EXERCiSES′ LESSONS 60-61 ME10DY … … Lesson 62 ヽ 4elcldicヽ スot on over Change Of HarmOny Lesson 60
………… ……… 39 ― … … … … …41 42 ……
_
_
Lesson 63 Repeat ng aヽ 4elodic Phrase on Diflerent Chords_…
………… _ _ 44
……… 43
… … 45 Lesson 64 Theハ … … … … …… … ………… … … … 46 ^eIOdic62-64 Sequence… EXERCiSES′ LESSONS MELODY WRITINC … … … ………4ア ヽ Vhatヽ Next? ___ … … … ……… ……… … … 49 …… About the Author ………… … …… … … … ― ……………… … 5 0 ……
〕Track List rack Number
Page
l M a 1 0 r T n a d s …………………………………… …………………………………… ……… 1 …… 3 …… 4inorTr ads… …… … … … 2 ヽ … … … ads… … … ……… …………… … … … …… ………… …4 3 Au8mented■ 5 4 Dim nished Tr ads__ …………… …… … …… ………… ……… _ aining l _ _ …ア Lcssons 3 7-41:Ear■ … 5 Exercises′ …… … … ア __ … 6 Exercises′Lessons 37-41:[arTraining 2 7
ー4 1 : E a r T r a i n i n g 3 …… _ Lessons 3ア Exercises′
8 9
Exercises′ Lessons 3 7-41:Ear Training 4… … … T r a d l n v e r s i o n…s… …… … …_ ― ― …
10 1l 12
Triads、vith Bass_ … …… Close and Open Pos tion Tr ads …… ヽ /oicc Leadin8 of Tr adS … …
_
… … 8 ………………9
_ ……
…… 10
…
…
…
……
…_
Excrcises,Lessons 42-46:Ear Trainin3 2
1 7 M a j o r 7 C h o r d… ……… ……―…………
…… 1°
…… …
…
ヽ /oice― Led Triads _ L ed withヽ /oice― 13 ComPar ng Not― Paral el Mo10n……… … ……… 14 Voに e tead ng n Contrarゾ Lessons 42-46:EarTlaining l 15 Exerciscs′ 16
8
…
…
… ………
12
―…―
…… _
_
…… 18 Dom nantア Chord ……… …… … … Chord … 19 Minorア … 20 Minorア('5)Chord … … 2 1 D i m i n i s h e d アC h o r d … … … … ……… ー 51:[arTraining 1 Lessons 4ア 22 Exercises′ ー51l EarTrainin82 _ Lessons 4ア 23 Exercises′ ー 51:Ear Training 3… … 24 Exercises′ Lessons 4ア LesSOns 47-51:EarTrainin3 4 … 25 Excrcises′ … _ 26 アChord lnversions _ _ 2 7 V o i c e t e a d n g 7 C h o r d s n C o n t r a r l r / P a r a l ……… el Molon 5′and 7 over Bass … … _ vth 3′ 23 アChords、
…… 20
t ￨
21 つつ ―^ 23
…
24 24 25 25 26 …
18
18 19
……
………
.
_ 12 15 ……
… 29 30
29
Exercises′ LeSSOns 52-55:[ar Tra lぅ n31
30 31 32 33 34 35 36 37 38 39 40 41 42 43 44
34 H a r m o n i c A c c o m p a n i m e n t f r O m C h o r d S y m b o s_… _ 3 6 A r p e g g i a t e d C h o r d s a s A c c o m P a n i m……… e n t _ … …… 3ア … 3′5′andア over Bass as Accompanimont … _ _ 38 2:l httern as Accompaniment _ …… 40 Lossons 56-59:Ear iainin3 1 … Exercises′ … 40 Exercises,Lessons 56-59:EarTrainin8 2 …… 42 Chord Toneヽスelody …… … … …… 43 ainin8 1 Lessons 60-61:Ear■ … Exercises′ …… LeSSOns 60-61:EarTraining 2 _ 43 Exercises′ 43 … Exercises,tessons 60-61:EarTraining 3 … ヽ ハelodic Resolut ons oVer Change of HarmonY _ 44 45 … lelodic Phrases 1・ …… … … 45 Melodγ Note Adiustments for Different Chords , _ … … 46 ヽ スelodic Sequence … … … 48 … Lessons 62-64:Ear Training l … Exercises′
…
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33
躍 灘網飩lt綿器:継 選網 ij撫襴剛W識 and hen JveSyOu me ′ Unlike most books on music theoぃ みth s b(
i`￨::『 c accompanimentfrom a lead sheet V′ e′1 ::]11:]1larmusに :こ 」 ξ :::‖ よ II:lき 1::ζ 、 vn melodies vrting our o、 i nish up by、
vho wantsto learn more′ V/hetheryouareabeginnerOramoreexperiencedmusician、 lЭ u′l develop harmonic and melodic listening′ reading′and、 vri ng skils through ン DrkヽV th a real keyboard e×ercises and eartraining pract ce l encOurageγou to Ⅵ漁 Bythe end ofthe book′ you′Ilbeabletocreateaccompanimentsfromaleadsheetand Vn melody based on anγ common chord progression 、 vr te),Dur O｀ Paul Schme ing C h a r E m e r i tPuisa′n o D e p a r t m e n t Berklee Co‖ege ofヽ4usic
/1alorTriads Lesson 3ア。￨ヽ ‐ ∫
ded・ md● neouJY r mend6ざ :譜 緊 ll″ :置
γ♀ξ∬ 1憎:T∬
ePは ｀CC
::::ぽ
note chords They aro bu tup、 vards in thirds from a Fundamontal no:= Triads arc three― tre ca‖cd a root The maior tr ad includes the tonic(rool)′ third′ and filth notcs o「 lmajor scale bu t on thc triadt root
,一
Arpe99`o一
―
ハlpe99:o一
・____Arpe99i。
EachofthesenotesisdcscrbedbyanumbercorresPondinglothescaledegreeabove ″E f u n c l o n s a s t h e t h r d o f a C m n″ s′ as n′ t h e r o o t T h e s e n u m b e rfsu nacrleo″ triad″
the major t面 ad ads s in terms ofintervaに From the rool′ Anothor way to think oft面 o be has a majorth rd and a pcrlectttth L can aにseen as a majorth rd(C tO E)be ow a m northird(Elo G)
