ted greene harmony and theory.pdf

20th Century Harmonic Harmonic Vocabulary Ted Greene – 1975, January 6 & February 22 While just about any chord can be used as a passing chord for a split second, or brought in gradually, that is, one note at a time (which give the ear time to get used to it), this list will include only those sounds which are common enough to appear often or are successfully able to be lingered upon. = most important

GENERAL FAMILIES and Sub-Families MAJOR 1) Triad and and Extensions: Extensions: major triad /9 6 6/9 ∆7 ∆9 ∆13 ∆7/6

MINOR 1) Triad and m6 Family: Family: minor triad m6 m6/9 m6/11 m6/9/11 m6/∆7 m6/9/∆7

DOMINANT 7th 1) Dominant 7th & Major Scale (Mixolydian) Extensions and Suspensions: 7 7sus 7/6 7/6sus 9 9sus(11) 13 13sus Also with 17’s

DIMINISHED 7th ○

7 ͦ 7 with §7 on top (or 2nd, 4th,

or b6th on top) ͦ 7 with appoggiatura in inner voice ͦ 7 with §5 in bass or near bass (also root) 7 with b7 on top (or b2nd, §3rd, or §5th on top)

ͦ

Some 7/11’s

ͦ

2) Major/#11 Types: triad/#11 /9#11 6#11 6/9#11 ∆7#11 ∆9#11 ∆13#11

2) m7 Family: m7 m7/11 m9 m11 m/9 m7/13 m7/11/13 m9/13 m13 m7b9

2) Overtone Dominants: 13#11 7 (13b5) 7/6 #11 9 9b5 13 7/6#11 (7/6b5) 7#11 7b5

3) Suspensions, + “2’s” Sus (triad with 3rd up to 4th) 2 (triad with 3rd down to a 2nd) Drone (R and 5 only)

3) m7b5 ( 7) Family: m7b5 m7b5/11 m7b5b9 m9b5 m7b5#5 m9b5#5 m7b5/13(11) m7b5#5/11 m11b5 m9b5/13

3) Other Raised Raised or Lowered Lowered 5th, 9th Dominants: 7+ 9+ 7b5 13b9 7+b5 13b9#11 (b5) * 7#9 some 11b9’s 7b9 some 11b9+’s 7#9+ 13#9 7b9+ ∆7+ 7#9b5

∆7+(§5)

7b9b5 7+ (§5)

/9+ /9+ (§5)

7b9 appog. chords

m7+ m7/11+

∆9+

∆9+(§5)

m7b5 family too 11+ #11b13

triad and friends friends

Normal 18th Normal 18th and 19th and 19th Century Harmonic Century Harmonic Vocabulary

MAJOR 4) Other Appoggiatura Other Appoggiatura Chords: /9 sus 6 4 up a 4th Pedal dominants up a 5th

MINOR 4) m∆7 Family: Family: m∆7

m∆9 m∆9/11

Ted Greene, Ted Greene, 1975 ‐02‐ 22

DOMINANT 7th

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DIMINISHED 7th

4) Whole Tone Tone Dominants Dominants:: + triad +b5 triad (see (see below **) 7+ /9+ /9b5+ 7b5+ 9b5+ 9+

Csus/17 C/9sus/17 C6/9sus/17 Etc. 5) m/#11 Family: m/9#11 m/6/9#11 m∆7#11 m6/∆7#11 m9/13/#11

5) Pedal Dominants: 7/11 7/6/11 7sus 11b9+ 11 13b9/11 11b9

6) m+ Family: m+ m7+ m7/11+ m7b9+

* There are some other dominant types but they seem to occur mainly in situations where certain special voice-leading makes it easier for the ear ear to accept them. Example: 13b9/11 ** +b5 triad: 1) no 3rd, 2) no root, 3) complete.

Whole Tone Scale: 6 members (we will call call them A B C D E F). Find all possible structures structures by combining all members. members. Example: all 2-note structures struc tures are: AB, AC, AD, AE, AF, BC, BD, BE, BF, CD, CE, CF, DE, DF, EF. All 3-note structures are: ABC BCD CDE ABD BCE CDF ABE BCF CEF ABF BDE DEF ACD BDF ACE BEF ACF ADE ADF AEF

20th Century Harmonic Harmonic Vocabulary and Progressions Ted Greene 1976-01-21

Diatonic Sounds Major Key (Key of F) Common I Chords: Common ii Chords: Common V Chords: Common vi Chords: Common iii Chords: Common vii Chords:

F, F/9, F6, F6/9, Fmaj7, Fmaj9, Fmaj13, Fmaj7/6, Fsus Gm7, Gm7/11, Gm9, Gm11, (Gm7/13, Gm7/11/13, Gm9/13, Gm13), Gm, Gm/9 C7, C7/6, C9, C13, C7sus, C7/6sus, C11(9sus), C13sus (some with 17’s), C Dm7, Dm7/11, Dm9, Dm11 (some with #5’s), Dm, Dm/9 Am7, Am7/11, Am Em7b5, Em7b5/11, Eº

Common IV Chords:

B¨/9, B¨6, B¨6/9, B¨maj7, B¨maj9, B¨maj13, B¨maj7/6, B¨6/9#11, B¨maj7#11, B¨maj9#11, B¨/9#11, B¨/#11, B¨

Some Important Diatonic Progressions:

(ii7) V7 I (see separate sheets) iii7 vi7 ii7 V7 ii7 V7 I vi7

I vi7 ii7 V7 I iii7 IV V7 (Imaj7) IVmaj7 vii 7 iii7 vi7 ii7 V7 Imaj7

For study of these sounds see Modern Chord Progressions.

___________________________ _________________________________________ _____________________________ ___________________ ____ Common Non-diatonic V7 Chords:

C7+, C7¨5, C7#9, C7¨9, C7#9+, C7#9¨5, C7¨9¨5, C9+,

C13¨9, C13¨9#11, C7/6#11, C13#11, C9¨5, C+11, C+

These chords are more resister sensitive as far as their ability to sound like V7’s goes. Practice resolving all of these V’s to different I’s (see separate sheets).

___________________________ _________________________________________ ____________________________ ___________________ _____ Common Non-diatonic ii7 and II7 Chords:

Gm7¨5, Gm7¨5/11, G7, G7/6, G9, G13, G7sus,

G7/6sus, G11(9sus), G13sus, G13#11, G9¨5, G+11, G7/6#11, G7+, G7¨5, G7#9, G7¨9, G7#9+, G7¨9+, G7#9¨5, G7¨9¨5, G9+, G13¨9, G13¨9#11, G, G+ Practice the following progressions progressions using all the different different types of II7’s. II7’s. (See separate sheets.) vi7 II7 ii7 V7 (I) I II7 ii7 V7 ii 7 V7 I I or iii7 vi7 II7 V7 (see Modern Chord Progressions.)

___________________________ _________________________________________ ____________________________ ___________________ _____

Ted Greene, 1976-01-21 — page 2

20th Century Harmonic Harmonic Vocabulary and Progressions Progressions

Common Non-diatonic vi7 and VI7 Chords:

Dm7¨5, Dm7¨5/11, D7, D7/6, D9, D13 (careful),

D7sus, D7/6sus, D11(9sus), D13sus, D13#11 (careful), D9¨5, D+11, D7/6#11, D7+, D7¨5, D7#9, D7¨9, D7#9+, D7¨9+, D7#9¨5, D7¨9¨5, D9+, D13¨9 (careful with 13 on top), D13¨9#11, D, D+ Progressions to practice: I vi 7 II7 V7 I or iii7 VI7 II7 V7

I or iii7 VI7 ii7 V7 (see Modern Chord Progressions.)

___________________________ _________________________________________ ____________________________ ___________________ _____ Common Non-diatonic iii7 and III7 Chords:

Am7¨5, Am7¨5/11, Am9, Am11, A7, A9, A7/6,

A13 (careful), A7sus, A7/6sus, A11(9sus), A13sus (careful), A7+, A7¨5, A7#9, A7¨9, A7#9+, A7#9¨5, A7¨9¨5, A13¨9 (careful), A13¨9#11, A7/6#11, A, A+, (A9+) Progressions to practice: iii 7 VI7 ii 7 V7

III7 VI7 II7 V7

III7 vi7 II7 V7

___________________________ _________________________________________ ____________________________ ___________________ _____ Em7, Em7/11, Em11, Em9 (careful), Common Non-diatonic vii7 and VII7 Chords: (Em7/13, Em7/11/13, Em9/13, Em13, Em, Em/9); E7, E7/6, E9 and E13 (careful), E7sus, E7/6sus, E11(9sus), (E13sus) (E13#11, 9¨5, #11, 7/6#11), E7+, E7¨5, E7#9, E7¨9, E7#9+, E7¨9+, E7#9¨5, E7¨9¨5, (E9+), E13¨9 (careful), E13¨9#11, E, E+ Progressions to practice: I vii7 III7 vi7 (or VI7) II7 V7 I I IV vii7 III7 vi7 II7 ii7 V7 vii7 III7 iii7 VI7 vi7 II7 ii7 V7

I VII7 III7 VI7 (or vi7) II7 V7 I I IV VII7 III7 VI7 II7 ii7 V7

___________________________ _________________________________________ ____________________________ ___________________ _____ Common Non-diatonic IV7 and iv7 Chords:

B¨7, B¨7/6, B¨9, B¨13, B¨7sus, B¨7/6sus,

B¨11(9sus), B¨13sus, B¨13#11, B¨9¨5, B¨+11, B¨7/6#11, B¨7#9, B¨7#9¨5(#11), B¨m7, B¨m7/11, B¨m9, B¨m11, (B¨m7/13, B¨m7/11/13, B¨m9/13, B¨m13) B¨m6, B¨m6/9, B¨m, B¨m/9 (B¨m6/11, B¨m6/9/11, B¨m6/∆7, B¨m6/9/∆7, B¨m∆7, B¨m∆9, B¨m∆9/11) Progressions to practice: I IV7 III7 VI7 II7 V7 I I IV7 vii7 III7 vi7 (or VI7) II7 ii7 V7 I IV7 iii7 VI7 vi7 II7 ii7 V7 I iv7 (or iv6) iii7 VI7 vi7 II7 ii7 V7 (I) iv6 I iv6 etc.

I I I I

IV7 III7 VI7 vi7 II7 ii7 V7 IV7 iii7 VI7 (or vi7) ii7 V7 I iv7 (or iv6) iii7 VI7 ii7 V7 I IV7 I II7 ii7 V7 I

20th Century Modulation Modula tion Use Lots of Extensions, Modern Chords, etc. Ted Greene – 1975-04-29

To Major Keys 1) Right to New I. Also just V(7) – I works good.

1)

ii7 V7 of of New Key: Precede new ii – V with: 1. Chord scale in old key (mixed scale concept) 2. Any chord in old key 3. ii (V’s) in groups of descending minor minor 3rds, ascending 3rds, descending minor 2nds, descending 3rds, ascending 4ths, ascending 5ths, or any combinations of these. 4. Cycle progression on other modern progression progression in old key. 5. Ascending or descending bass progression in old key. 4 6. Chromatic wandering. Example: C6 C 6 Bm6 B 6 A6 A 6 A 6 = Fm7 3, B 7/6 E . 7. Contrary in old old key 8. Compound modulation

Sym. i IV (Dorian) or I v (Aeolian major) ii V or any other modulating modulating device on this pages does not have to progress to to new I only. Instead of ii ii V (of new key) try:

| ii 7 V7 | iv7 VII7 (bVI7) | iv6 V7 | iv(7) V(7) | | iv dorian or Aeolian to new V7 or other diatonic progression. | iv7 VII7 (ii7 V7) | | ii7 iii7 (IV 7 V7) | IV V7 | IV 7 iii7 ii7 V7 | V11th family | V7 | iii6 V7 | iv7 or 6 V11th | | iii7 iii7 ii7 V7 | iii7 IV (IV/9) V | iii7 vi7 ii7 V7 | vi IV | vii 7 IV | vi iii IV (V) | | ii vi IV (V) | vi7 ii7 V7 ala George Van Eps “Lullaby” | vi7 II7 ii7 V7 | II7 V7 | | VI9 V11th | I64 | #iv 7 iv6 or 7 iii7 or I etc. | Where possible (or necessary) add “new key” passing tones or decoration to help loosen the bond of the old key. 2) Many subdominant type of modulations – see all modulation on “Romantic” page, especially VII13#11 family I, II13#11 I, I+ 5 I, I+/9 I, iv6/(9) vi6/(9) iv6/(9) etc. Use 9ths, 9 no root, 13, 7, instead of VII13#11, or II13#11 – prepare in any of the ways at the top of the page, especially in symmetric intervals. 3) 6/9 pentatonic or /9 on I of new key – symmetric interval interval preparation. 4) Borrowed major progressions (and cycle of 5ths major progressions).  lots of different kinds, such as VI III , iv I | III, VII, i, v, I. Also VI or III or VII or II to all keys. 5) Whole-1/2 (1/2-whole scale) preparation or post-triad embellishment. embellishment. 6) minor 6 key cycles; 9th 9th key cycles 7) Various modal modulation or modulation cycles. 8) Wandering | impressionistic impressionistic wandering and chord movements.

Cadences Ted Greene, circa 1973 Read this first: The word diatonic means “in the key” or “of the key.” Theoretically, any diatonic chord may be combined with any other, but there are some basic things to learn first. A tonality (key) becomes clearly established only when all of its tones (7) have been heard. In using chords, at least 3 triads are needed. When 3 such triads follow each other but do not end on the tonic (I) triad, a tension is created, a longing to return to the tonic, to rest there. When these three triads do end on the tonic, the resulting chord sequence is called a cadence. The I, IV, V followed by the I again form the most usual cadence. Notice that in playing the I, IV, and V triads that all seven tones of the scales are sounded. To perform I, IV, V cadences in minor, the triads of the harmonic minor scale are used. This means that I is minor, IV is minor, and V is major. Another important cadence is the I-V-IV-I. Examples: Key of C:

Key of Am:

The most important notes in music are the outer voices, that is, the melody and bass. The ear hears these first usually. Often in place of the V chord, the V7 is used; sometimes an incomplete V7 is used, that is one that does not have all the notes of the chord (1, 3, 5, b7). Usually in 4-part harmony, the root is doubled in an incomplete V7 while the 5th is left out. Some examples are on the next page.

Cadences – Ted Greene, circa 1973

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Some of the most common incomplete V7 chords with their resolutions are:

A good exercise at this point would be to go back to the cadence examples and substitute V7 or incomplete V7 chords. Another important cadence is one that ends on the V or V7. This is known as the 1/2 cadence. Examples:

A more rich cadence is one that adds a I chord in between the others in the following manner: I - IV - I - V - I or I - V - I - IV - I. This new I chord usually has the 5th in the bass; (it is called a 64 chord). Examples:


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Notice in these three examples how the last chords all have the root as the melody and the bass. These types of cadences are called final cadences. To construct long musical phrase from cadences, some more tools are needed. One is a knowledge of substitute harmonies. One simple rule will yield many beautiful sounds: You may substitute harmonies that are a 3rd apart for each other in many cases. Example: Key of C major has the following harmonies: C, Dm, Em, F, G, Am, Bo, C, Dm, Em, F, G, etc. For a C chord you could substitute Em or Am. For an F chord you could substitute Am or Dm. For a G chord you could substitute Bo or Em. Important: Even though the statements [above] are right and true, a simpler approach should be learned first: I, iii, vi are tonic sounds. ii, IV are subdominant . V, viio are dominant . You may now try building longer phrases by adding some substitute harmonies. Examples: in place of C, F, G, C, you could play

C Am C

One way to do this is as follows:

Dm F F

Em G7 G

Am C


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Another tool of harmony is to play a chord twice in a row in different inversions. Here is a phrase derived from C, F, C, G, C using substitute harmonies and repeated chords.