…― M 3 - に ―
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dee Music TheOrv Book 2
Practice
■
l Bu ld a malortHad on each ofthelol owing notes
2 Each ofthese notes is the thttd of what majortttad?
3 Each ofthese notesisthe nth of what majortr ad?
￨ ヽlinor Tri
Lesson 38。Minor Triads Minortriads can be lormed by owenng thethird ofa malortttad by a ha「 stc3 or a minorthi「 the intervals arc a minor third and a perfect ilflh′d l]= the root′ ma10r thrd C Mi"or Tl● d
C MaJOr Trbd
M3
m3
m3
.―
M3
■_________ 75
,5
。 r Trl.d
,Min● r輌 Hdd
'M可
m3
M3
3 1 M a J o r T dl d●
M,
M3
_________ P, “
P5
¨_________ '5
m3
O Minar Tndd
n3
25-
Practice
d s o u l o f t h c f o o w n g maadlso rTth面e l r s t o n e ` d o n e l o r y o l M a k e m i n o r ta面
2
vhat minOrtr ad? EaCh Ofthe FOl owing notesisthe third of、
■ ■
Berklee Music Theor"BoOk 2
Lesson 41.Chord S ymbols v th chord symbols Chord symbo s are usua‖ Chords arc olten exPresSed、 γ made up Of a letter that indicates the noto that the chord is and buitother on′ symbols that
ind cato add■ ona notesin tho chord there is nO other symbot the chord`ma,or in chord 5Ymboに ′mn`for m nol o`Iord “ m′ and+`augmented(Chord Symboに as CM a l s o t bt e n w ■ m a y b e w r n t e n m a n Y d f l e r e n t w a y s CF omra leoXra mmpalyc ′ Cm,or Cmi) orCmaL and C m nOras ′ C― Cm`"
σ
Practice l
ving triads The first one is donc lor you ヽ ´ Vr te the fo‖ o、
2
、ri n8 1lS ChOrd mbol s、 Analyzc each trad b、、 ら
[xercise、′Les,on,37-41 Triads and Chord Symbols
Lessons 37-41.丁riads and Chord Symbols Exercises′ l
ving tr ads 1 7 V t「e t h e ' oo‖ 、 pl
Emi"
Fm`"
2
ヽ V:te tho chord svmbol abovc thc Analyzo cachtrad、 v th its chord svmbol nan,e chord
Ear Training
conrJ“ ∼ eaCh examp e as etther a majo l L s t c n t o t h e m a l o raadn dT hmc ndn′ o r m n o r ta面 d a
malor
b ma10r c
malor
d ma10r
mlnor
m nOr mlnor
m nOr
′ denll,each examp e as enher a 6 2 L ` t e n l o t h e m i n o r a n d d i m na`dh eTdh etn門 m i n o r o r d m n ` h e da dt 商 a
lη lnor
d min`hed
b mnor
d min`hed
c
m lnor
d min`hed
d
minor
diminished
Berklee Music Theorン 3ook 2
e¨ dhσa d mad de市 Theι ,eaCh exam口 は 3‖ 鳥fl‖ :Tgmenに 器P塊‖ a major
augmented
b ma10r
augmented
c malor d major
は
4器
augmented augmented Chは am口 ぃ
ぃ よ 品 11::]d Thett de前 a ma10r
m nor
d minished
b ma,Or
minOr
d min`hed
au8mented
c major
minor
d min`hed
augmented
d major
minOr
dim n shed
augmented
augmented
e major
m nor
diminished
augmented
f ma10r
m nOr
diminished
augmented
g ma10r
minor
d min`hed
h major
minor
dim nも
a m 可 O L 而 n O L d 面 市弥 e d ′σ
augmented hed
au8mented
L(:s、 on 42 Triad lnversiOns
Lesson 42.丁riad inversions Tradsbu tuP、 vardsin thirds fronn the root aro said to be ilぅ r00tpOsition The individunl notes oF a tr ad can be rearrangcd(′ ρverte(′ ,so thatthe th id Orfitth is on the bottom
R001P● 5itloll; 彙ool(1)o"bottom
ist inversiOn; ard ollし。ttom
211d inver510": 5th o"レ ottom
Practice l
ヽ ″間te theも ￨。w ngt市 ads , t h c r f r s t Iasne〔c O n d i ] v o r s i o n s 3,●
Cmin
fst illv
2
2‖d inv
o・
4st inv
2nd inv
lst inv
2nd inv
C o m P l e t c o a c h o f t h e i n v e r t c d c h O r d s o n t h e s t、 a r y bb eu l 。 ャb dl,s uP、 、a r d S i r o m the given noto EI
Emin
Al,
3mi"
Flmin
3
Analyze each chord w th chOrd symbols fOr each Ofthe inverod triads The frst one is done fOr you Fmin
Berklee Music Theorン 3ook 2
Lesson 43
Bass/Chord ttheory