In writing chord progressions such as these, it is wise to decide on either the melody or bass first and then get the rest of the chord.

Also, when using substitute harmonies, the following suggestions might help: 1) The viio is a V7 chord with no root, so you may just think V7 instead of viio. 2) The iii in place of V may sound odd in some places, so use this more sparingly. 3) iii for I may also not fit particularly as the final chord in a cadence. After working on more extended cadences you will find you can abandon the thought of substitute harmonies completely and just make up chord progressions that flow together smoothly. Example: C, Em, Am, Dm, G7, C. This could be thought of as C, F, G, C or it could be thought of as itself, that is, C, Em, Am, Dm, G7, C.

_________________________________________________________________

Chords and Cadences In sequences that follow the I-IV-vii-iii-vi-ii-V-I pattern, you may leave out any one of the harmonies, or three, four , or five consecutive harmonies (two is less desirable, though also acceptable). You would be wise to experiment with this principle, as many songs have these kind of chord changes.

Seventh Chords For additional color in a chord, the seventh is often added. For those who do not know this: the I and IV chords in the harmonized major chord scale are major 7ths; the ii, iii, and vi are minor 7ths; the V is a dominant 7th (7), and the vii is a minor7b5. Likewise, the 7th chords in the Natural minor [harmonized scale] are as follows: im7, iim7b5, bIII 7, ivm7, V7 or vm7, bVI 7, and bVII7. The Harmonic minor is also important, but will not be necessary now.

Exercise: Practice smooth chord progressions, cadences, and sequences using 7th chords exclusively and in combination with triads.


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Modulation The word modulation means to change the key or tonal center. There are 3 basic ways: 1) by direct skip from the first key to the second. This merely involves establishing a key (remember that is what a cadence does) with a certain series of chords, and then establishing the second key with chords related to it. Examples:

Modulating by skip if very often done between two keys that are not diatonically related. Example: in C the diatonically related keys are Dm, Em, F, G, and Am; so modulation by skip might be from C to keys such as Eb, E, D, B, instead of diatonic ones. The second kind of modulation is using pivot chords, that is, a chord (or chords) that is common to both keys is used between the two keys. This is accomplished very easily between diatonically related keys by using the chord of the new key itself as the pivot chord and following with a cadence in the new key. Examples: I IV V I i iv V i C F G7 C Am Dm E7 Am pivot chord

[Ted’s original page indicated that this lesson is continued on another page, but we don’t have that page.]

Chord Connections, Part-Writing, Voice-Leading Ted Greene – 1974-02-17

As related to earlier periods of harmony (such as the Baroque period) which, if grasped first, lay a rock-solid foundation upon which to add the more modern devices in harmony. Some important thoughts to keep in mind: 1) The outer voices are the most important. Common Tones: one if roots are 4th or 5th apart Hundreds of years ago music began to be written in 4 parts for voices which were named from the bottom up: Bass, Tenor, Alto, and Soprano (instrumental music also adopted these now widely-accepted terms). Four-part writing has been highly regarded ever since for its ability to achieve a balance between a full, rich texture, and one that still allows some ease of manipulation of the individual voices. Therefore we will be working in this type of context for awhile, that is, with four parts. (The terms voices and parts are both used to indicate the separate notes in chords.) The art of writing and connecting chords is, logically enough, called Part-Writing, and the art of moving the voices smoothly from chord to chord is called Voice-Leading. Movement is essential to music as we know it. Therefore, the movement from one chord to another is of primary interest, and the ability to connect chords is very important to almost any guitarist. The first chords you should learn to connect are the simplest ones know to mankind, the triads. We will work in the 4-part triads with root in the bass first (remember, there are three “positions” of this chord, so named for whichever note is in the soprano (R, 3, or 5th) ). 1) Do not repeat the same position twice in a row. (This creates too “parallel” of a feeling which is not usually desirable with 4-part triads). 2) In many cases, keeping any notes that are “common” (contained in both chords) in both chords in the same voice(s) and moving the other notes of the 1st chord to the closest possible notes in the 2nd chord will give a good result. This is known as the minimum movement principle. (This too is a carryover from vocal music – they didn’t want all the singers to get in each others’ way by leaping about.) You will be able to observe these principles in action on the upcoming pages. _____________________________________________________________________ [Ted’s notes to himself:] Definitely give non-harmonic tones (P.T. [passing tones] and N.T. [neighbor tones]) before 1st inversion triads, then later show how to connect successive 1st inversion using five voicings that have 3-to-root compass. [Regarding this last statement, here Ted is referring to successive first-inversion voicings with the third in the bass (naturally) and the root in the highest voice (compass referring to the space from lowest to highest voice). In a three-voice texture you can write successive first-inversion voicings without creating parallel fifths or octaves; but in a texture that contains more than three voices, doubling of one or more notes becomes necessary and the possibility of “forbidden parallels” arises, which must be handled carefully. One or more of the inner voices would not be able to move in parallel motion but will have to skip around instead. – Editor’s note.] (Converging voices) Sometimes two voices sing the same pitch.

Chord Substitution – Part 1 Chord Construction (Formulas) & Substitution Ted Greene – 1973, November 16

Your musical life will be much easier if you look for systems and ways to organize large clumps of knowledge into more easily digestible forms. The idea of chord construction can be simply broken down into 3 groups of sound, each of which has its own subdivisions; these groups are based on three main chords: the MAJOR chord, the MINOR chord, and the DOMINANT 7th chord As you know by now, chord construction can be, and is most often viewed in relation to major scales. For instance, any major chord is built by combining the 1, 3, and 5 (Root, 3rd and 5th tones) of its own major scale — like a G major chord has the notes G, B, and D which are the 1, 3, and 5 of the G major scale. With this in mind, here is a listing of the most common chords in the three categories: Don’t let this list frighten you. With patience you will know all these before too long. The major, minor, and dominant 7th chords will be referred to as the parent chords of the three families of sound; all other chords are called extensions of these. Not all notes need be played in most chords. Quite often, the 5th or root are left out; sometimes both; also the 3rd is omitted occasionally. However, rather than trying to build these chords on your own, you should save the time and energy by learning the chords that have already been worked out for you on the Essential Chords Lists and analyzing these chords to spot the above principles at work.

[Also see Ted’s page on Chord Construction Formulas in the Fundamentals section of this website. That page is dated 1976-05-26 and is an updated/revised version of the below chart. ~ Editor’s note]

Chord Substitution (part 1)

Ted Greene, 1973‐11‐16

MAJOR

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MINOR

Major (triad) Major 6th Major 7th Major /9th Major 9th Major 6/9th Major 13th Major 6/9#11 Major 9#11 Major /#11 Suspended 2

— 1,3,5 — 1,3,5,6 — 1,3,5,7 — 1,3,5,9 — 1,3,5,7,9 — 1,3,5,6,9 — 1,3,5,7,9,13 — 1,3,5,6,9,#11 — 1,3,5,7,9,#11 — 1,3,5,#11 — 1,4,5 — 1,2,5

Major 7+ Major 9+

— 1,3,#5,7 — 1,3,#5,7,9

Minor (triad) m7th m7/11th m9th m11th m/9th

— 1,b3,5 — 1,b3,5,b7 — 1,b3,5,b7,11 — 1,b3,5,b7,9 — 1,b3,5,b7,9,11 — 1,b3,5,9

m7b5 m7b5/11 m7+ m6 m6/9 m6/7 m6/9/7 m6/11 m6/9#11 m7 m7/9

— 1,b3,b5,b7 — 1,b3,b5,b7,11 — 1,b3,#5,b7 — 1,b3,5,6 — 1,b3,5,6,9 — 1,b3,5,6,7 — 1,b3,5,6,7,9 — 1,b3,5,6,11 — 1,b3,5,6,#11 — 1,b3,5,7 — 1,b3,5,7,9

DOMINANT [red circled = Group number ]

Dominant 7 Dominant 7/6 Dominant 9 Dominant 13

— 1,3,5,b7 — 1,3,5,b7,13 — 1,3,5,b7,9 — 1,3,5,b7,9,13

Dominant 7sus Dominant 7/6sus Dominant 11 Dominant 13sus Dominant 9b5 Dominant #11th Dominant 13#11th Dominant 7b5 Dominant 9+ Dominant 7+

— 1,4,5,b7 — 1,4,5,b7,13 — 1,5,b7,9,11 — 1,5,b7,9,11,13 — 1,3,b5,b7,9 — 1,3,5,b7,9,#11 — 1,3,5,b7,9,#11,13 — 1,3,b5,b7 — 1,3,#5,b7,9 — 1,3,#5,b7 — 1,3,#5

+

Dominant 7b9 Dominant 7#9 Dominant 7b9+ Dominant 7b9b5 Dominant 7#9+ Dominant 7#9b5 Dominant 13b9 Dominant 13#9 Dominant 13b9b5 Dominant 11b9 Dominant 11b9+ Dominant 7/11 Dominant 7/6/11

— (1),3, 5,b7,b9 — 1,3, 5,b7,#9 — 1,3,#5,b7,b9 — 1,3,b5,b7,b9 — 1,3,#5,b7,#9 — 1,3,b5,b7,#9 — 1,3,5,b7,b9,13 — 1,3,5,b7,#9,13 — 1,3,b5,b7,b9,13 — 1,(3),5,b7,b9,11 — 1,(3),#5,b7,b9,11 — 1,3,5,b7,11 — 1,3,5,b7,11,13

Diminished 7th

— 1,b3,b5,bb7 (6)

Chord Substitution I. In theory, any extension in one of the three families above may replace its parent chord (like A ∆7 or A∆13 for A) or (Am7 or Am6 for Am) etc. However, much experimentation and listening will be required to effectively utilize this concept and some general guidelines should help.: 1) All the major extensions will pretty much fit as substitutes for any major triad that is not functioning as a dominant or dominant of a dominant (VofV, etc.). Another way of saying this is that the extensions all lie pretty well on I, IV (in major, not minor keys). bII, bIII, bVI, and bVII; also more rarely on bV. Some other major substitutes: a) /9, 2, on II, V, VI. b) sus on all degrees. c) 6 or 6/9 rarely on other degrees. Be careful with altered 5th or #11 type major chords; they are not as easily substituted as the others. (See dominant 7th substitutes, next page [ part 2]. Continued on Part 2.

Chord Substitution – Part 2 Ted Greene – 1973, November 16

I. 2) The minor extensions fall into four main groups as you can see [in Part 1]. Group 1 – can all usually be used to replace any minor or minor 7 chord. Group 2 – are used to replace minor 7’s and are most common on ii of a minor key (vii of major). Group 3 – a) Used in place of i’s, iv’s, and bvi’s – like if you were given C E7 Am F G7 C, you could use Am6 or Am6/9 for Am because Am is functioning as i temporarily (remember those principles of tonicization?) b) For an altered effect, this group also can replace dominant 7th types whose roots are 1/2 step lower (like Am6 for G#7) c) Also, this group has the same notes as Group 2 chords whose roots are a m3rd lower – like Am6 = F#m7b5. These principles are only given to increase your awareness of inter-relationships. You will arrive at the same notes through other means that will be given. d) Minor 6 and minor 6/11 chords are used on ii; Group 3 also works rarely on biii, vi, and bvii. Group 4 – Are used most often in moving line progressions such as Am, Am∆7, Am7, Am6, or are used when the ∆7 is on top for the melody effect this creates. Your best bet to learn about these chords would be to eventually explore the following tunes: Michelle, My Funny Valentine, More, Embraceable You, Taste of Honey, Volaré , The Summer of ’42, Something, and Blue Skies. ___________________________________________________________ I. 3) The dominant 7th extensions are a truly vast world of sound, and because of the frequency of the V7 – I (i) progression in Western music, this compounds the issue even more. However, as mentioned before, systems can speed up the learning process considerably: 1) Group 1 consisting of 7/6, 9, 13 (and the 7th itself) have a “pretty sound” (these definitions are just one man’s opinion – make your own judgments also) on some degrees, and a “bluesy” or “modern” sound on others. Through trial and error you will determine on which degrees of the scale you favor these sounds. However, the top note (melody note) in these chords plays a big part in your ears’ acceptance or rejection of these sounds, so watch closely what is going on with the melody and listen. 2) Generally, wherever Group 1 works, Group 2 will also. 3) Group 3 is a unique group of sounds – all these sounds have a strong affinity to one of the two whole-tone scales and also to a melodic minor scale. There are different types of sound within this group: one type includes the + [augmented ], 7+, 7b5, and 9+. This type can often be used to replace a dominant 7th functioning as a V7 (or V of V, etc.). The other type includes the 9b5, #11, 13#11, and 7b5 again. These all have notes which are within a melodic minor scale whose root is a 5th higher (like A13#11, #11, 9b5, 7b5 are in the E melodic minor scale). These chords work well on the following degrees: On I – as ending chords On bII as substitutes for V7 On II (in major keys usually) for II7 Occasionally for bIII (in major keys usually for VI7 On IV for IV7 On #IV (bV) for I7, Rarely on V for V7 On bVI for II7 and bVI7 On bVII for II7 and bVII7 4) Group 4 are used to replace 7th’s functioning as V7’s. 5) Group 5 are used almost exclusively on V for V7 (also rarely on I, II for I7, II) 6) The diminished 7th will be discussed later. It is unique. 7) Group 1 chords (and occasionally Group 2) are commonly used to replace dominant 7th types whose roots are a b5th higher (like C7 for Gb7, C13 for Gb7). 8) Try ∆7+, ∆9+ for 7+ for an unusual quality; also m7+ for 7#9+.


The “blues” effect can be obtained by replacing any I or IV triad with a dominant 7th type chord (that is, one whose construction is based on the dominant 7th chord. Example: for C F C try the following: I

IV

I

The following listings are chords on I & IV that create the blues effect: I: Group 1 and 2, 7#9 IV: Group 1 and 2, 7#9, 9b5, #11, 7b5, 13#11, 7#9b5 _____________________________________________________________________

Tonicization

(Back-cycling, Temporary Modulation, Secondary Dominants Cycle of 4ths) Any chord may be treated as a temporary tonic and preceded with its V(7). Example: Given A F#m D A Beats or counts: / / / / / / / / / / / / / / / / You might play:

A / /

C#7 / /

Or:

A / / / /

F#m A7 / / / /

D / /

E7 / /

C#7 F#m / / / /

A7 / /

D / /

A / / / / E7 / /

A / /

Because of the possibility of extension substitution, you could have something like the following: A∆7 C#7#9 F#m7 A13 D/9 E7/6 A∆9 (see below) Examples:


Ted Greene, 1973‐11‐ 20

page 2

This process is called tonicization or back-cycling (because you are ‘backing up” in the cycle of 4ths to add the V7 chord. This will become clear soon). The above 7th type of chords are all functioning as V7’s, right? Any 7th type chord of this nature is called a secondary dominant if it is on any degree other than the V of the home key. Also these type of progressions are often thought of as temporary modulations to new keys: like in the above, there were temporary modulations to the keys of F#m and D.

Another common device, which is actually an off-shoot of the above, is to precede any secondary dominant with certain other chords in the new key. Namely, ii7, ii 7 (iim7b5), II7 (and less commonly IV∆7 [major keys only], iv7, IV7; these and others will be discussed later). So now you could possibly change the above progression to: A G# 7 C#7 I ii 7 V7

F#m Em7 A7 i ii7 V7

D B7 E7 I II7 V7

A I

Example:

Passing chord (Will be explained later, but for now, notice the bass line it helps perpetuate.)