add tion to the three notes Complete harmony includes a bass nOte(bot(olminnOtC, s root y the lovvesi notc ofthe harmony and is usua v tho tr ad′ ofthe tr ad ltis usua‖ IOn3 asthe rootisthe bass′ ln haimon"a chord is considered to be in iootaspos tion y regardless of the pos tionin8 0f the rest of the the chord notes Tle in bass is usua‖ notated in bass clef Fm`"
3 ●3 8
a(1 C h o r d m e m b e r s t e x C l u d i n 8 t h o b a s s ) S P r e a d O u t o v e r m o r e t h a n o I ,eo aorcet as、 thin the salne octave are said to be in c10se t o b e i n O p e n p O s i t i o n C h o r d m e m b e rvs 、 n p O s i t i O n A g a i nc′ h o r d s a r e c o n s i d e r e d t o b e i n r o o t p o s t i o n a s l o no 8o t a ,i ts h ei 「 w h e t h e r c l o s e o r o l ) a e r n c ′ i n r o o t p o s t i o n the bass AIl ofthese chords′ C
υ
‐
‐ 7
Ciose
Ope"
Ciose
CloSe
Open
OFen
Practice l
ワ
Complete the harmony by adding the root oF each chord in thc bas,
●
●
T●
椰
1
●●
■‐
‐
tesson 43 Bass/Chord lheory
2
R e w r t e t h e F o ‖o 、 v i n g c l o s Pe O―S t i O n c h o r d s i n o p e n p o s t i o n b y r e v e r s i n g t h e t o p a n d b o t t o m n o t e s N o t a t e at‖ hree notos on the treble star Fmin
`●
3
3・ t
フ
1
￨
3
Rcwrto the fo‖ o、 ving open_Pos tiOn chord5 in close PositiOn by reversing the top and bottom notes F“ :"
フ
4
￨
￨
G●
￨
B
O。
1ブ
υ
ず
Add the bassto complete the harmonγ ofthese Open_pOs tiOn chords
フ ￨
「
‐
♭υ
J
レて '
‐
Berklee^ス usic Theorシ BoOk 2
Lesson 44
Voice Leading
Voice leading reters to the、 vay that individual voiccs(nOtes of the chord)mOVe in a series of chOrds(chord PrOgreSSiOn)The 8oa1 0f voicc loading is tO have each voice move as litt e as pOssiblc in a lnelodica‖ y interest ng way frOll,chOrd to chord ヽ 、 voice lead a chOrd ProgreSSiOn′ frst100k forthe cOmmon tone― ―a note'ound in t、 vo successive chords Keepins con]mOn tOnesil,the same voiceis rctcrrod lo as cOmmon‐ lone voice leading CommOn toncs are hish‖ 8htOd here:
Note that direrentinversions oF each chord are used to makc this movementsmooth′ nle10dic′ a nd linear The bass PlalrS the r00t Ofthe and chOrd′ movosindependent y oF thc upper vOices F 3 Nol voi`e led ハ 。■Po,iti。 " "r。
Voite ied
F 3, Vori。●3 POSiti。 "` ‐
=
stanin8 in r001 pOs tho tiOn′ top voice tvoiCeVOuld l)ヽ movo nsi‖ u strate[ to thc lcFl (1)elovv, fthc chords vvere not voice ed′ and asi‖ u strated to thc righi`￨)e10、 、 「、olcc― lod oice ied: `f nol●
n8 些ヽ 1生J4ち にe lea“ Practice l
ヽ ´ ′rte out the noOvement Of the middle voice(voice 2)'om the exan3ρle On Page 12′bOth vOice ed and nOt vOice led
vc ice_leading
B,
Noモ voice fed`
2
Voice i●d`
ヽ ´ ′rite Out themovemont Of the bOttOm vOice(Voice 3)′ both voice Od and not voice ed C
￨,● ●●o,● ● ￨,C●:
3
voice:ed,
ヽ / o i c e l e a d t h e 0F,ov‖ i n g c h O r d sO′ bserving the commOn_tOne princIPle F
,m`"
lll・
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Berklee A4u,c llleor"B`)で ,(J
Lesson 45 Notation
Open―Position VOice Leading and Chorale
Chords are sometimes notated in chOrale nOtation′ 、 vhich places theνOt、 higher voices in the treble clef and the、 vo 10.ver voices in the bass clef TO easi y distinguish the voices′ the stems of the hisher∨ oices in each clef 80 upward and the stems oF the ower vo ces 80 dOWnward C
Cl10r●
le Notctioll
Practice l
Revvrite tbese chords in chorale nOtation Re●lliar IIcta“ o":
8 '
Ｊ
2
lol:o":
ｒ
フ 8 '■
Chorale"。
ヽ /oice leading open― ray as close_POs tiOn: iind Pos tiOn chords wOrks tho same・ ・ the cOmmon tone′ ヽ and keep itin the salme voice /oice lead thc fo O、 0 Den― 、in8 POS tiOn chOrds′
F
●7
￨
Observing the cOmmon-10ne pr nciPle uSe chOra10 nOtat on
,min
3♭
G
Eo
C
F
￨
」
′
Lesson 46 fo型 rarχ /Para‖ el Mdbn VOice leaang
Lesson 46。Contrary/Parallel MOtiOn VOice Leading
ヽ ´ ′ hensuccessivechOrdsdOnOthaveac011:lキ t o a G m a j o r ttlraadd′ t i o n a v O c e J e ::llili:｀ a 語 こ ￨ょ 」 :鴫 ]::II:iI口 l:￨[::
‖ ￨lillilill:嘗 I『 lil曇 鮒 lilitl ‖ illl11よ 1職 :1糾 驚 Contrary Motl。 υPper voices move ": dOwII, b●53 moveS“ P
PargileI MOtlon: upper voice3 ond bass move ln s● me directl● ll
バ lovc the upper vOicOs as indicated Each example mOvesfrOm an m a 1 0 r ta商 d C● trary F “ c
υ
Para:lel F G
ntrary G 『
F maiortO a c
Para!lel F `
` `
2 :偉 n_lclne p市Ы nd口 e、 ヤ hcn avjほ 。 lC:」 li:￨￨:l」 !♀ :}￨』 lkl:『 :a[F‖ i∬ =R° Colltrarッ F
G
par.:lel F
c
Berklee Music Theorシ B00k2
3
thenbass′ in contraγ ヽ ving chords′ firstin paranel motion to the /oice lead theo、 fo‖ motion paratiei D
■mi" Cm:"
Contrary F
3
■m`‖ Gmin
F
。 Ons andも にe lea“ ng ■Cr12Jes、 ]'43 46 hver●
Exercises′Lessons 42-46.In∨ersiOns and VOice Leading
●もた eに ad“ ヽ OgF蒟 0:∬ P「 com mon―tone principle′ l堂 i蹴 器lhi渋 ]:Ini鷺 ぽ:常送 :濡鵬 電￨: reen chOrds betl・ B Cmin
υ
■,
3,
O
E cmin A,
3,
D
E, Cmin A,
D
―
2面
∝ に調 市 s P % 健
蒟 m“
市調 ヽ L . n t 赫
‖e 躍
器:11#器 1忍 鴇肥肥『 :￨:I謎 :"ndNC ' 3min C
フ
_1
A
,
, 3min C
A
,
ni 11lcI肌
」
Analyze each chOrd、 v th its chOrd syml)011,ain e
︲
」
「
︲ 百 Ｆ ︲
￨
︱ Ｏ Ｆ ︲
ｒ
Ｉ Ｊ
υ
淵
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, omin c
￨
」
品
Ｆ︲ ︱
“＝ ＝ ＝＝ ＝ ＝＝ Ц
3
3,
0
0
BerkleP Music Theorル B00k2
Ear Training
eaSa exam口 m.llol面 nOI ) ・」 億 鱗 ・dentli 1;￨:i::「 」 「 RIT:離 [llll:]lS Th°each MdJOr
a
ma,or
Allgmented
MaJ。 「
Minor
m lnor
dim n`hed
augmented
b ma10r
m:nor
dmn`hed
augmented
c
mlnor
d min`hed
aU8mented
d maiOr
m lnor
d nninished
augmented
o malor
m lnor
dim nished
augmonted
f ma10r
m lnor
dim n`hed
augmented
3 ma,or
m lnor
dim n`hed
augnnented
h ma,Or
minor
dmn`hed
au8monted
maJor
MJor
●I口ini3hed
2 L`ten to the demOnstralon t面 ads Then′denl∼ each eXamp e asa malor m nO「 diminished′ or augmented tr ad
Allgmented
町ム
“＝ ＝ ＝ ＝＝ ＝ ＝ Щ
MJor
Or
IW Minor
1
l
a ma,Or
mlnor
dmn`hed
au8mented
b ma10r
mlnor
d min`hed
augmented
C
m lnor
d minished
augmented
d ma10r
m lnor
dim nished
augmented
e
m lnor
dmn`hed
augmented
f major
m inor
dmn`hed
augmented
g
mlnor
d min`hed
au8mented
iη lnor
diminished
augmented
ma,Or
ma,or
ma,Or
h majOr
,imini3"ed ‐
M 可o r ￨
LesЮ n 47 Malorフ
Chords
Lesson 47.Majorア Chords
躁鈍 器り 蹴r:riPI置 lξ 鷺 faぽ ::「 LIば 品メ 酵よ 喘‖ Ψ鳥1■吉 tach note functions as described by its corresponding scale oot,3′ degrees:『 5′ア
Bu‖d a malor 7 chord upwardsfrom each g ven nOte
2
Analyze each chord、 vith a chord symbol
Berklee Music Theorシ
BoOk 2
Lesson 48.Dominantア
Chords
The dominant 7(ア ng the seventh ofthe majorア chord )chord can beformed by Owe百 by a halfstep CM■ 7
Practice 1
Bu‖d a dominantア chord up、vards frOm each 8iven nOtO
2
Analyze each chord dominantア
、 v th a chord symbol Hint: 5ome
are malo「 ア sOme are
Lesson 49 Minor 7 Chords
Lesson 49。Minorア Chords The minOr 7 chord(minア vering the third of the dominantア by )Can bO fOrmcd by 、 l。 a ha fstep C7
Cminフ
Practice 1
Bui d a mino「アchord upvvards from each 8iven note
2
Analyze each chord w th a cho「 d symbol Hint: Some are m nOrア dom nantア
′50me are
3erklce Music Theor"3ook 2
Lesson 50。Minorア (♭ 5)ChordS The minOr 7(15)chord[Symbol minフ (15月 ha i― c an bo ′also knovvn as the diminished′ formed by owettngtho nth ofthe m no「 アchord l)y a ha Fstep Cmin7