One of the most (if not the most) important patterns or progressions in the history of music is the Cycle (circle) of 4ths (also called the Cycle (circle) of 5ths). Chunks or portions of this cycle dominate the flow of most chord progressions as you will see or have seen. Diatonic Cycle : If you were to start in the key of A, on the A major triad and move up a 4th, you would arrive at the D major triad; a 4th up from there, in the key of A is a G# triad; a 4th up from there is a C#m triad, and so on. Using Roman numerals to indicate this pattern you would get something that looks like this: ○

I, IV, vii , iii, vi, ii, V, I, etc.

This

is the (diatonic) cycle of 4ths

(Worksheet will be given on this) In 7th chords: I∆7, IV∆7, vii 7, iii7, vi7, ii7, V7, I ∆7, etc. Look at the last three chords in the cycle: ii, V, I or ii7, V7, I∆7. Does this ring a bell from the previous page on tonicization? It should. But, you might be saying, what is the reason for a ii 7 or II7 if the diatonic chords are ii7 or ii? Well, two things, firstly: there came a time when man tired of hearing diatonic sounds only, and began experimenting with other sounds, changing a note here and there and the vocabulary began to expand. And secondly: the minor key has its own diatonic chords and its own cycle of 4ths, and some of these chords are mixed in with the major key chords. Since there are at least five popular minor scales, the cycle given for minor keys will include the most common chords at present. Diatonic Minor Key Cycle of 4ths: i, iv, VII, III, VI, ii , V, i, etc.

In 7th chords: i7, iv7, VII7, III7, VI∆7 (or vi 7), ii 7, V7, i7, etc.

This accounts for the ii 7 chord, the iv7 chord on the previous page if you accept the above statement that minor key chords can be mixed in with major keys (more on this later) as well as played in their own keys. To apply all this info to the back-cycling principles: When time and your taste permit, you may extend the back-cycling logic even further than ii V I to include more of the cycle. Example: Given: A F#m, you might play: A D∆7 G# 7 C#7 F#m or A D# 7 G#7 C#7 F#m ¨VI

ii

○

V

§vi ○

i

II

V

i

Or given: A D, you might play: A Bm7 Em7 A7 D or A F#m7 Bm7 Em7 A7 D∆7 vi

ii

V ○

I

iii

vi

ii

V

I

If, as you’ve seen, ii can be changed to ii or II, you might be wondering if vi and iii and others can be changed also. A general guideline: for cycle patterns: diatonic m7’s may be converted to 7’s or dominant 7ths according to personal taste. Playing many songs that contain cycle chord patterns will help speed up your learning process in regards to this, which brings up another point. All this information should serve at least a twofold purpose: 1) to teach you these principles so that you can enrich a given chord progression; and 2) to make you aware of what other musicians are doing so that you can pick up songs faster and generally understand what is going on – this understanding leads to creativity and beauty. By the way, there is another way of thinking of the minor cycle – this is to think of the i as if it were vi of its relative major. (See next part).


1)

Compare the following: Key of A  F#m7 Bm7 E7 A∆7 D∆7 G# 7 C#7 F#m7 vi ii V I IV vii III vi ○

2)

Key of F#m 

F#m7 Bm7 I

iv

E7

A∆7

D∆7

¨VII

ÏII

¨VI

G# 7 C#7 F#m7 ii

○

V

i

What is different about these two progressions? Only the Roman numerals underneath, or in other words, only the way you choose to think of the chords in relation to each other. When you encounter a minor cycle of 4ths, you should ask yourself which of the two sets of Roman numerals would help you to understand and get the most out of it; often the relative major viewpoint is easier. Another thought: all previous and forthcoming substitution principles will not be appropriate everywhere – you must experiment. Another neglected point which may have already occurred to you – any 7th chord dealt with may be replaced with its related triad, like C# for C#7, G# for G# 7, B for B7, etc. ○

Here are some common cycle patterns in the key of A  Practice them “straight” first, that is as indicated, then substitute extended chords (or triads). Transpose to all major and minor keys (they are given in A and F#m). Know your names and numbers (Roman numerals) in all keys. Use lots of different inversion on each one. Remember, 7 = m7 ¨5; different people use one or the other. You will encounter both. Plan on at least a month on this set of exercises. 1)

Bm7 E7 A

1)

G#m7 C#7 F#m

2)

B7 E7 A

2)

G#7

3)

Bm7¨5 E7 A

3)

G#m7¨7 C#7 F#m

4)

(A) F#m7 Bm7 E7 A

4)

(F#m) D∆7 G#m7¨5 C#7 F#m

4a)

D#m7¨5 G#7 C#7 F#m

C#7 F#m

5)

F#m7 B7 Bm7 E7 A

5)

D#m7¨5 G#7 G# 7 C#7 F#m

6)

C#m7 F#m7 Bm7 E7 A

6)

A∆7 D∆7 G# 7 C#7 F#m

7)

C#m7 F#7 Bm7 E7 A

7)

A7 D∆7 G# 7 C#7 F#m

8)

C#m7¨5 F#7 Bm7¨5 E7 A

8)

A7 D∆7 G#7 C#7 F#m

9)

C#7 F#7 B7 E7 A

9)

Am7 D7 G#m7 C#7 F#m

[Key of A] 10) [Key of F#m] 10)

G#m7 C#7 C#m7 F#7 F#m7 B7 Bm7 E7 A Em7 A7 Am7 D7 D# 7 G#7 G# 7 C#7 F#m


Ted Greene, 1973‐11‐ 20

page 2

Summary : In any chord progression, you may, if time and taste allow, “squeeze in” chords that create a “circle of 4ths” effect. The most common progressions of this nature are all variations of the ii-V-I or iiV-i (in case you didn’t notice it, everything could be further reduced down to V-I(i) – that is, ii is the v of V, vi is the v of ii, and so on, thus the cycle of 5ths name as well as the cycle of 4ths).

All of this information on back-cycling and the cycle must be committed to memory as soon as possible, so plan on re-reading this stuff quite a few times, but as said before, learning songs that contain these types of patterns will speed things up (and give you something to show for your work). Another way of thinking of ii-V progressions is to simply remember that on any dominant 7th type chord, you may count up a 5th and play a m7 type chord before the dominant 7th type. This m7 type usually takes some of the time value away from the dominant 7th type. Example: Given

you could play

E / / / /

A / / / /

Bm7/11 E7#9 / / / /

A∆7 / / / /

Actually, in the above patterns, number 10) in the key of A is this type of device being applied to number 9). So in a way, numbers 5), 7), 8) and 10) are chains of ii-V’s.


Cross-Cycle Another common device in modern progressions is that of replacing chords with others whose roots are a ¨5th higher.

Example: given Bm7 E7 A, you could play: Bm9 B¨13 A∆9 (B¨13 is a flat 5th higher than E). Actually this device was only originally done with dominant 7th types. Observe:

1) 2) 3)

The essence of the 7th chord is its 3rd and b7th; (notice that either the root or 5th may be left out when you are playing 3-note chords). The essence of the 7th chords whose roots are a b5th apart is (coincidentally) the same. Therefore in many cases, especially when a 7th type chord is functioning as a V7, you may replace one with the other as show above.

The application of this to some common progressions could be as follows: Given: Bm7 E7 A substitute possibility:

Given: B7 ////

Or

E7

A

////

////

substitute:

Or Key of C: given Dm7 G7 C


Ted Greene, 1973‐11‐ 20

page 2

Or

The most common chords to be used on the ¨5th device (for dominant 7ths) are 7th’s, 9th’s, 7/6’s, 13th’s, 7b5, 7+, 9¨5, 9+, #11, 13#11, 7b9, 7#9, + [augmented], 7#9¨5. Notice the relationship between altered dominant 7ths (those with #5, ¨5, ¨9, #9, #11) on any degree and extensions whose roots are a ¨5th higher. Examples:

This points up the closeness of some altered chords in the ¨5 relationship.

Sometimes m7 and major types are involved in this ¨5th principle either as the chord that is being substituted for , or the chord that is doing the substituting. Examples: For Bm7 E7 A:

For F#m7 B7 Bm7 E7 A:

Notice that the Cm7 F7 is a ii-V type pattern being used for F#m7 B7, which is also a ii-V type pattern. This type of device can multiply the possibilities of cycle patterns (see next part). [Ted’s note to himself for teaching this material:] Talk about uplifting effect of bIII7 for VI7


Longer Back-Cycling

Here is a listing of some possible variations of a III7 – VI7 – II7 – V7 pattern, using ¨5ths and then backcycling from there. If you can absorb this logic, you should be able to grasp any other ¨5th application that you might encounter (or devise yourself).

III7

VI7

II7

V7

¨VII7

ÏII7

¨VI7

ÏI7

¨VII7

VI7

¨VI7

V7

III7

ÏII7

II7

ÏI7

III7

ÏII7

¨VI∆7

ii7

V7

viim7

III7

iii7

VI7

vi7

II7

ii7

V7

iv7

¨VII7

¨vii7

ÏII7

ïii7

¨VI7

¨vi7

ÏI7

viim7

III7

¨vii7

ÏII7

vi7

II7

¨vi7

ÏI7

iv7

¨VII7

iii7

VI7

ïii7

¨VI7

ii7

V7

ii – V patterns

Any chord in column 1 may move to any chord in column 2, and so on. Like vii – ¨VII7 – ¨vii – VI7 – ïii – II7 – ii – ÏI7 You could mix up the chords in many other ways also though these are a lot of the most common ways. Practice the above in all keys “straight,” and then with extended chords (which should sound much better on these patterns than just playing them straight). If you were given a time into which the III – VI – II – V pattern was already written, any of these variations would be possible and many of them could sound worthwhile. However, if you were to try and squeeze one of these longer patterns in to replace just V7 or ii-V7, you might find it getting in the way. Only experience will help you in learning where things fit – you’ve got to experiment and also see what more experienced musicians are doing. Be patient – you can’t absorb this in all keys overnight. Consistent, intelligent practicing is the key – day by day, absorbing more and more, strengthening your powers of concentration, discipline. It ain’t easy, but it’s worth it (if you have come this far already, you can handle it). _______________________________________________________


Ted Greene, 1973‐11‐ 20

page 2

Here are some other cycle patterns that are very useful; it would be good to familiarize yourself with them. Practice them as you did the others, that is, first “straight,” then with substitutions, in all keys. 1)

I∆7

IV∆7

vii 7

III7

vi7

II7

ii7

V7 :||

2)

I7

IV7

III7

VI7

II7

¨VI7

ii7

V7

3)

I∆7

iv7

¨VII7 ÏII∆7 ¨VI∆7 ÏI∆7

ii7

V7 :||

or vi - II7, or go into key of V

4)

I∆7

(iv7)

¨vii7

¨VI∆7 ÏI∆7

ii7

V7 :||

(for last 4 chords of progression)

5)

I7

IV7

¨VII7 ÏII7

¨VI7

ÏI∆7

ii7

V7 :||

6)

I∆7

IV∆7

vii 7

vi7

II7

v7

I7

7)

I∆7

iv7

iii7 VI7 ïii7 ¨VI7 ii7 V7 :||

8) 9) 10)

#iv 7 VII7 I∆7 I7 ∆ I 7 IV∆7

11)

I∆7

ÏII7

III7

iii 7 VI7 IV∆7 iv7 #iv 7 VII7

:||

ii 7 iii7 iii7

V7 VI7 VI7

I :|| ii7 ii7

V7 :|| V7 :||

#iv 7 (or IV7) VII7 iii7

VI7

ii7

V7

to IV

ÏI∆7 :||

Examples in D of 1st pattern above.

* see note below

Same progression with motion added via passing tones and delays. Hit white [hollow] notes after black notes are ringing:

A variation using VII7 and VI7 with a 2 note melody pattern.


Ted Greene, 1973‐11‐ 20

A variation using IV7 for IV∆7 with an ascending melody:

* Notice that in a m7¨5 chord, if the 5th is omitted you are left with a m7 chord.

hit simultaneously with other white [hollow] notes

page 3


To modulate means to change keys. You will recall that tonicization is a form of temporary modulation. You might be wondering what would constitute a more permanent modulation. It is simply a matter of lingering in a new key by playing chords in its own key after the tonicization process. Example: in place of A F#m D A, you might find in a song the following: A G# 7 C#7 F#m Bm G#7 C#7 F#m F#7 Bm7 Em7 A7 D E7 A I ii V i iv II V i III vi ii V I V I ○

Can you see that this is just an elaboration of A F#m D A? Because of the length of time spent in the F#m region, the ear would interpret this as a modulation to this key. Some cases are borderline. Suppose that the above were as follows: A F#m G#7 C#7 F#m A7 D E7 A. Notice that the tonicization process has been eliminated before the 1st F#m, but the II V (G#7 C#7) precedes tonicization (you really needn’t call it anything if you don’t like fancy words as long as you understand it – these terms are necessary only for certain types of communication such as this paper). Whether or not this is a permanent modulation is up to you and your ears. Practice this internal tonicization process on lots of your old exercises using various chords in the new keys to linger there. _____________________________________________________________ Scalular Embellishment

Any diatonic chord may be preceded with ascending or descending scalular passages in the key. Example: given A D A / / / / / / / / / / / / you could substitute: A∆7 Bm7 C#m7 D∆7 // / / / / / /

A∆7 / / / /

or

A∆7 Bm7 C#m7 D∆7 C#m7 Bm7 / / / / / / / /

A∆7 / / / /

or A∆7 G# 7 F#m7 E7 / / / /

D∆7 C#m7 Bm7 / / /

E7 /

A∆7 / / / / This chord is added to make a ii V I progression in this case.

Here is another example: given Bm7 E7 A you might play: D∆7 C#m7 Bm7 E7 A∆7 // // / / / / / / Notice that the Bm7 is delayed in this substitution; this type of thing is common. Here is another variation of Bm7 E7 A

Experiment with this type of principle.



G# 7 A∆7 Bm7 E7 A∆7. / / / / /


Ted Greene, 1973‐11‐ 22

page 2

Chromatic (non-diatonic) chords can also be involved in the scale-like passages:

C#m7 Cm7 Bm7 E7 A∆7 or if time permitted: D# 7 Dm7 C#m7 Cm7 Bm7 B¨∆7 A∆7 Most chromatic chords in scale-type passages can be explained from substitutions on the cycle patterns or ¨5 substitutions. An off-shoot of scale-type embellishment is parallel embellishment , that is, preceding any chord with descending (more rarely, ascending) passages using similar types of chords. Example: given B7 E7 A



you could play or

Given: A

G#m7 C#7 F#m7



B7/6 A7/6 G7/6 F7/6 E7/6 A∆7 B7 B¨7/6 A7 A¨7/6 G7 G¨7/6 F7 E7/6 A∆7

you could play A∆7 Bm7 Am9 G#m7/11 C#7 F#m7 / / / / / / / / / /

Given: Bm7 (E A):

Notice that there are different types, one with strict chromatic roots for quite a while.

Chord Substitution – Parts 9 and 10 Ted Greene – 1973, November 22 & 26

Because of common tones and similarities of function, certain substitutions have come about: 1)

iii7 for I.

Example: given ii V I vi ii V I



Key of D:

Sometimes I is played for iii (the reverse of above). 2)

vi for I: given ii V I



Key of A:

3)

also

ii7 for IV∆7 or IV∆7 for ii7 V7 for vii 7 or vice-versa ii(7) for vii 7 v(7) for iii 7 or vice-versa iv(7) for ii 7 or vice-versa #iv 7 for vi or II7

Notice that all the substitutions listed involve chords whose roots are a 3rd apart.

¨VI for iv and vice-versa.

As with other substitution principles, you needn’t totally replace one idea with another, but instead you could combine a little of the original with a little of the variation. You may also back-cycle or embellish the substitute chord. Example: given Bm7 E7 A ii V I You might play: D∆7 E9 A∆7 which, with the back-cycling could become Em7 A7/6 D∆7 E9 A∆7 IV V I ii V I Or compounding it  G∆7 A7/6 D∆7 E9 A∆7. IV V I

Chord Substitution (parts 9 and 10) More variations of Bm7 E7 A



With scalular embellishment:

Ted Greene, 1973‐11‐ 22 & 26 page 2

D∆7 G# 7 C#m7 F#7 Bm7 C#m7 D∆7

Bm7 E7b9 A∆7

D# 7 E13sus (A∆7) for B9/D# bass

 this

type of logic will be discussed later.

○

Given: ii V I vi ii V I substitute: IV vii iii vi ii V I More Embellishments :

When a I chord is to be held for an extended duration, just about anything can be used for it, but some of the most common are: 1) Any of the variations given previously for III – VI – II – V- (I) 2) Any other cycle pattern I)

3)

Simple progressions like I – IV(or iv) – I; I – ¨VII7 – I; I – V - I

4) 5)

I – ii – iii – ii – I and other scalular progressions Cycle of 5ths where each chord is a 5th higher than the preceding chord: given A you might use D – A, or G – D – A, or C – G – D – A, or F – C – G – D – A. Other concepts coming up next:

6) II)

You may precede many chords with a diminished 7th chord build on the same root: Given A you could play A 7 A //// // // ○

○

Notice that a 7 chord is also a 7b9 chord (no root). Like A 7 = B7¨9, D7¨9, F7¨9, G#7¨9. ○

Because of this, the above given embellishment principle could be found in cycle patterns, due to a device known as elision (“leaving out something”). To explain, suppose you were given the progression B7 E7 A and instead you played B7¨9 A. II V

I

II

I

This is an elision (and a common one at that). You can expect to see various forms of II7 or ¨VI7 going right to I (like B9 A, II7

I

B7 A, II7 I

F7

A,

¨VI7

I

F9

A ) in popular music.

¨VI7 I

Chord Substitution (parts 9 and 10)

Ted Greene, 1973‐11‐ 22 & 26 page 3

Certain progression involving bass lines have grown out of this concept (or are at least related to it) and are used to replace a prolonged duration of various chords. You could play A∆7 Bm7 B7¨9 (A 7) A(3rd in bass) ○

Example: given A ////

////

Likewise, if given B7 ////

//

//

//

//

○

////

you might play B7 C#m7 B 7 B/D# // // // //

Analyze the song “Birth of the Blues” with its ascending bass line. Continued [in Part 10] __________________________________________________________________

Chord Substitution – Part 10 ○

The main thing in progression of this type is the bass line; like you could also play A E7(B bass) A 7 A instead of A Bm7 A 7 A because the bass line is the same and the harmony above it, whether it be E7 or Bm, is still related to the key. In analyzing songs you will find many progressions built from the bass up. ○

Like suppose you were given A C#7 F#m using bass lines to build progressions from, you might play: //// //// //// Note use of melodic minor (F#m) pedal point

Or


Ted Greene, 1973‐11‐ 22 & 26 page 4

Or

Try making up bass-line oriented progressions such as the se. III)

1)

2)

Other forms of embellishment that possibly you have seen on your own already are: Any descending scale pattern may be converted into a cycle: like if you were given D∆7 C#m7 Bm7 A∆7 this could become D∆7 G# 7 C#m7 F#m7 Bm7 E7 A∆7. In any ascending scale pattern, chords may be followed by chords whose roots are a 4th higher – this will give the effect sometimes of ascending ii-V patterns. Example: Given Bm7 C#m7 D∆7 you might play: Bm7 E7 C#m7 F#(m)7 D#∆7 //// //// //// // // // // //// “For Once in My Life”, “Eleanor Rigby”, “Michelle”, “Summer of ‘42”, “What Are You Doing [the Rest of Your Life?]”, “[My Funny] Valentine” _______________________________________________________________________

On any major or minor chord of prolonged duration, you might try the “moving voice” type of progressions: given A Bm7 E7 you might play: //// //// //// ////

Given A ////

Given A



D ////




Given F#m //// ////



Notice the bass line

Given F#m F#m…….. //// ////



Ted Greene, 1973‐11‐ 22 & 26 page 5

Common Chord Progressions and Harmonic Principles Ted Greene – 1973-10-22

( ) = optional 1) General Guideline: Any diatonic chord can progress to any other. Diatonic major scale Triads: I ii iii IV V vi vii 7ths: I 7 ii7 iii7 IV 7 V7 vi7 vii 7 Diatonic minor triads (including Aeolian, Dorian, Phyrgian, Harmonic and Melodic minor harmonies): Triads: i, II, ii, (II), ii , III, III+, iv, IV, V, v, v , VI, ( vi), vi ( )VII, bvii, vii . 7ths: i7, i 7, II 7, ii 7, ii7, III 7, (III 7+), III7, iv7, IV7, V7, v7, v 7, VI 7, vi 7, ( )VII7, ( )VII 7, vii7, vii 7. ____________________________________________________________________ Here are some common progressions in a major key (key of A):

1)

A D A I IV I

2)

A E A I V I

3)

A D E A I IV V I

vi often replaces I: 4)

A D A/E E A I IV I V I

5)

A E (A) D A I V I IV I

6)

vi often follows I: 7)

A D A E F#m I IV I V vi

8)

iii can replace I and often can precede vi: 10)

A F#m D E A I vi IV V I

C#m F#m Bm E A iii vi ii V I

(A) D Bm E A (I) IV ii V I

11)

Bm ii

9)

A F#m Bm I vi ii

E A V I

A C#m D (E) A I iii IV (V) I

There are some strong progressions of chords whose roots are moving up a 5th:

or

Bm D E A ii IV V I

13)

Also: 14)

ii often replaces IV:

iii often precedes IV:

IV and ii are sometimes used together: 12)

F#m D E A vi IV V I

F#m C#m D A vi iii IV I

The circle (cycle) of 4ths (5ths) is often used: F#m D A vi IV I

15)

A D G# C#m F#m Bm E A I IV vii iii vi ii V I

Common Chord Progressions and Harmonic Principles — Ted Greene, 1973-10-22

Cycle of 4ths starting from IV: 16)

D G# IV vii

page 2

4ths starting from ii:

C#m F#m Bm E A iii vi ii V I

17)

Bm E A D G# C# ii V I IV vii III

F#m vi Will be discussed later

Cycle of 4ths up stepwise: 18)

Bm E ii V

C#m F#m iii vi

D E IV V

A I V is often used for vii and vice versa.

___________________________________________________________________________ Same ideas in Am:

1)

Am Dm (D) Am

2)

Am E(m) Am

3)

Am Dm E Am

4)

Am Dm Am/E E Am

5)

Am E (Am) Dm Am

6)

F VI

7)

Am Dm Am E(m)

9)

8)

Am F

Dm

Am F B or Bm E Am ii or ii

10)

C III

B

11)

Am

12)

(Am) Dm Bm E Am or iv ii

13)

F

14)

Bm F, Dm Am

15)

Am Dm G C F B E Am

16)

Dm G C F B E Am

17)

Bm E Am Dm G C F

16)

Bm E, C F, Dm G or E Am

C III

F VI

Dm E Am

Dm E Am

C, Dm Am

F

E Am

E Am

Bm Dm E Am ii iv

_____________________________________________________________________ Triads may be replaced by their diatonically related 7ths: 1) A D E A could become: A 7 D 7 E7 A 7 2) Am Dm E Am could become: Am7 Dm7 E7 Am7 Try all of the above progressions using 7ths in place of any or all of the triads.

Common Chord Progressions and Harmonic Principles — Ted Greene, 1973-10-22

page 3

Mode Mixing in Major Keys : The chords of any of the modes may be used in place of diatonic triads with the same letter names or in conjunction with these diatonic chords. This will be clarified shortly. First of all, here is a listing of the triads of the modes of A:

Ionian: Dorian: Phyrgian: Lydian: Mixolydian: Aeolian: Locrian:

(A Bm C#m D E Am Bm C D Em Am B C Dm E A B C#m D# E A Bm C# D Em Am B C Dm Em is not used very much, if at all.

F#m F# F F#m F#m F

G# ) is the same as the major scale. G Gm G#m G G

Composite: A, Am, B , Bm, B, B C, C#m, C# , D, Dm, D# , E, Em, E , F, F#m, F# , G, Gm, G#

Some common uses: 

A B

D A

or



1)

For A Bm D A

A B

D Dm A

2)

A D A E F

3)

A G D A

4)

A C#m C D A

5)

A D C E A

6)

F G C

7)

A D F G A

used for F#m

D A

Mixture triads may be replaced by their related 7ths just as diatonic triads may: 8)

A 7 B7 D 7 A 7,

9)

A

F 7 G7

A

A B7 Dm7 A

Complete Formulas for Discovering All Voicings of All Chords Due to realization that my search was going too slowly Ted Greene – 1993-08-20, Friday, at Aunt Re’s 2000-08-14: Upon re[thinking Or re-examining] in some depth. A delightful method overall fun!! And not as nasty to do as the “out-of-the-gate total onslaught method” would be. Soprano as fixed item Consonance Dominant Types. [1995-07-15: In this case, the b7 will be necessary] First: 4-noters… with logic as the generator and benefactor….

Root on Top [1995-07-25: Top two voices as constants: R, b7 _ _ ] 1) R b7 6 5

R b7 6 4

R b7 6 3

R b7 6 2

[Descending R b7 6 5 4 3 2 R bottom voice]

_____________________________________________________________________ R b7 5 4

R b7 5 3

R b7 5 2 R b7 6 5 4

R b7 5 32R

_____________________________________________________________________ Check R b7 4 3

R b7 4 2

R b7 4 R

R b7 4 b7 6

R b7 4 5 4 3 2

R b7 4 R

_____________________________________________________________________ R b7 3 2

R b7 3 R

R b7 3 b7 6

R b7 3 5 4

R b7 3 3 2

R b7 3 R

_____________________________________________________________________ R b7 2 R b7 6 5

R b7 2 4

R b7 2 3 2 R

Complete Formulas for Discovering All Voicings of All Chords - Ted Greene, 1993-08-20

page 2

_____________________________________________________________________ R b7 R 3

R b7 5 4 3 2 R

R b7 4 3 2 R

R b7 3 2 R

_____________________________________________________________________

2) R 6 5 b7

R 6 4 b7

R 6 3 b7

R 6 2 R b7

_____________________________________________________________________ R 6 b7 5 4

R 6 b7 3 2 R

_____________________________________________________________________ R 6 5 b7

R 6 4 b7

R 6 3 2 b7

_____________________________________________________________________ R 5 4 b7

R 5 3 b7

R 5 2 b7

R 5

R 5

R 5

R 5

b7 6 4

b7 3 2

6 4 b7

3 2 b7

_____________________________________________________________________ R 5 b7 3

I wish

R 5 b7 4

R 4 R 13

R 4 b7 5 4

R R 4 4 b7 b7 2 R the “co-minor”

R 4 3 b7

R 4 2 b7

= =

R 11 9 b7

R 4 R b7

Complete Normal Vocabulary for 20th Century (Max Steiner) Sounds Ted Greene 1974-11-26

Types 1) Major:

2) Minor:

3) Dominant 7th:

4) Diminished:

5) Augmented:

a) b) c) d) a) b) c) d) e) a) b) c) d) e) f) a) b)

Triad and extensions Triad and extensions with #4th (Lydian) Suspensions and 2’s #5th on triads and extensions Triad and minor 6 family extensions Minor 7 family and extensions Half-diminished 7 and extensions Minor-major 7 and extensions Diminished triad, diminished 7 and extensions Dominant 7 and extensions Suspended 7th and extensions Overtone dominants Whole-tone dominants and augmented Altered dominants and #5 majors and minor 7+ Pedal dominants Triad Diminished 7th and extensions (include appoggiatura and pedal diminished types) a) Triad and other #5 extensions b) ¨5 extensions

____________________________________________________________

Major Key 1)

Major Triads: All degrees Major and extensions with #4 on I, ÏI, (II), ÏII, IV, (V), ¨VI, (VI), ¨VII Suspended: I, II, III, IV, V, ¨VI, VI, ¨VII, VII 2’s on all degrees. Major extensions on: I, ÏI, II/9, ÏII, IV, V/9, ¨VI, VI/9, ¨VII

2)

Minor Triads: All degrees except #iv Minor 6’s on i, ïi, ii, ïii, iv, v, ¨vi, vi, ¨vii (major 7’s, 9’s or 11’s are possible also) Minor 7’s and extensions on all degrees Minor 7¨5’s and extensions on all degrees except ïii, ¨vi

3)

Dominant 7ths on all degrees 9th’s on all but VII 7/6, 13th on all but III, (VI), VII Suspended dominant types on all degrees Overtone dominants on all degrees except III, VI, VII 7¨9’s on all degrees 7#9 on all degrees except ÏII (unless 5th is on top), ¨VII, VII (to I)

Complete Normal Vocabulary for 20th Century Sounds


7¨5’s on all degrees 7+ on I, II, ÏII, III, V, ¨VI, VI, VII 7¨9+ on I, II, III, V, VI, VII 7¨9¨5 on I, II, III, V, VI, VII 7#9+ on I, II, III, V, ( ¨VI), VI, VII 7#9¨5 on I, ÏI, II, (ÏII), III, IV, ¨V, V, (¨VI), VI, (¨VII), VII 9+ on I, II, (III), V, ¨VI, VI 13¨9 (9th on top) on: I, II, (ÏII), III, V, ( ¨VI, IV, ¨VII), VI, VII 13#9 where lines dictate (13th on top on): I, V 13¨9¨5 on I, V 11¨9(+) on I, V Major 7+, minor 7+ in place of 7+ or 7#9+ Pedal dominants on I, V 4)

Diminished and diminished 7th and extensions on all degrees

5)

Augmented and other #5 whole-tone dominants on I, (III, ¨VI), and V (ÏII, VII); others with proper preparation.

____________________________________________________________

Minor Key 1)

Minor triads on i, (ïi), ii, (ïii), (iii), iv, v, ¨vi, (vi), (¨vii). Minor 6 family (major 7’s, 9’s, and 11’s are possible also) on: i, (ïi), ii, ïii, (iii), iv, #iv – ¨v,

¨vi, vi, (¨vii) Minor 7’s and extensions on all degrees Minor 7¨5’s and extensions on (i), (ïi), ii, ( ïii), iv, (#iv – ¨v), v, §vi, ¨vii, (vii) 2)

Major triads on I, ÏI, II, ÏII, IV, (¨V), V, ¨VI, ¨VII, VII Major extensions on ÏI, ÏII, IV/9, ¨VI, ¨VII, VII Major triads and extensions with #4 on I, ÏI, ÏII, (IV), ( ¨V), (V), ¨VI, (¨VII), VII Suspended on I, (ÏI), II, ÏII, IV, V, (¨VI), ¨VII, (VII)

3)

Dominant 7th’s on all degrees except §vi 9ths on ÏI, ÏII, IV, #IV, V, ¨VI, ¨VII, 7/6th, 13th on ÏI, (II), ÏII, III ( ÏI of ÏII), IV, #IV, ¨VI, §VI (ÏI of ¨VI), ¨VII, VII Suspended dominants on all but vi Overtone dominants on ÏI, (II), III ( ÏI of ÏII), IV, #IV, (V), ¨VI, VI (ÏI of ¨VI), (¨VII), VII


Complete Normal Vocabulary for 20th Century Sounds

7¨9’s on all degrees 7#9 on I, II, ÏII (III is ÏI of ÏII), IV, V, (¨VI, VI), ¨VII 7¨5 on all degrees 7+ on I, II, ÏII (III), (#IV), V, ( ¨VI), ¨VII, VII 7¨9+ on I, II, ( ÏII), IV, (#IV), V, ¨VII 7¨9¨5 on I, II, ÏII, IV, V, (VI, ÏI), ¨VII 7#9+ on I, II, (ÏII), IV, V, ¨VII, §vi, VII 7#9¨5 on I, (ÏI), II, ÏII, (IV), #IV, V, ¨VI, §vi, ¨VII, VII 9+ on I, ÏII, (III), IV, V, ¨VII, (VII) 13¨9 on I (¨9 on top), II, ÏII, IV, (¨V), V, §VI, ¨VII, (VII) 13th on top: ÏII, IV, ¨VII, (VII) 13#9 where lines dictate. 11¨9(+) on I, II, V, ¨VII [major?]7+ and m7+ in place of 7+ or 7#9+ Pedal tones on I, ÏII, IV, V (¨VI), ¨VII, (VII) 13¨9¨5 – see 7#9 4)

Diminished, diminished 7, and extensions on all degrees.