Cmin71,5)
Practice Bu d a min7(15,chord up.・7ards frOm eac1l givcn noto
2 Ana vzc cach chOr(1、 、 ■h a chord s、 n,い o1 5ome are ni nor 7′some are minア (,5)
lesson 51 Diminished 7 Chords
L e s s o n 5 1 . D i m i n i s h e dcア hOrds The diminished 7 chOrd(。 ア)is ltrmerl by ver minア lo、ng the seventh Of a (,5,chord by a ha Fstep Cm`"71,51
c・
7
一５
‐
m3
・ 5
● ・ 7
C o m p a r e d t O t h e m a i O′rt ア h C S e v e n t h o i t h e d m n ` hcchdoア r d h a s b e o1。 n、 verod
‖1驚 剛酬 彙識猟樹 T瀞熙『よ
to avoid a so be
Practice 1
Bu ld dlninished 7(° ア)chords ul)、 vards frOm oach 3iVCn note
(llse enharmo"ic 7th)
2 Ana yze each chord wth a chOrdsymbo sOmOaで
mnア (,5)′ some aに dim n`hedア
Berklee Music Theor"3oで
'k2
Exercises′ Lessons 47-51.Seventh Chord Types and Symbols 1
ヽ ovving chords from the chord symbols ´ ′rite out each o'the FO‖ E7
2
,M■7
Cmin711,
●min7
3min71,,
Analyzc each chord vvth a chord symbOl
Ear Training l
Listen to each denlonstrat on chor(l denl"Cach Then Or(10minantアchord a ma10'ア b n'a10rア
examp e as e"hera major 7
dOm nantア dOl1l alぅ nt「
c ma orア
dom nant「
d m a l o 「F
dom nantア
or ch eЮ m lc s dherdominantア 日stcn lo cach dcn,onstktion denl,o・ chord nThen′ minor 7
a dom nantア b dom nantア c
domillantア
d dominant 7
m norア minOrア minorア m norア
′
[xerdses′ tessons 47 51 Se■ enth chord,peS and mbOL Sγ
暴
〕
輪4
は 面 °n c h a よ T h e ● d e 前 ″ e a C h e x a m 口 e ぉ d h σ :,編 洲
ttnaア
:h dem°
a minOrア
m n705)
b minOrア
min7(,5)
c minorア
m i n ア1 5 )
d minOrア
m i n ア1 5 )
Listen to each demonstralon chOrd Then′ dend″ eaCh example as elhero5) minア
or diminishedア a min7(,5)
diminishedア
b m i n ア1 5 )
diminishedア
c min7o5)
dimin`hedア
d mnア ('5)
d min`hedア
Berklee Music Theorン
3ook 2
Lesson 52.Inversions of Seventh Chords v th Like tr ads′ seventh chOrds can be inverted There arc three inverslons pOssible、 seventh chords The rirst invers on has the th rd on the botlomi secOnd invers on has the Fith on the bottolη ,th rd invcrsion has the seventh on thc bottom
Root,ositlo31
15t intlersion
Practice 1
ovving seventh chords Wiite the three inversions of the fo‖
3,M■7
Ist 2"d 3rd
15■ 211d 3rd
lst 2"d ttd
bol 、 ,vnぅ lh a chord 2 1denl″each nVCrted sevcnth chord、 F7
tesson 53 Voice Leading Seventh chOrds
Lesson 53.Voice Leadin g Se∨enth Chords As、v th triads′ seventh chords can be voice ledovvin8 frn‖ the COmmon-lone pr nc l)e ln these examples′ each voice moves sm00thl"as the common tone is observed FM● フ 3,M●
フ CM可
フ A,MaJ7
F7
フ ・
-
3,7
07
ハ暉
一
Practice l
Complete the voice lending irom thelo8 sta嗜 PoS tiOn FMa:7
2
,Mai7
6Mai7
ハ,Mai7
F7
Complete the voice leading from the staning position Amin7
,min7
Cmi"7
Cmin7
ハ昴:"7115),min71151● 昴:“ ス,6 mi"7175,Cmin7051
Berkl∝ Music Theor"B00k2
3
Complete the voice leading frOm the starting pOsitiOn Hint:Tbere l be no w‖ c o m m o n t o n e s V O c e e a d m o v i n g e a c h v O i c e dSotwenp, /mhooa」 nl 「 ●7
″7
Lesson 54 Contrary and Para‖ cl Voice teadng of Seventh chOrds
Lesson 54. Contrary and Para‖ el Voice Leading of
Seventh Chords As 、 vith tr ads′ t o n e s mav be voice led in either seventh chords vvth no cOmmon otion c o n t r a r y O r pealr am‖ GMaJ7
FMaJ7
0MaJ7 ,MaJ7
C●lltrary Motiο
CMaJ7
FMaJ7
E12M■ 7
OIM■7
para"e!Motion "
,
Practice l
ヽ /oice lead theわ ‖o、 vin8 ProgreSS10n using i rst contrar、 then Para‖ el moton FMaJ7
CMaJ7
AM■7
FMaJ7
AMdJ7
par.1lel
Co“ trdry
2
GMaJ7