5)

Augmented and other #5 whole-tone chords on V (ÏII, VII) – others with preparation II (¨VII, #IV)

Diminished 7th Chords — Common Progressions and Principles Ted Greene 1974-12-29 The following principles concerning diminished 7th chords are pretty complicated and take quite awhile to absorb, unfortunately. While it is quite possible that part of the fault lies with the choice of words (and I apologize if this is so), much must be said if the chords are to be thoroughly understood and used with knowledge, and not just with a hope and a prayer. A good idea might be to wait until you play a song that contains a diminished 7th chord before tackling the subject so you will have some place to relate it to. This way you will gradually absorb the material instead of trying to do a crash course which would probably slip away pretty quickly without application. Diminished 7th Chords

Certain progressions using O7 chords appear very often, especially in major keys, so naturally you want to be familiar with them. The O7 chord is an amazing chord in that any note in the chord can be called the root. Example: a C O7 chord contains the notes C, Eb, Gb, Bbb (A); an Eb O7 contains the notes Eb, Gb, Bbb (A), Dbb (C); an F# O7 (Gb O7) contains F# (Gb), A, C, Eb; and an A O7 contains A, C, Eb, Gb. All 4 chords contain the same notes. They are called SYNONYMS (or Homonyms). This makes for problems when trying to name the chord; many people prefer to name the chord according to the bass note. Others prefer to group them into 3 categories, each containing 4 members (more on this soon). And there are many cases where a O7 chord can be renamed as a 7b9 chord (more on this also will follow). Here is a chart of the O7 chords, grouped according to which ones are the same: iO7 Family:

iO7 CO7

=

biiiO7 EbO7

=

#ivO7 F#O7

=

viO7 AO7

ivO7 Family:

ivO7 FO7

=

#vO7 G#O7

=

viiO7 BO7

=

iiO7 DO7

vO7 Family:

vO7 GO7

=

bviiO7 = BbO7

#iO7 C#O7

=

iii O7 EO7

This chart will be important for certain types of MODULATION (key changing) techniques later, but for now it is just here for reference (you don’t have to memorize it now). Here are some common progression using O7 chords, with the O7 chords named according to the bass note; try them out. Em7 or O 1) C/E Eb 7/Eb Dm7/D G9/G

O

2) C7/C C# 7/C# Dm7/D G7/G

O

3) F/F F# 7/F# C/G

bass note 4) C/C C#O7/C# Dm7/D Eb O7/Eb C/E Fm6/F F# O7/F# C7/G 5) G/B BbO7/Bb F/A Ab O7/Ab Em/G G O7/G D/F# F O7/F C/E Eb O7/Eb Dm7/D G7/G Cadd9/C

Notice that 1st (and occasionally a 2nd) Inversions of Triads pop up all over the place in these progressions. Even though you were advised that triads are not used too much in modern harmony tunes, as you get more used to creating rich chordal effects, you will be able to hear how to tastefully use triads without making everything sound too plain or too much like Renaissance and Baroque music (nothing wrong with these types of music—they are great—but we are dealing with 20th Century harmony on these sheets).

page 2

Diminished 7th Chords - Common Progressions and Principles — Ted Greene, 1974-12-29

Notice in progression (5) above that naming the O7 chords from the bass makes it hard to see the logic of the progression. You might say, “The logic is clear – it is based on a descending bass”; but what about the Em to G O7? No, the logic is based on following each triad with a O7 chord of the same name: G/B GO7/Bb F/A FO7/Ab Em/G EO7/G D/F# D O7/F C/E CO7/Eb Dm7/D G7/G Cadd9/C So always be on the lookout, when you see O7 chords, for easier ways to name them. The last determining factor in naming them has to do with more SYNONYMS. Any O7 chord contains the same notes as 4 different incomplete (no root) 7b9’s. Here is a reference chart of the affinities between O7 and 7b9 chords: All iO7 family O7 chords

=

II7b9,

IV7b9,

All ivO7 family O7 chords

=

V7b9,

bVII7b9, bII7b9,

All vO7 family O7 chords

=

VI7b9, I7b9,

bVI7b9,

bIII7b9,

VII7b9

The circled chords are the most commonly used ones.

III7b9 #IV7b9

 (also

called bV7b9)

Many people might prefer to rename certain O7 chords as 7b9’s; the advantage is that this method opens up other doors: Notice that in progression (2) on the previous page, you could rename the C# O7 as A7b9 (which is logical because it is a secondary V7). Now here is the advantage: If you can play A7b9, you might try A7+ or A7b9+ or A7#9+ (or even Eb9 or 13 by way of the cross-cycle principle). Calling the chord C# O7 doesn’t open all these doors. Here is a suggested list of commonly done conversions (major key) of O7’s to 7b9’s: 1)

When any vO7 family, O7 chord progresses to a ii(7), ii ±7, or II7, convert the O7 to VI7b9.

2) 3) 4) 5) 6)

When any ivO7 family O7 chord progresses to a vi or VI7, convert the O7 to III7b9 When any ivO7 family O7 chord progresses to a I or iii, you might convert it to V7b9 When any iO7 family O7 chord progresses to a ii, V or v, you might convert it to II7b9 or bVI7b9 When any iO7 family O7 chord progresses to a iii or III, you might convert it to VII7b9 When any iO7 family O7 chord progresses to anything, you might substitute II7, bVI7, VII7 or IV7 for the O7 chord. When any O7 progresses to a 7th chord or triad of the same letter name, don’t convert; if it is a disguised version of this, convert to same letter name. Examples: C/C GO7/C# G7/D is fine, but C/C C# O7/C# G7/D should be converted to C G O7 G7. Also in this type of case, you may try and substitute any of the four 7th chord families that are related by virtue of SYNONYMS. Example: instead of C/C G O7/C# G7/D you might try C/C Eb7/Db G/D because G O7 is also A7b9, C7b9, Eb7b9, and F#7b9.

7)

By the way, if you ever do encounter a O7 chord in a minor key tune, you will be able to figure out what to do with it if you understand O7’s in major keys. One last word of caution: most sheet music incorrectly lists O7 chords as O triads. Example: if you see something like C G O G7 or C EbO Dm7, many times they actually mean C GO7 G7, C EbO7 Dm7. If in doubt, either consult the piano staffs on the music or just play a O7 chord instead of a triad. Often, O7 chords are played with non-chordal tones “frozen” on top of the chord; you will naturally end up with playing these chords when working out a song in chord-melody style (see On a Clear Day, Pennies from Heaven, How About You, Manhattan, and others). Suggested tunes for getting into O7 chords: Someone to Watch Over Me, People, Night and Day , Body and Soul, On a Clear Day, You Go to My Head , Birth of the Blues, San Francisco, Ol’ Man River , Pennies from Heaven, How About You, Manhattan, This Nearly Was Mine.

Embellishment and Substitution Ted Greene 1974-07-09

1)

Decide on family, then type (sub-family) within family Major: triad, 6, maj7, maj9, maj13, /9, 6/9, #11 types, +types, sus+2 types (include 9th or 4th in bass) Minor: triad, m7 types, ±7 and m7+, m6 types, minor(maj7) types. Dominant: Extensions, sus, altered (include +), overtone, o pedal (R 7, 11b9, 7/11) | m7+, maj7+, 13#9, /9, sus2, 6, 6/9)

2)

Normal “Back cycling” in C:

C

| | | |

1st Class Dm7 G7 and/or Abm7 Db7

2nd Am7 D7 and/or Ebm7 Ab7

3rd Em7 A7 and/or Bbm7 Eb7

4th Bm7 E7 and/or Fm7 Bb7

5th F#m7 B7 and/or Cm7 F7

6th Gm7 C7 and/or C#m7 F#7

Any class may be skipped; (also, any 2 or 3 classes) Any m7 may be omitted from any class. Also the dom.7 may be omitted except in 1st class. All combinations of above are possible or 6th class again. What this adds up to is that you are back-cycling in 4ths, keys in 4ths, chromatic movement using b5th substitute, using parallel m7’s.

3)

4) 5)

6)

7)

8)

Diatonic “Back-Cycling” (parallel-scalular embellishment). (also Bass Patterns) Also diatonic “fill in” Example: given Cmaj7 - Am7 - Fmaj7 - G7  Cmaj7 - Bm7b5 - Am7 - G7 - Fmaj7 - Em7 - Dm7 - G7. Try thinking in terms of what melody is doing: like parallel, contrary [motion], common tone, etc. Bass View “Back-Cycling” (harmonize from a preparatory bass line) (Scale-Wise Bass and Chromatic Bass embellishments) Substitute (replace) or mix (precede or follow, like ii and iv in People) chords a 3rd apart. Like for D7: Bb D7, F72 D7, F# ±7 For Em: Gm9 Em7 For C ±7: Ab ±7 E ±7 C ±7 New chord may be back-cycled to: Tenderly — for C: Gm7/11 – F#m7 – B7 – Em This is part of The Distant or New Goal Back-Cycling or Embellishment Principle or Progression Substitute. Like example: for C – Am – Dm – G7 use: C – C7 – F – Fm. 6 6 or: C (G /4) [combining bass back-cycling] – C7 /5 – F – Fm Or: given: C – F do C – Am – F Sometimes bass back-cycle produces same results as normal back-cycle Real Tonicization: Bring in any chords from key of chord you are on, before, or after that chord (use The Man I Love as model). Look for “door openers” to other keys; example: The Days of Wine and Roses – before vii ± comes ii ± (bvii6/9) vi6/9 i ±/9 because ii ± is also bvi6 of vi6. Mixtures, especially bIII, bVI, bVII, bII, may precede, replace, or follow their diatonic brothers. Examples: C – Ebmaj7 – Em7 Fmaj7 – Em


Embellishment and Substitution

9) 10)

Ebmaj7 – D ±7 – C Fmaj7 – Em7 – Dm7 – Db7 – C C – B ±7 – Am7 – Abmaj7 – C Elisions (modern vs. traditional) like C7 – G – C13 – G – Eb7 – G – Eb9 – G, etc. Diminished 7th Embellishment of any chord—this can be thought of as temporary modulation. Example: C 7 – C, A 7 – Am, Ab 7 - Ab, G 7 - G, F 7 – F °

°

°

°

Also do V7b9 embellishment of any chord. Also 7 1/2 step above m7 (ala same root 7b9 back-cycle) °

11)

12) 13)

14) 15) 16) 17) 18) 19a) 19b) 20) 21) 22) 23) 24)

25) 26) 27) 28) 29) 30) 31)

Compounds of all principles where possible: Example: Alfie — given Dm  D6 – E6 – Am – G6 – A6 – Dm Example of bass back-cycle: Ain’t Misbehavin’ — G – Am7 – Bb7/6 – B7+ – C (C72 – C# ± – C# ±72) 6 6 4 4 4 G /4 – B7 /5 – Em – G72 – Cmaj7 /3 – Bm7 /3 – Am7 /3 – D7 – G Sub Dominant Mixing (ala chords a 3rd apart) 6 6 G – B7+ – Eb /4 – C7 – A7 /5 6 G – A7 – C7 – Eb7 – G /4 bVI7 emb.; bvii emb. of any major triad (on any degree) | vi6 embel.; example: use on I IV bVI I Embellish any chord with other patterns. Ex: (use All the Things You Are as model) embellish IV with vi iii or I vi or bII bV embellish any chords with its iii/5 V7/2 embellish V with IV bIII, vi, all progressions with mixtures, all turns, all sub-dominants. Chromatic Alt in normal progression: I V6 vi iii6 | Chromatic alt. in scale: I7 ii7 iii IV9b5 b5th Substitute on any chord Common tone subst.: A# ±, 7, Bbm7 for A7 or A7 °

°

Contrary Embellishment (outer voices) Modulation Embellishment: for C D ± use C Eb7 Ab C7 Fm Ab7 D ± 1/2 Step Embellishment with and without contrary motion Moving-line Principles (inner or outer) Internal “Filling in” for unusual colors Switches on any chord if possible Mix Minor Families (like bridge of Lover Man) Conversion of Step-wise to Cycle Pattern Embellish with Dorian Chords: before ii V of E  Em Bm C, Am Em F (F# ±) B7 or C7 Bm Am7, Am Em7 F F# ± F#m7 B7 E or Am7 Bm7 C7 (D11) F#m7 G#m7 A7 B11 E or ii iii IV V or I, bIII, bV; also embellish any minor 6 with its dorian. Embellish any chord with satellite notes in any voice. Compound: go into key of substitute chord – like key of Dm for B ± On any 13 #11, think lydian down a step. Replace any 7th with triad or rel. triad. End in new key. Deceptive Movements such as: C A7 Dm Em | Em7 Am7 Ab7 C | F# ± Fm7 etc. | C C7 F Em7 | Dm7 Db7 Eb | C D7 B7 Ebm | Deceptive Movement by way of Sym. Back Cycle with conveyor belts of ii-V’s Examples: 1) vi–II, #iv–VII, etc., to I, ii, iii, IV, V, VII (vi) 2) bii–bV, bvii–bIII, etc., to ii, IV, V, vi, VII 3) ii–V, iv–bVII, etc., to all. Also V7–I7 to iii.


32) 33) 34)


52)

Prepare m6 as if it were a 9th chord. Example: D ± use Bb F+ Bb9 Exotic Scales: Gb9 Abm11/4 etc. Explore #iv interval  like The Defenders: |: E Bm :| E D G#.... or Am7 Eb7 or Eb7 Am7 also 1/2 step interval: Eb7 Em7, Ab7 Gm7 Reverse Physical Direction (also chronological order) of any progression. Isolate Triads in Poly-chords v, v ± , bVI, bVII can be used cadentially. Teasing: C C#m7 Eb7 C#m7 F#7 B Cross-Rhythms (George Van Eps or Lenny Breau) Rhythmic Transitions Wandering Work in 3 voices ala Gershwin [Solo?] Runs Write blues melody & harmonize (ala Young Man with the Horn) Chromatic “Creeping” on any progression or single root. Ascending and Descending Reduction and Expansion of all chords via Scales. Also Diatonic and Chromatic melodies on all possible chords and progressions. VOCAB: know melody, bass, degree views, also Harmonic Tendencies. (what types – families) Some Tune Treatments: 1) Build bass 1st 2) Change mode 3) Switch styles 4) 2-part Invention 5) Imitations 6) Stretto 7) Ground bass 8) Reharmonization 9) Parallelism 10) Constant Melody 11) Chrom. Alt. 12) Focus on any 2 or 3 voices and move in contrary or parallel motion. 13) Listen melody 1st – sing by numbers 14) Switch octaves 15) New Key on each (or ?) phrase of tune. Elaborated Cadence View: I bVI7 (or II7 IV7 bVI7) of bIII V7 o Pedals Under Progression: like V vi ± v 7 V7 V All whole tone and overtone types in + cycles (double whole step intervals) When doing “Symmetric-Mono-Family” type progressions: prepare any m6 with its m7 (Ex7), rel. major, parallel major, 7+, 7, V, V4; also ii-V’s, may replace m6’s. Prepare any dom. 7th with its V7, 7b5, 7b9, etc., v7, bii7, ii7, V7+ and others. Group Mixtures (borrowed chords) in various ways – like bII, bIII, bVI, bVII with their relative minors 6 6 6 Old Ballad in open triads: Dm A6 F /4 C ||: Cm Abm6 Eb /4 Cb Gb Bb Eb /4 G6 :|| Cm Gm, Gm Ebm6

53)

Old Ballad #2 in open triads: (or do in key of D)

35) 36) 37) 38) 39) 40) 41) 42) 43) 44) 45) 46)

47) 48) 49) 50)

51)



6

6

| E6 B+ /4 | Bm /4 C#+6 | High // | // /

C#6 | D6 / | //

o

F#m | F# F | // | // // | |----------1------------|

| C6 | ////

o

| Em E | // //

6

o6

| G /4 | Eb | G /4 | //// | //// | ////

o6

| D | ////

6

| F# /4 | B | B7 :|| or E /4 G6 | B | //// | //// | //// :|| // // | ////

| B7 | | //// |

Use as intro to Whiter Shade of Pale. 6

6

Substitute for II7 bVI7 ii7 V7; 1) ii7 iv7 V7 bvi 6 or ii7 /5 bVI72 II6 bvi /2 54)

Raised Supertonic in ii chord:

•

Sus7th family for m7

•

Herb Mickman: use m7+; use m7b5 add7 (in descending line)

•

Convert ii V I vi ii V I to IV vii iii etc.

•

Prepare any overtone dominant with a 6/9#11 or other major sound. Example: Ab6/9#11 Ab13#11

o

[Tom J?] iii7 vi7 vamps for I After vamping on Dm7 G7, to end in major use Gm7 Dmaj9 Parallelism: Like C11 D11 Eb11 D11 C11 •

•

Prepare any dominant 7th with a suspended dominant on same root. Minor polychords Displaced Bass: Gb Db7 Gb Eb7 Abm Gb7 E B/E A/E B/E (or E(/9) etc. 3 3 3 5 For lower tuning do in E •

• • • • • •

•

Chord Substitution: Dominant 7 for minor 7 Diatonic Back-cycling to vii ± or others. Substitute for +; substitute for m7 bVI for V: iim11/b7 (V7#9+/3) bVImaj9/3 Imaj9 Any dominant 7 down a 1/2 step to a maj7 (ala Wives and Lovers) Precede any dominant with a m9: Example: Db/9\5 Bm9 Bb13b9 Ebm7 Am9 Ab13b9 D13 Dbmaj9

Use #iv7 VII7 for V7.

[?] note before bridge 4 Example: For Once in My Life in C use F#m11 /3 to B7 to C Or in E use Bm7 A#m7 D#7 G#m7 C ±7, etc.

Transcribed by P. Vachon

"Multi-Tonal Major Key Colors: 'Diatonic Mixtures' or 'Mixed Majors' Parallel Root Moves and Voicings" Ted Greene Harmony Lesson 1989, July 19, updated 1989, December 17

Example #5: "Modulation. This sustain is important here."

Key:

Organized sounds where one tone can be sensibly seen, and heard, to have generated the others.

Tonality:

The particular flavoring or color of a key...as in key of C major, or more specifically at times, C Major Diatonic or C Blues, or C Mixolydian, or when more precision is needed, C Jazz Blues, C Gospel Blues, Cm Chicago Blues, Cm Dorian Blues, Cm Dark Jazz Blues, and so on.

"Introduction to Expanded Diatonicism: Extensions on bIII & bVII......and the Contrast with Normal Diatonic Flavor" Ted Greene Harmony Lesson 1989, July 17

Example #1: "Now let's contrast this spicy shade with warm diatonic color:" "Play all this many times over & over before going on, to really soak up the sounds." [For the last chord in this example:] "A different form of spice altogether: Hidden non-diatonic 9th"

Example #2: "There's no mystery here, yet it's all mystery....meaning, one can learn to use these sounds, call them up at will, but why they affect us the way they do remains a glorious wonder."

Example #3: "This particular voicing always strikes me as a bit bolder, tougher, less warm, but more 'modern' (?)....today's modern, tomorrow's passé." "The contrast always moves me; hope it does something for you."

Example #4: "For the adventuresome:" "Coming attraction"

Favorable Mating of Quality (Chord Extension & Such) & Degree (of the Key) © Ted Greene, 1990-06-18

Major or Dominant 7th Key: for Dominant Type Chords On I7: Dominants function three main ways here: 1) As V7 of IV. Try all 4 groups, although #11 types are delicate and troublesome in certain registers and/or voicings. But groups 1, 2, and 4 work wonderfully well. 2) As Tonic dominant color for bluesy color. Groups 1, 2, 3, and 7#9, 7#9#11, 13#9, 13#9#11. 3) As final chord, even in a very ‘majory’ sounding piece. On bII7: Group 1, 3 are great in almost all voicings. Group 2 is trickier. Group 4: 7#9, 7#9#11, 13#9, 13#9#11 are recommended amongst the altereds. On II7: 99.9% of all dominants work here. On bIII7: Group 1 is smooth & luxuriant. Group 2’s are great for setting up or replacing Group 1’s here. Group 3 can be great when you want to approximate the sound of altered VI7 types. Group 4: b5[#11] or 13 on top are smoother than #5. Overall, the Altered’s are rougher on bIII7. On III7: Group 4 is wonderful, but watch out

for 13 or §9 on top. Example in key of C: E9+\F# soprano or E13b9\C# soprano to Am7 will work, but they’re rougher, less flowingly natural than say, E7#9+\G soprano and E7b9+\C soprano. Group 2: Smoothest soprano notes: R, 11, 5, b7, 17th . Group 1 & 3: Useable if you remember that 9 & 13 usually will sound better “buried in the chord” (i.e. not in the soprano). Ask about the special ‘key within a key’ circumstance that changes all this.

Specific Groups of Dominant Chord Types Group 1: 7, 9, 13(no9) [7/6], 13 (with 9) th

Group 2: 7sus4, 9sus4, [also called 11 ], 13sus4. Optional: inclusion of ‘3’ here. Ask me next time about 3 circumstances. Group 3: 7#11, 9#11, 13#9, Group 4: Altereds: 1) b5 [#11], #5, b9, #9 in 7th chords…any or all of them. Also: 2) 9#5 3) 11b5, 11#5, 11b9 4) 13b9, 13#9

Other much rarer types such as 7#9§9 do come in due to melodic needs, but we needn’t catalogue them for now; rather, they appear in front of you while you’re playing.

Harmonic Improvement Ted Greene — 1976, June 2

PART I 1)

Any of the three basic chord types may be enriched by adding 6ths, 9ths, etc. to them. A glance at the “Chord Construction page” will reveal what types of chords result from this process. One of the fastest ways of learning to apply this concept is through the patient study (playing and analyzing) of the material on chord progressions, songs, etc., that you will be given as assignments. This concept will be referred to as Chord Enrichment. (This concept applies in a limited way to the 7 also.) °

2)

Any chord may be preceded by a similar type chord whose root is a 1/2 step above. This process will be called 1/2 Step Embellishment. Examples: Given:

(key of Ab)

# of

//

Beats:

//

//

//

With 1/2 step embellishment

with melody in contrary motion or:

//

Given:

/

/

//

//

//

/

/

//

//

(key of Ab)

// // // With 1/2 step embellishment:

//

Is there somewhere else here that you could add 1/2 step embellishment?

//

/

/

/

/

/

/

Ted Greene, 1976, June 2 — page 2

Harmonic Improvement (parts 1 and 2)

An interesting twist on the above is to have the bass notes approach the given chords from a 1/2 step below, while the rest of the embellishing chord comes from above, normally. The resulting “polar” embellishing chords need not be given names. As a group, they might be referred to as 1/2 Step Moving Line Chords (the result of musical lines in motion). Example:

You might be wondering if 1/2 step embellishment with the whole chord approaching from below is a commonly used principle…yes and no—most players seem to use 1/2 step embellishment from above more than below (that is, when they use any kind of embellishment), but it does add variety, so you’ll probably enjoy fooling around with it also. Example: (using 1st progression above again). with contrary motion

/

/

/

/

/

/

/

/

This concept of embellishment can get pretty “hairy” if we include some notes going in contrary motion, as illustrated in a few of the examples. For instance, here is a summary of some ways to embellish an F7 chord, with various combinations of 1/2 step no tes:

If you were to make a similar list with a 4-note chord you would have a least twice as many options, and with 5- and 6-note chords…you could easily spend many years, if not the better portion of your life on just this concept alone. So a keyword here is moderation.



You will see these 1/2 step embellishment sounds used on the song pages to come, so you will get some experience in this area without really trying, just by playing and learning the material. One last thing: melodic leaps in the soprano voice (highest pitch) are commonly used with 1/2 step embellishment. Examples:

_________________________________

PART II 3)

Any dominant 7th type chord (and to a lesser extent, any m7 type chord) may be preceded by a m7 type chord whose root is a 5th higher . Examples: Given:

|

G

/ /

Given:

/ /

/ /

|

B

|

A7

/ /

|

D7

/ /

/ /

////

|

B7

G

E

etc. /

/

/

/

/

/

/

/

/ / / /



4)

Any major, minor or dominant 7th type chord may be preceded with a dominant 7th type chord whose root is a 5th higher . Examples: Basic:

G

/ Basic:

/

/

/ |

Bb

/ / Basic:

| Am7

A7

/

A

/

| G

D7

/

/

/

Eb

/ |

F#m7

Bm7

E7

etc.

/

/

/

/

/

/

/

It is often interesting to combine different principles. Examples: Basic:

|

A

/ /

/

/

Bm7

/

E7

/

/

/

////



Basic: Ab

| Ab7

/

/

/

/

| Db

/

/

/

/

This process, of adding chords a 5th higher, will be referred to as Back-Cycling (because you are “backing up” in the cycle of 5ths (4ths) in order to find the chord(s) to add in). The process of back-cycling can be carried out even further (and this is especially useful in chord melody style playing) as you will see if you apply this concept to some songs. Sometimes it is effective to break up a measure or two of a given chord by inserting the back-cycle chord in the middle in a “sandwich” fashion: Given: A7

|

/ /

/ /

| D7

A7

/ /

/ /

|

/ /

/ /

| G7

D7

/

/

/

/

etc.

Or you might alternate the back-cycled chord with the original: Given:

|

A7

/ /

/ /

|

A7

/ /

/ /

D7

/ |

|

D7

/

/

/

G7

etc. /

/

/

/

Minor 7th and dominant 7th type chords that stand in the relationship of Am7 – D7, will be called Companions (like Gm7 is the companion m7 of C7, and C7 is the companion dominant 7th of Gm7).

Harmonic Improvement Ted Greene — 1977, April 4, July 10, and May 6. [These lesson pages are Ted’s updates or revisions to his lesson with the same title dated 1976, June 2, 4, 6 with 1975 Feb. 20. Some things have been changed, rearranged, or re-named, and there are new examples. Missing are pages (parts) 2, 4, 5. It is quite possible that Ted decided that those pages didn’t require a revision. For the most thorough understanding of these concepts as Ted taught them, it would be best to study both the 1976 and the 1977 versions. –Editor’s note. ]

PART I 1)

Any of the three basic chord types (major, minor, and dominant 7th) may be replaced with any chord in its own family…(consult the “Chord Construction Page”) Examples: 1) Instead of playing a C major chord you might play a C major 7th (C7) or a C major 6th (C6) or a C added 9th (Cadd9 or C/9) or…. 2) Instead of playing a Cm you might try a Cm7 or Cm7/11 or a Cm6 or…. 3) Instead of playing a C7 you could use a C9 or C7/6 or a C7#9 or a C13+11 or…. In all these cases, what you are really doing is enriching the basic chord, not replacing it with something that is different. Therefore, this concept will be referred to as Chord Enrichment. You will be learning to apply this concept gradually if you carefully analyze the material on chord progressions, songs, etc., that will follow. (This concept applies in a limited way to the 7 and its family too.) °

2)

Any chord may be preceded by a Dominant 7th type chord whose root is a 1/2 step above. This process will be referred to as 1/2 Step Dominant. Example: Given:

/ /

/ /

/ /

/ /

/

/

/

Substitute:

/

/

/

/

/

Ted Greene, 1977 — page 2

Harmonic Improvement

Here is another example: Suppose you were given the following chord progression on a chord chart: F#m7 – B7 – E – C#m7 – F#m7 – B7 – E. Using just chord enrichment , you might play: / /

//

/

//

//

/

//

//

//

/

/

/

/

/ /

//

Now using the 1/2 Step Dominant principle too:

/

/

/

/

/

/

/

/

/

/

/

/

/

/

/

/

/

Another example:

/

/

/

/

/

/

/



2a)

This is very similar to the 1/2 Step Dominant Principle: Any chord may be preceded by a similar type chord whose root is a 1/2 step above (or more rarely, below). By similar type, it is meant: a member of the same family, and usually sub-family too. This concept will be referred to as 1/2 Step Embellishment. Examples: (using the same give progression as above). [Abmaj7 – Cm7 – Bbm7 – Eb7 – Abmaj7] / /

//

//

//

OR

/ /

/

/

//

/

/

/

/

/

[F#m7 – B7 – E – C#m7 – F#m7 – B7 – E] / /

//

//

//

//

//

/

/

/

/

/

/

/

/

Where are the 1/2 step chords in the above example? (Draw an arrow to indicate them.)

_________________________________ PART II [ For Part II, see Ted’s lesson “Harmonic Improvement” 1976-06-2 ] That page covers concepts #3 and #4.

_________________________________

/



PART III 1977, July 10

5)

Dominant 7th chords whose roots are a b5th or #4th interval apart have many notes in common and may be substituted for one another. Examples: Given Am7 D7 G you might play:

└─────

└─────

compare

compare

──────────┘

──────────┘

This concept will be referred to as b5th Substitution. Here are some more examples: Given: Bm7 E7 Am7 D7 ─────────

└─────────

compare

──────────────

compare ──────────────┘

5a)

There are further elaborations of this concept that are used by various players; one of these is that minor 7 type chords may be substituted (or substituted for ) in this b5th relationship. Examples (using the same give progression: Bm7 E7 Am7 D7 as a basis):

└─────────

compare

──────────────┘



─────────

└───

5b)

compare

──────────────

compare ────────────────────┘ └───────── compare ──────────────┘

Compare this example too and notice that Major types may be involved in this b5th Substitution too.

5c)

The b5th Substitute chord may be combined with the original chord: Given: A7 D7 G / /

/ /

Notice the similarities of the above results and the results of applying the 1/2 Step Dominant principle to the progression A7 D7 G. The “overlap” of the b5th and 1/2 step concepts is one of the many phenomena of music.



5d)

Back-Cycling can be effectively combined with the b5th Substitution (or 1/2 Step Embellishment) concepts. Given: A7 D7 G / / / /

/

/ / / /

/

/

/

/

/

/

Explain the two different reasons for the two Eb9 chords here.

_________________________________

PARTS IV and V [See Ted’s lesson “Harmonic Improvement” 1976-06-2 ] These pages cover concepts #6 through #10.

_________________________________

/

/



PART VI 1977, May 6

11)

Any minor 7 type chord may be preceded with a dominant 7th type chord whose root is the same or a b5th (#4th) higher . Examples: Analyze each example carefully to see the reason for each chord.

Given: F Bb Gm7 C7, you might play / /

//

//

/ /

resolution chord

/ /

/

/

//

/

/

/

/

/

/

/

/

/ /

/

/

/

/

/

/

/

/

/

why?

/

/

/

why?

/

/

to be explained later

/

/



/

/

/

/

/

/

/ /

Key of E:

B9

/

/

/

/

/

/

/

/

to be explained later.