ヽ /oice lead using contrary and Para‖el mOt On
CM■7
Comtrary
0,MaJ7
,MaJ7 ハ
CM■7
Parc:!el
BIM■7
ハ 7 'M■
Berklee Music Theorン BOok 2
Lesson 55。丁hird′Fifth′ and seventh overthe Bass Frequently seventh chords cOntain thefifth′ third′ and the and seventh in the chord′ rootin the bass′ making a total offour voices This sOund is especia‖pop y commonin music Fmi“ 7
ヽ /oice leading the th rd′ filth′ and seventh vvorks tho sameas voice leading re8ular triads CMaJ7
CM■7
Lcss()n55 Third′ Fi"h′and Seventh over the Bass
Practice l
VN/rte thc Fo‖ ving seventh chOrds 、 0、 v th the third′ fifth, a ld sOventh Over the root
7
ン ー
■min7
Cmi‖ フ15)
'M■ フ
2
ヽ 7in3 Seventh chords、 /oice lead tho Fcll10N・ 、 lth t1le third′ fiffh′ and sevonth Overtho root′ using the common_tone pr ncIPle
FM■7
Cmin7 'min7
3
ヽ /oico lead the th rd′ f fth,and seventh′ usin8 cOntrary then Para‖ el nnOt On
”＝ ＝ ＝ ＝＝ ＝ ＝ Щ
FM可 7
Cchtrary
`m:"7
ハmin7
3,M■
7
FMJフ
Pargl!e:
`“
:h7
Amin7
3,M可
7
Berklee Music Theor"BoOk 2
Lessons 52-55。Seventh―Chord lnversions Exercises′ and Voice Leading 1
ヽ 7oico lead this prOgression oF seventh chords using the cominon_lone principle 3,M■ 7 Gmin7 Cmin7
F7
3,M■
7
0,MaJフ
Cm`“ 7 Cmin7
F7
B“ :"7
2
3,MdJ7
E7
v th the third′ ヽ /oice lead the same progression using the common tone pr nciple、 f lth′ and seventh overthe rOotin the bass F"M可 7 Cmlll'Cmin7 F7 3,MaJ7
[xercises′
Lessons 52-55 Seventh‐ChOrd inversions and VOiぐ e Leading
Ear Training
辟 ・謄l轟 戴鍬[[慶 l wり L∬ ‖ 駅 ′ a maiOrァ
dominantア
minOrア
b malorア
dominantア
mino「 ア
c malorア
dom nantア
minOrア
d majOrア
dominantア
minorア
e malorア
dominantア
m ino「 7
f m■0「ア g majOrア
dOminantア
m[nOrア
dominantア
minorア
h ma10rア
dominantア
m n o 「7
"f冊
nЮ otP° mm The. プ
Berklee Music Theor"3ook 2
Lesson 56.Harmonic Accom
panirnent frorrl a
Lead Sheet than a i n P O P U a r m u J c a n d i ma uz ●c z ′ a n s i r e q u e n J y w o r k w " h a l e a dr asthheeert ′ complcte score The lead sheetincludesthe melody and the chords expressed in chord notes vrtten out Accompanists use thc lead sym5ols′ whereas the score contains a‖、 irom the chord symbOlinformation sheet as a guide ine to creatcv]PariS thc r o、
FM■7 `min7
rthe melod、 devised Tho frst stcp to creat 18 harmonic accompaniment(suppOrtわ from the chord symbols)is to voice lead the chords in thc ra118e oi usiratcd notes i‖ v l sound rich and fu‖ v asto sound muddy The belo・ 、 vhere they、 ′but not so lo、 melody is plaved separately abovo tho chords
FMoJ7
￨
4
FM■7
C7
︱ 書
フ
Cmi"7
´
￨
‐
Lesson s6
HarmOnic AcconPariment'Om a Lead Sheet
ヽ /oice lead the chords pOsitiOn shOwn vratch out signaturel 'om the ttrst ■7
G7
Cmi"7
'min7 θ
フ
ー
￨
c7
for the key
FM■7
,
￨ ―
一
● １
Berklee l■usic Theorシ Book 2
Lesson 57.Arpeggiating AccompanirYlent Chords
Arpe88iating chords__playing each not「 oF thc chord soParatCl"rather thanata‖ thc same timc is a common way to create harmon c accompaniment Nolce thatthe notes oF each chord are argeggiated in the sarre order/start n8 vvith the lovvest nclte t 一、 the hi3hest nOle and back again― vhi e the Ori3inal voice leading frOm the previous lessOn remains intact(Lesson 5 6′ P 34)
FM■7
ー
FM■7
Cmin7
●7
一
_,「 ,_
´
■
_
´
,_
―
‐
Practice
Complete the arpo8giatOd accOml)animent ヽ ´ ′hen there are、vo chords in the same measure′ uso tho nrst chord br the irst two beats of the pattern′ and the second chord ltlrthe lasttvvo boats FoHow the voice leading set up in the previOus lessOn(Lesson 56′P 35)
1
,min7
■7
フ
_
^生 .