11a) The new dominant 7th chord that is added in may be combined with its companion minor 7 or may be generally back-cycled to. Examples: Given: Db Ebm7 Ab / / / /

//

//

resolution chord

Key of Db

/

/

/

/

/

/

/

/

/

/

/

/

/

/

/

/

/

/

/

/

/

/

/

Key of E

/



/

/

/

/

/

/

/

/

11b) The added dominants on the same root and the b5th may be combined: deceptive cadence chord

/

/

/

/

/

/

/

/

/

/

/

/

/

/

/

/

/

/

/

/

/

/

/

/

I

vi7

II7

bVI7

iii7

ii7

Key of Ab

ii7

V7

I

Harmonic Improvement Ted Greene — 1975, Feb 20 and 1976, June 4 & 6

PART III 5)

The Cross-Cycle or b5th Substitution Principle A sometimes used substitution principle in modern harmony is to replace any dominant 7th type chord with another dominant 7th type chord, but whose root is a b5th higher . Example: given Am7 – D7 – G you could try playing Am7 – Ab13 – Gmaj7. As to why this type of substitution works, observe: 1) The most important notes in a dominant 7th chord (termed its essence ) are its 3rd and its b7th. 2) The essences of dominant 7th chords whose roots are a b5th apart are, amazingly enough, the same. Notice: The 3rd and b7th of Ab7 are C and Gb; the 3rd and b7th of D7 are F# and C. Since Gb and F# sound the same on the guitar (and all tempered-tuning instruments), the essences of D7 and Ab7 are virtually the same. Because the essences of these chords whose roots are a b5th apart are the same, theoretically, you might say that any extensions or altered chords should work for each other in this b5th relationship.

However, many of these sound poor or out of place, so some suggestions on the more tasty substitutions might prove helpful: Taking the normal ii7 – V7 – I progression in G as a vehicle, instead of just playing Am7 – D7 – G, try the following substitutions: | Am7 – Ab7/6 – Gmaj7 | Am7 – Ab9 – Gmaj9 | Am7/11 – Ab13 – Gmaj7 | | Am11 – Ab9b5 or #11 – Gmaj9 | Am11 or 7/11 – Ab13#11 – Gmaj9 |

Notice the relationship between these examples and the first two above.

Try these physical examples of some of the ideas:

Ted Greene, 1975 and 1976 — page 2

Harmonic Improvement (parts 3, 4, and 5)

This gives us a clue into the effect of the b5th substitution principle in many cases; thru observation and experimentation it has been found that the major scale extended dominants and the overtone dominants are usually the best choices for use in the b5th substitution principle, and the effect is similar to using an altered dominant type on the original chord. Sometimes because of the “pull” of a certain b5th substitute, a major type chord is substituted instead of a dominant 7th type. The most frequent degree for this is on the bIII7 to bVI. Observe: Given:

G – E7 – Am (or A7) – D7, you might play: // // // // // bIII7

bVI7

Due to Back-Cycling, m7 chords sometimes find their way into a progression as a b5th substitute. Compare:

Notice that the “melody” of the substitute chords (Fm9 – Bb13 – Ebmaj7) does not clash with the original “melody,” and the key in general. Unfortunately, when trying to apply the b5th substitutions to songs, you will find that more often than not a chord will clash with the melody, or will sound forced or contrived. The b5th principle should be treated with reverence and respect, in this man’s opinion, because on those rare occasions when it fits perfectly, it is like a breath of fresh air; but it should never be used just for the sake of using it, so that one can say to himself or others, “Look here, I’m using the b5th principle.” After all, the whole ideas in music is to find beautiful sounds, right?, not to play intellectual games to show how much we know or how clever we are. The only reason for these sermon-like comments is that most students, upon learning the b5th principle, tend to go ape with it and force it where it doesn’t fit.

PART IV More Common Tone Substitutions: 6) Chords whose roots are a 3rd apart often have some notes in common, sometimes many, and once in a while, even identical notes. This can lead to some interesting substitutions, some of the more common of which are as follows:

[All substitutions don’t work well all the time—trial and error will be your teacher.]



1) A major type chord can be replaced with a minor (7th) type chord whose root is a minor 3rd lower (it acts like a vi in relation to the major chord it is replacing) or a major 3rd higher (it acts like a iii). Examples: Cmaj7 may be replaced with Am7 or Em7; Ab may be replaced with Fm9 or Cm7 or Cm7 Fm7. 2) A minor 7th type chord can be replaced (preceded or followed) with a major type chord whose root is a major 3rd lower or a minor 3rd higher . Examples: Am7 can be replaced with F/9 or Cmaj9; Em7 can be replaced with C or Gmaj7. 3) A minor 7b5 type chord can be replaced (preceded or followed) with a dominant 7th type chord whose root is a major 3rd lower , or a minor type chord whose root is a minor 3rd higher . Examples: Bm7b5 can be replaced with G13 or Dm7 or Dm9 G9; Em7b5 can be replaced with C7/6 or Gm6/9 or Gm7/11 C13. You will be seeing all these principles at work in the back-up arrangements of songs you’ll be working on, so don’t worry about memorizing all this just yet; just browse and remember that this type of thinking exists , and by referring back to it occasionally, as you’ll have to in order to complete certain assignments, it will sink in. 4) This one is more rare: a dominant 7th type chord can be replaced with a minor 7b5 type chord whose root is a major 3rd higher . This is effective in the following situation mainly: Given:

Dm7

G7

Cmaj7

/ /

/ /

/ / / /

ii7

V7

I7

for Dm7

for G7

Dm7

G7

Cmaj7

/ /

/ /

/ / / /

ii7

V7

I7

ii7

V7

Substitute:

IV7

±

vii 7

for Cmaj7……………...

iii7

vi7

I7

All of the above principles fall under the heading of what we will call 3rd Substitution. Half-step embellishment and back-cycling are forms of Chord Addition, while b5th and 3rd Substitution are forms of Chord Substitution. Remember that when you do something like play G9 for G7, or Cmaj7 for C, this is referred to on these pages as Chord Enrichment.



7)

Remember about companion dominant 7th’s and minor 7th’s, such as D7 and Am7 types? One reason that they are companions is that they have quite a few common tones—compare the notes in Am7 and D9 for instance. Now compare Am6 and D9. We can derive a few substitution principles from this information: 1) Any minor 6 type chord can be replaced with a dominant 7th type chord (especially 9th’s, 13th’s, 9b5’s, #11’s and 13#11’s) whose root is a 4th higher . 2) Any minor 7 type chord can be replaced (or followed) with a dominant 7sus type chord whose root is a 4th higher . Compare:

3) A little less commonly useable: Any minor 7 type chord can be followed (or replaced) with a dominant 7th type chord whose root is a 4th higher (or vice versa). These principles will all be referred to as Companion Dominant Substitution . (For the “categorizers”: Companion Dominant Substitution is a branch of Common Tone Substitution , which is a branch of Chord Substitution , which is a branch of Harmonic Improvement , which is a branch of music , which is a branch of….)

PART V 8)

Any minor 7 type chord may be replaced with a dominant 7th type chord on the same root or vice versa. Examples: A9 for Am9, or Am9 for A9. Even though a dominant 7th type and a minor 7th type can have many notes in common, there seems to be a great difference in their color or effect on the ear (since the only main difference between the two types is the 3rd or b3rd [135b7 vs. 1b35b7] we have to assume that the 3rd is a very special note to human beings), so be careful ; as usual, experimentation is going to help you a lot.

9)

A chord may be preceded (or followed) with other chord in its own key, especially with chords whose roots are in scalewise order. Example: Given: Am7 – D7, you might play: Cmaj7 – Bm7 – Am7 – D7 or you could “squeeze” the Am7 into the ////

////

//

/

/

////

next measure: Cmaj7 – Bm7 – Am7 – D7. //

//

//

Another example: Given: G – C, ////

////

//

you might play Gmaj7 – Am7 – Bm7 – Cmaj7. //

/

/

////

Notice that the added chords can be in the same measure as the chord they precede or in the previous one. This principle will be referred to as (Diatonic) Scalewise Embellishment . (abbreviated SW EMB.)



Here is an example of Diatonic Embellishment that uses chords whose roots are not in scalewise order: Given: G – C ////

substitute:

////

The big feature in this type  of sound is the bass movement. / /

/

/

/ / / /

Diatonic sounds are also effective with “leaps” in the bass. Example: Given: G – C ////

////

/

/

/

/

/ / / /

leap Notice in all the examples given so far on this page that the first chord always has a close relation to the original given chord (Bm7, for example, [above ] for G – why does this work?). This is the norm, rather than the exception. Contrary motion is very effective with diatonic sounds, and you will get a separate series of studies on this subject later.

10)

The 1/2 Step Embellishment concept (remember what that is?) can be carried back further. Examples: given: C Bm7 ////

OR / /

/

/

/

/

/

/

When, as in these examples, there is more than one 1/2 step embellishment used, this technique will be referred to as Parallel Embellishment.

Parallel embellishment does not have to use only 1/2 step movement: /

/

/

/



Sometimes you might wish to mix the quality of the chords involved (you will learn, in more detail, how to do this as you become familiar with more progressions) in parallel embellishment. Given: Bm7 E7 Amaj7

/

/

/

/

/

/

/

/

This passage could also be analyzed as being derived totally from back-cycling and b5th substitution principles. Try to figure out why.

Here are two more examples. Notice how contrary motion heightens the pull to the last chord and makes it very satisfying. Given: F7

/

Bb7

/

/

/

Given: G7

/

C7

/

/

/

Common Harmonic Improvement Concepts Ted Greene — 1979, October 14 [Ted’s note to himself about teaching this page: ] Show application of all this to tunes! by using your different programs (ex. All the Way lead sheet, Days of Wine and Roses comping, Green Dolphin Street .)

1) Chord Enrichment and Siblings: Any chord may have extensions and/or altered tones added to it according to personal taste. Or, some tones in a chord may be replaced with extensions or altered tones. Another way of saying all this is: Any chord may be used for any other if they are in the same Chord Family. We might say that any chords in the same family are Siblings. Also 1a) Chord Abbreviation (just like the name implies)

2) 1/2 Step Approaches:

A) Any chord may be preceded by various types of chords whose ‘named’ roots are a 1/2 step above. Examples: Before Cm7, you might wish to use C#m7/11 or Db9 or Dbmaj7. B) The principle works from below too. Example: Before Cm7, you might try Bm9 or B7/6 or Bmaj7.

3) 5th Approaches (“Back-Cycling”):

Any chord may be preceded by various types of chords whose roots are a 5th above. Example: You might precede Cmaj9 with G11 or G7+ or Gm9 or even Gmaj7 in certain situations. You might precede C9 with Gm9 or Gm7b5 or G7b9+. You might precede Cm9 with Gm7 or Gm6 or G7+.

|------------------------------#s 4, 5, 6, 7, and 9 — Common Tone Substitution---------------------------|

4) b5 Substitution (“Tritone Subst.”):

A) Any dominant 7th type chord has strong affinity to other dominant 7th type chords whose roots are a b5th higher, and therefore these chords may substitute (replace) or each other: Example: For E7#9, you might use Bb13 or Bb13#11 (or vice versa). B) Minor 7th and major type chords may work favorably in this relationship at times. Example: Given = (Bm7) E7#9 Am7 D11 Subst. = F9 Bb7/6 (Ebmaj7) (Abmaj7), or use Fm9 for the Bm7 The substitute chord may also precede or follow the give chord in this principle.

5) 3rd Substitution:

Chords whose roots are a 3rd apart often have some notes in common, sometimes many, and once in awhile, even identical notes. As you may suspect, some substitutions ensue because of this. Some of the more common are listed (in one key only each, to save space). A) For C major types, try Am7 or Em7 types….or vice versa. B) For Bm7b5 types, try G dominant 7th types or Dm6 or minor/maj7 types….or vice versa for all these chords. As above, the substitute chord may precede or follow the given chord in this principle.

Ted Greene, 1979, Oct 14 — page 2

Common Harmonic Improvement Concepts

6) Common Dominant (and Minor) Substitution:

A) Most dominant 7th type chords have strong affinity to m7 types whose root is a 5th higher. These chords are referred to as Companions and may be rather freely combined with each other whenever either chord is given. Example: For 2 measures of D9, try D7 Am7 D9 Am9 D9 Am7 D7 /

/

/

/

/

/

/ /

Or for Am7 Dm7, try Am7 D9 Dm7 / / / /

////

//

//

////

B) Dominant 7sus types and their companion m7’s are virtually identical (compare G7sus and Dm7; G11 and Dm7; G13sus and Dm9), and may replace each other.

7) Change of Family (Quality Change):

Although much discretion is needed here, you may find quite a few successful situations where you may wish to replace a chord with one from a different family. Example: For Am7, try A7#9; for A6 try A7/6 or A13; for Am/9, try Amaj9.

8) Scalewise Approaches:

A chord may be preceded or followed by other chords (often diatonic) in its own key whose roots or bass notes are in ascending or descending scalewise orders. Example: Given Am7 D7, try Cmaj7 Bm7 Am7 D7b9; / /

Or given F / / / /

Bb ////

//

/

/

/

/

you might play Fmaj7 Gm7 Am7 Bbmaj7 or Fmaj7 Gm7 Ab 7 F/A Bbmaj7 °

//

/

/

////

/

/

/

/

/ / / /

Actually the bass can leap around in the key as well as move in order.

9) Neighbor Tone Approaches:

Any chord may be preceded with chords that create attractive moving lines. This concept sometimes overlaps into the 1/2 Step Approach, but also allows for many other sounds. Many are quality shifts on the same root . Ask for examples.

Note: Many of the concepts on this page are often combined or repeated as our studies will show.

Harmonic Tendencies and Common Progressions Ted Greene – 1986-04-26 and 1986-09-19 PART 1

What we are going to do in this series of pages is focus on the way that chords have commonly been used in jazz standards and also in popular music, classical music, and maybe some other areas too. The attention will be on the common chord progressions from one chord type at a time. Some or much of this information may be somewhat familiar to you already, but it is hoped that a new perspective may present itself every now and then. For a variety of reasons, a good place to start is with the “two minor 7” chord in a major key. The common Roman numeral symbol used is ii7. The ii7 loves to go to the “five dominant 7th” (V7), so let’s take a look at this progression first:

Right away you may have noticed that we are adding the 11th to the ii7 chord. This process ofChord Enrichment , that is, the adding of chord extensions as they are commonly called, is all part of the normal modern harmonic language.

When “melodized” as in these examples, the ii7 V7 progression is soft, warm, tender, even romantic, no? But rhythm, being a big part of life as it is, can change the flavor of things. Try the following examples in Jazz Waltz and Bossa Nova (maybe Swing too) rhythms. Because of the lack of “melody” now combined with the potency of the rhythms, the mood is considerably changed:

Harmonic Tendencies and Common Progressions

Ted Greene, 1986-04-24 and 1986-09-19 - page 2

Successive inversions are an attractive way to bring the ii7 V7 progression to life. Influenced by the master French composer Claude Debussy, the late great Wes Montgomery brought this color to the jazz guitar. An example:

This type of example needs no rhythm or “groove.” The ear’s satisfaction comes from the flow of chords and the “melody” created by the top voice. One last device for now, once again favored by Debussy and also many film composers, is that of change of key (modulation) by “parallel” means. Try this example and see if you catch my drift:

_____________________________________________________________________


Ted Greene, 1986-04-24 and 1986-09-19 - page 3 PART 2

Highly related to the ii7 V7 progression is the ii7 bII7 move. Try the following:

The colors of altered V7’s and unaltered bII7’s are often remarkably similar, even identical except for the bass notes. Also, something kind of like the reverse of the above happens when you use #9’s on the bII7. Try the two examples [ below] and compare carefully.