Gmin7
FMJ7
[e、son 58 Using the Third Fifth′ and Seventh over thc Root as Accompaniment chOrds
Lesson 58.∪ sing the Third′Fiith′ and Seventh over the Root as AccompanirYlent Chords
cに menも aに d'om sevetth chords ith′ can anduse sevetth he h"d′ プ Accompan only with the r00t Ofthe chord in the bass FM■7
FM■7
McI● dソ フ
￨
‐
舟
‐
書
Chord
3o38
Practice ヽ usin8 only the /oice lead the Fc1l o ving chords from tho start ngn′ POs tion sho.・ fillh′ chord third′ and seventh of each seventい
l
■7
,min7
G7
Gmin7
￨
フ
螢,
FMdJ7
Berkleeヽ 4usic TheOr"3ook 2
Lesson 59.2:l Accompanirlnent Pattern I A n o t h e r a c c o m p a n m e n t P a t t e r n t h a t w o、 s wthe c ‖ throo notes o'the third,fth′ vr kth and seventh is the 2:l pattern T 0 0fthe thrcc notes are struck togethel a tcrnai ng is a 21l partern based on the voice
r:λ e、 by nsdr Th s l譜 il:ill』 s:1瞥 漕げ FMaJ7
Cmi“ 7
Practice l
COml)ete tho 2:l harmonic accO]]Danin]cnt tsing the sanlO vOice leadin8 as the previous t、 vO 10ssons(l esso1ls 5ア ald 58 , 36-3「 Omin7
Cmin7
0
′
Exerc scs tcs,ons 56-5' Harmonizing and Accompaniment Patterns
Exercises′ Lessons 56-59.Harrllonizing and Accompaniment Patterns ヽ /oicc load the accompanYing chOrds using the common― tone pr nctple
1 丘＝ ＝ ＝ ＝＝ ＝ ＝ 崚
GM■7
Emi“ 7
ハmin7
,7
υ
_
■
舟
2
Arpeg8iate the voice ed chords to crente an accolnPanimcni Be careFul to arpeggiatethe notes oi each chord in the saine o「 dei to PrcServe the voice leading
3
｀ /oice lead the third′ Fifth′ and seventh from thc stari ng pos tiOn sho、 vn
FM■7
3,M可7
0
フ
‐
Emin7125)
ハ7
￨
Berklee Music Theorル
BoOk 2
using the third′ Fih′ and seventh lo crcate an Create a 2:l pattern′ accompan ment
4
髭＝ ＝ ＝ ＝ ＝ ＝ ＝ 氏
FM■7
3,M■7
Emin71,5)
0
フ
■7
￨
Ear Training
ぃア arpe8'aFd ChOrd,and hem as dem″ ′m可 ‐ 撼 麟 ・::焉 llit,γ 獄 IWザ a ma10rァ
dOm nantア
mlnorア
b nnajorア dom nantア
minorア
C ma10rフ
dOm nantア
minorア
d majorア
dom nantア
m lnorア
O ma10rァ
dOminantア
minorア
f ma10rァ
dOminantア
m lnorア
8 majOrア
dominantア
mlnor 7
g船 出 Sお me¨ p甜 and dem,ch。 2‖ ′ ポ‐ 悧 n:FTmpa前 魔 二 肥 埠 ツ 嶋 器丼 a majorア
dom nant「
1]10rア
b ma10rァ
dOm nantア
minorア
C ma10rァ
dOm nant 7
minorア
d ma10rァ
dOm nantア
m lnorア
e ma10rァ
dOm nantア
minorア
f major,
don￢ nant 7
m lnorア
8 ma10rァ
dOm nantア
minorア
teSson 60 Melodicヽ ィOtiOn
Lesson 60。Me10dic MOtiOn 酌 :ギ [l常
脚
M■ or 2nd
鰍
器
:い
い
ム step`am可
¨
而剛
SecO山
網
"… .``_^_,_J
Minor 211d
Steps(s)and loaps tL)are analyzed as this me10dY mOves irom One noto 10 the next
Practice l A n a l y z e t h O n o O t Obet、 n veen tho nOtes OFthe,o‖o、 ving me10dY by using e ther S or L
Berklee Music TheOr"B00k2
Lesson 61.1/Vriting a Chord― TOne Melody The nOtes that make up a chord are ed ca‖ chOrd tOnes A chord_tOne melody is one that uses only notes Oftherent cu「 chord′ i n anY Orden Notes may be used in diflerent octaves′ and some may be used more than once before others are used ,min
Practice l A d j u s t t h e n O t e s o Fm et hOζ dy to ttt the chords Label the chord tones using numerals′ a s above a D,
b Bminア
2
ヽ ￨ヾ rte a 4-mcasure chord tone lmelody on o、 the vin8fo‖ chOrds F M a 」7
Flminア
嗽 対 E x e r c , も, L 6 s o n s O “ 1 ″
LessonS 60-61。 Melody Exercises′
Ve Then Oф ¨o∝ e轟 N σ er“ 試° 鍮 ・罐糧品::L蝋 鵠騨 蹴"ape」 “ Ear Training
鍮
2日
Stn o a cnlげ
出 ∝よ The● tほ “
mm側
be轟 “
に mdody
`牛
郷ЮmdO" m“ ロ be ms■ dcMイ Thmメ いσ uSen o a “ 蟷・ “
Berklee Music TheOr"3ook 2
Lesson 62.Melodic MOtiOn over Change of Harrl10ny
槽 sPI』 t::話 鮒Llよ よ :混 Iiぱ it note oitho next chord fthe lasi nOte oF 謂 :alttdhamon"wepayttemOn b h
a chord is alsO a chord 10ne ofthe next it chOrd′ may bc descr bed as a cOmmon tone (CT)In these cases′ a leap into the Frst nOte ofthe l]ext chOrd is Possible f the last note of a chOrd is nOt a chord tOnc ofthe next vn chOrd asa lknoヽ non― com mOn-10ne′ Or NC)′ a step、 visc resOlut on intO the frst note ofthe next chord is ca ed fo■
Practice 1
17「tc a short simplC meL)d、 01, this 2‐ chOrd Progression t,se each Ofthe Four Cnl n7 notes as the last note o1lhe ir51 measure′ and resolve that note into thc next chOrd bv lcap ir its a] 110n tOnc or resolve by steP if 。(,日 S a il′ lon_ch。 「 d_ tone Cmim7
Fmin7
Les,oo 63 Repeating a Melodic Phrase on DifFerent Chords
Lesson 63.Repeating a Melodic Phrase on Diferent chOrds
t胤 繋 IW‖ 穏T詭 nf畔 町 S『 l [d° c p h r a s e m a r k i n g s : :ド ふ : 鰍 :Ti舗 ‖ 精群 胤 1∬ Cmin
A7
A7
c heぬ and mdOdC Shapes d met撒 h而 Nttce mtt メ [: 11:‰ l轟 盟 稲 the melody nol i lよ chordsin measures 3 andvere 4、 different′ v chords lo accommodate the ne、 3,MaJ7 `, Cmin7
on we ephお ・Rlll盟 離 12meが 鳳 計 朧 胤;¶ :!籠 i』 嵩鵠弔 聯 増
Practice
Flmin719
2
、 Vith a repeat ofthat me10dy in νO m easures′ Wrte your ovVn melodyin the frst● V th the chords the second tv.o measures Pract Ce playing itヽ ,MaJ7
FM■7
Berklee 14usic Theor"300k2
Lesson 64.The Melodic Se quence
i:瀾 鱗金 [再 li爺 『 ∬ 錯 :薔簡T:鷺月 :al脂 :Iξ∬鳳 配:11ま 器:樅 fourth one is olen completely differentto bring thin3s to a COnclusion ,mim7
Repeated
Varied
Complete:v OifFerellt
Practice l
Complete these melodic s e q u e n c e s ′ u s i n 8 t h e el 1η0 d i c m a t o r a l a n d c h o r d s 81Ven Cmin7
C7
FMgi7
0'M“
3,M■i77
ReFeat,
,MaJ7
Emin7115)
Concillde:
2 ComPlete these
melodic sequences′ using the melodic mater al and chords
81Ven Cmin7
A7
,m`"7
P
Repedt:
G7
[xercises′tes5ons 62-64 Melodγ
Writing
Lessons 62-64.Melody lA/riting Exercises′ vhich repeats in the f rstsect on′ A'requently used song FOrm uses a 4 measure、 pbrase′ rthesecOnd then a shOrter 2-measure phraso is repeated yお sequent a‖ sect on Not ce the double barine after measure 8 scParaivOngsect the ons t、 4-med`ure pltr●3e
CMaJフ
Fmin7
口 "7
r13oo望 _ _ _ _ ° BertteMEic■
iTb単 ∫ 評撚 :鳳ぽ;l膿
vn mclody 7rt n8 0n this satne chOrd Try Your o、 4-mcasure phrase in the second fJur measUres′ y わr t h e l a s t e i g h t m e a s u r e s repeated sequcntia‖
l
Fm`“7
CM可 7
B17
CM■7
AM■7
働 mi"7
,min7
Ear Training l
FMalア chOrds Then′ transclbe th`4-measure me ody しヽt e n t o t h e C Maanldア
円 可7
2
and Gア chords Then′ transcr be this 4-measure mC10dy L i s t e n t o t hDminア C Omin7
3
G7
L s t n t o t h eDminア ′Gア′and CMa17 chords Then transc高 me odv O“ `"7
be th`4-m easure
I′ What/s Nex17
Whatも Next? Congratulations on finishing Berklee′ ヽ イ υs,c乃heOりιθοο々2 No、vシlЭ u have a basic understanding of chords and chOrd types′ including maloら m inO,diminished′and
朧
綿距 辮
編
思
撃憾
1鮮
輛 網 nttir臨 ″ 出 昴群 罰 ave even written melodies Of yOur o、 νn
Continue、vorking withthis materialas much as yOu possibly can riteoutandPlaythe V′ chordsofsongsfrOmaleadsheet practicevoiceleadinganddevisingaccOmpaniment patterns based On the chords,tッwriting your o、 vn me10dy On those same chords All of these activ ties w‖ l help to reintorce and even further the theorct cal knowledge gained in this cou「 se ―keep practicing′ Until then― and continue to bui d your knO、 vledge of music theoっ たlt 、 ν‖l make you a bette「 musician
１１ １ １ １ １ １ １ ■ １
Berklee Music Theorン 3ook 2
About the Author Paul Schme ing′ Chair Emeritus ofthe PianO Department at Berkleeege Co‖ of Music′ is a master pianist interpreteら improvisec and arranger He has inspired cOuntless students since he began teaching at Berklee in 1961 He has perlormed or recorded Wlh iaZZ greats such as Cは rk Ter%Rebecca hrHs′ George Coleman′ caro S oane′ 阻 硼 喘 蹄 ζttm!w′ 瀧 :』 靴 RY∫ l珊 淵 謝 脚 懺 albums,interpreting the music Of Hoagy Carmichael and songs assOciated、 vith Frank S natra He`the co author Ofthe 3erklee Prac″ ce Mettοdiゃ ard(Berklee Press
2001)and∂ettkね e rnsね ρ[絡 ヵ οard Cerdee PFss 2002 He`Jso the author and "ο instructor of three online courses on Berkleemusic com′ ん′ υs,c rrleο ′ υs,c ′A″ / 70′ 動eογ 207′and θer々 たe終 a″ treめοd "ο
E
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