More examples:

Now some “successive inversion” sounds:



Finally, let’s look at combining ii7 V7 and ii7 bII7:

_____________________________________________________________________ PART 3

Another way that ii7 likes to make its way home to I is via the i 7. This diminished 7th chord is seldom found with its root in the bass, but rather, most often with the b3rd instead:

Also the i 7 is sometimes abbreviated by leaving out the bb7, thereby creating just the i7 triad:

Also try adding the open D note to these three chords.



And “melodizing” these progressions is a common thing to do:

The 7 [diminished major 7] chord is a result of the moving soprano line. Sometimes a “diminished extension” such as this will be used as a substitute (for the i 7) even without the moving soprano:

Now for some examples from the “bass string”:



Do this one in the keys of G and low Eb also.



Another diminished extension is the add 9 chord:

And the 9 [diminished major 9 chord] deserves some of our attention:

Now some decoration again (“in 3”):

Finally, some more examples using the

/9 [diminished

add 9]:

_____________________________________________________________________



PART 4

The ii or ii7 chord likes to move to I through the iv. Let’s look at some little triad forms of this first:

Now with larger chords:



And now some iv7 types:

This [next] example connects the ii7 iv7 to I via an intermediate ii7 V7 and a IV iii ii…..make sure the open B and the C# ring at the end!

Harmonic Vocabulary of Standard Tunes Ted Greene, 1984-08-04 & 31 (Transcribed text from each page)

Page 1 V7 - I: Probably the most important chord progression in the history of music. It’s still around in full bloom today. Master as many of these 20th Century voice-leadings as you can. Key of C – and transpose these to the key of D too…. Key of Eb – and transpose these to the key of F too…. Key of A – transpose to G and Bb too…. This is the tip of the tip of the iceberg on this progression, but you will have done well if you learn most of these for now.

ii7 - V7 - I: The logical extension of V7-I. Some thinkers say, “Everything is two-five-one.” This is a bit impetuous, but not that far from the truth (in certain idioms). Study these examples carefully and commit them to memory. We have to build the vocabulary, and we have to have something to build on.

Page 2 ii7 - V7 - I – vi7 and ii7-V7 - I – VI7: vi7 or VI7 commonly follow I, and often lead back to ii7 again. Play all these examples many times until you can play the whole page straight through without stopping. And of course, think of the chord names (and try to include the numbers too) while playing. If these means you have to slow way down at first, then “join the club.”

Page 3 I - vi7 - ii7 - V7 - Ascending Melody Studies: This progression is one of the true staples of many styles of music. Play thru this page until you can do these examples from memory (remember the logic of them and it’ll be far easier). D you notice that his progression is kind of like the previous one (ii-V-I-vi) “inside out” ? You may also find it advantageous to look for resolutions of the V7’s (to I’s that is) after you’ve gotten friendly with this page.

Page 4 iii7 - vi7 - ii7 - V7 – (I) - Mainly Descending Melody of Various Types: This page is another of what could be considered “the main ones.”

Page 5 Continuous Ascending Melody on one-six-two-five (mostly diatonic, nothing too rowdy yet):

ii7 - V(7) - I Ted Greene – 1974-11-28 & 29 In the beginnings of harmony, the Tonic Subdominant , and Dominant triads were the pillars that established a sense of Tonality or Key. Gradually, the other diatonic triads were used more frequently, and finally the diatonic 7th chords were discovered. The Dominant 7th became a favorite of composers, used more frequently than all the other 7th chords put together; still later, the Supertonic 7th (ii7) came to be used in place of the Subdominant triad, especially in the cadence formula IV - V - I, (which became ii7 - V(7) - I). You might wonder why IVmaj7, rather than ii7 wasn’t used for IV. It is because of the strongly dissonant interval of a major 7th (between root and 7th) in the IVmaj7 — this was apparently harsher to the ears of our forefathers than the mild dissonance of a minor 7th in the ii7. To modern ears the IVmaj7 is just as nice as a ii7, but through tradition and for other reasons not to be discussed here, the ii7 has remained the favorite chord to precede V(7) with, so a thorough understanding and familiarity with it are necessary for the student of music. The following are some common examples of ii7 - V(7) given in the key of A or D. Practice them in various keys, and decoration, and resolve them to I. Then do them in minor keys, but use ii 7 - V(7) – i instead of ii7 - V(7) - I.

ii7 - V(7) - I

Ted Greene, 1974-11-28 and 1974-11-29

page 2

ii7 - V(7) - I

Ted Greene, 1974-11-28 and 1974-11-29

page 3

Learning to Use Altered Dominants on One Degree at a Time Altered Dominant: 7#9 / Major Key (part 1) © Ted Greene 5-27-1986 We’re going to work with the 7#9 chord for awhile, seeing how it’s inherent color is sometimes softened, sometimes sharpened, and sometimes pretty much left alone, all according to which degree of a key it is used on (this will become clear as we go). Let’s start with the bluesier sounding ones in the context of a major key:

The V7#9 is so bluesy and cool (warm?) If you want to hear this kind of color coming into its own in American musical life, try listening to the “Rhapsody in Blue” by George Gershwin, the composer who is so associated with this sound that all one need do is play a little passage like any of the above in a roomful of musical people and inevitably someone is likely to utter his name.

Similar in effect is the I7#9. Compare the following two examples:

Is there any doubt that if there is any such thing as Blues Harmony, you’re in there when you give I7#9 the call? Let’s hear one more comparison:

Learning to Use Altered Dominants on One Degree at a Time: 7#9 / Major Key (part 1)

Ted Greene — page 2

Using 7#9’s on IV can sound kind of weird sometimes. But when this mating of quality (7#9) and degree (IV) does work, the effect, as with I7#9 and V7#9, seems to be in the blues realm of color. Here are some examples showing how bluesy the IV7#9 can be:

Here’s an example of IV7#9 mentioned above, sounding weird or kind of “out of place” at least to my ears:

Suggestion: Be very cautious in using IV7#9 when the #9 tone is in the soprano.

Assignment: Do your best to store the general and/or specific information presented on this page deep into your musical self. Make up variation if you feel able.


Learning to Use Altered Dominants on One Degree at a Time Altered Dominant: 7#9 / Major Key (part 2) © Ted Greene 5-28-1986

Let’s look at the 7#9 on some other degrees where a “softer,” more “romantic” or “pretty” effect seems to be the result:

bII7’s act and sound like substitutes for V7’s. Ask if need be.

[Optional continuation]

Try these next phrases using a swing feel:

As you may have noticed, when adding rhythmic life to progressions, effects are sometimes modified. The overall, combined effect may take over, rather than the exact shadings of each chord so much being responsible for the mood.



Now we’re going to work with the 7#9 on the bVI degree:

The bVI7#9 is highly related to the i diminished 7 color. More on this later or ask if curious.

[Notice the darker bII chord here] Also try a bII7#9 to compare. They’re both nice—different kinds of nice. Read this more than once, slowly: bV7#9 (#IV7#9) acts like a kind of tart substitute for I7 when I7 is functioning as the V7 of the next chord (some kind of IV or iv or IV7):

Assignment: Make friends with all 3 general colors and get as specific as you feel the need to.


Learning to Use Altered Dominants on One Degree at a Time Altered Dominant: 7#9 / Major Key (part 3) © Ted Greene 5-28-1986 This page will deal with 7#9’s on VI, II, III and VII (in that order). Some of these lean towards the blues scene again, especially when other factors point a little that way (factors such as the soprano, certain time-feels, and so on.). Try phrasing these in different ways and in different rhythmic grooves:



This page is starting to look “pretty thick” so maybe we’ll stop now. Assignment: Try absorbing all four general colors given. Transposing each example to many keys can work wonders! Of course, this is work if you are trying to concentrate and think about the various VI7#9’s and such. But you do want to learn to hear the colors and have, at least your favorites, at your disposal right? So……onward. Transcribed by P. Vachon

Learning to Use Altered Dominants on One Degree at a Time Altered Dominant: 7#9 / Major Key (part 4) © Ted Greene 5-29-1986 There are two more degrees to take care of, bIII7 and bVII7. Both of these have required more searching for smooth passages utilizing them. But they aren’t bad at all with certain soprano notes (we’ll get into this thoroughly soon):

Note: bIII7 subs for VI7

Variation (at end) on last example.

Note: bVII7 is a sub for III7 when used as in these examples.



COMPARISON REVIEW: Many of these #9 chords wish to keep moving. We’ll do that at the bottom of the page.

Now with at least one resolution or progression from each of the 7#9’s:

As you can see, deciding to be thorough can take “some of your time.” And there will be more on this subject to follow. But your ear will profit so much from patient study and careful listening to all of the above, so as an Assignment: Please do it. If you love harmony and want to develop a sharp ear and great harmonic sense, this type of work is worth your time. transcribed by P. Vachon

Main Harmonic Resources In Contemporary Music Ted Greene, 1975-10-05

MAJOR KEY Diatonic Sounds: Triads

7ths

I ii iii IV V vi vii° I∆7 ii7 iii7 IV∆7 V7 vi7 vii 7 (m7¨5)

Various extensions (9ths, 13ths, etc.) Borrowed Chords (Mixtures):

Triads

i ÏI ÏII iv v ¨VI ¨VII ¨vii

7ths

i7 ÏI∆7 ii 7 ïii∆7 iv7 iv6 IV7 v7 v 7 ¨VI∆7 vi 7 ¨VII7 ¨VII∆7 ¨vii6 (or 7)

Secondary V’s (Dominants)

Cross-Cycle Substitutes

V of vi:

III,

III7

(¨VII), ¨VII7

V of IV:

(I),

I7

(¨V)

¨V7

V of V:

II,

II7

(¨VI)

¨VI7

V of iii:

VII, VII7

(IV)

(IV7)

V of ii:

VI, VI7

ÏII

ÏII7

¨V of V

ÏI

ÏI7

Also Various Secondary Sub-dominants:

ii, ii7, ii 7, (ii°), II, II7, ( ÏI, ÏI∆7), iv, iv6, iv7, IV, IV∆7, IV7, #iv 7 This actually accounts for lots of chords like say ïii7. Various Diminished 7ths and Triads Lydian tonality Mixolydian tonality ______________________________________________________________________________

All types of extensions and alterations may be applied to all the above Common Modulations to: vi, iii, (ii), I, (iv), (v)

IV, V, III, VI, bIII, ¨VI, ¨VII, VII (ÏI), (II)

Main Harmonic Resources in Contemporary Music

page 2

MINOR KEY Diatonic Sounds (including those of Aeolian, Dorian, Phrygian, Harmonic, Melodic & other minors):

Triads

i (I) ÏI ii II III iv IV v V VI VII

7ths (6ths)

i7 (i∆7) i6 ÏI∆7 ii 7 ii7 ii6 III∆7 iv7 iv6 IV7 v7 V7 VI∆7 §vi 7 VII7

Various extensions Secondary V’s (Dominants)

Cross-Cycle Substitutes

V of iv:

I,

I7

(¨V)

¨V7

V of v:

II,

II7

VI

VI7

V of III:

VII

VII7

(§III)

(§III7)

V of VI:

III,

III7

(§VI)

(§VI7)

V of VII:

IV,

IV7

(§VII) (§VII7)

¨V of V

ïi

ÏI7

Various Secondary Sub-dominants:

ii, ii7, ii 7, (ii°), II, II7, ( ÏI, ÏI∆7), iv, iv6, iv7, IV, IV7 Various Diminished 7ths and Triads ______________________________________________________________________________

All types of extensions and alterations may be applied to all the above. Common Modulations to: iv, v III, VI, (VII), I, V

Minor Key Harmonic Harmonic Vocabulary Reference Reference Page Ted Greene 1974-06-11

7ths change the color , not the function of a triad Baroque: Degree of scale

Commonly used triads

Commonly used 7ths (& 6ths)

Function in relation to other chords

1st

i, I

i7, I7, I7¨9, im6

i (also i7, im6) are tonic and also iv of v, V I and I7 are V of iv, IV of v, III of VI, II of VII, VI of III I is also used in final cadences. cadence s. iº7 is used for deceptive cadences. I7b9 is V of iv; iº7 is also II7 ¨9 which is V of v, V

__________________________ ______________________________________________________ ______________________________________________________ __________________________ ¨2nd ÏI∆7, (ÏI7) ÏI types are dominants and sub-dominants of i bII

ÏI, ÏI∆7 are VI of iv, IV of VI (ÏI, is V of ÏI of iv) ______________________________________________________ __________________________ ______________________________________________________ __________________________ 2nd iiº, ii, II ii 7, II7, II7 ¨9, ii7 All ii, iiº, II types are sub-dominants of i and v (vº, V) of V (v). iiº, ii 7, ii, ii7 are §vi of iv. iiº, ii 7 are #ivº of VI. All ii, iiº, II types are iii or III of VII. All ii, iiº, II types are vii or VII of III. ______________________________________________________ __________________________ ______________________________________________________ __________________________

¨3rd

(¨) III

(¨)III ∆7, (¨)III7

(¨)III is the relative major of i.

All III types are VII of iv, VI of v, I of III. III and III7 are V of VI. III and III∆7 are IV of VII. ______________________________________________________ __________________________ ______________________________________________________ __________________________ §iiiº §iiiº7 §iiiº, §iiiº7 are viiº, viiº7 of iv (that is they function (§)3rd understood

as V7¨9 of iv) which is also I7¨9 __________________________ ______________________________________________________ ______________________________________________________ __________________________ 4th iv, IV ivm6, iv7, IV7 iv and IV types are sub-dominants of i. iv and IV types are ii or II of III, i or I of iv, vi or VI of VI, v or V of VII. Also IV and IV7 are VII of V. ______________________________________________________ __________________________ ______________________________________________________ __________________________ #4th #ivº (#IV) #ivº7 #ivº, #ivº7 are viiº, viiº7 (V7¨9) of v, V. This also makes them equal to II7¨9, iº7. (#IV is ÏI of iv)


Minor Key Harmonic Vocabulary Ref Page

______________________________________________________ __________________________ ______________________________________________________ __________________________ 5th

V, v, vº

V7, V7¨9, v7, v 7

V, v types are dominants of i. V, V7, V7¨9 are III of III, II of iv, I of v, V,

VII of VI, VI of VII. vº, v 7 are ii of iv, vii of VI, iiiº of III. v, v7 are iii of III, ii of iv, i of v, vii of VI, vi of VII. ______________________________________________________ __________________________ ______________________________________________________ __________________________

¨6th

(¨)VI

(¨)VI∆7, (¨)VI7

(¨)VI types are subdominants of i. VI types are III of iv, I of vi, V of bII. VI, VI∆7 are ÏI of v, V and IV of III.

______________________________________________________ __________________________ ______________________________________________________ __________________________ 6th

§viº, (§vi)

§vi 7, (§vi7, §viº7)

§viº, §vi 7 are tonics. All §vi and §viº types are #iv of III, ii of v, V,

vii of VII. ______________________________________________________ __________________________ ______________________________________________________ __________________________ ¨7th (¨)VII, ¨vii (¨)VII7, (¨)VII∆7, (¨)VII, (¨)VII7 are dominants of i.

¨vii7

(¨)VII, (¨)VII7, (¨)VII∆7 are III of v, I of VII. (¨)VII, (¨)VII7 are V of III, IV of iv, II of VI. (¨)vii, (¨)vii7 are iv of iv, ii of VI.

______________________________________________________ __________________________ ______________________________________________________ __________________________

§viiº §viiº7 §viiº, §viiº7 are dominants of i (same as V7¨9). ______________________________________________________ __________________________ ______________________________________________________ __________________________ Later developments V7¨5, V7+ and additions: 7th

Other Baroque harmonies: harmonies: pedals, pedal dominants, suspensions,

[Misc. Notes on Solo Guitar Devices] [From Ted Greene’s Personal Music Studies papers (undated)] 1) I chord (or other single chords in tonality) a) Sustained melodic patterns in pentatonics and such. b) Block teams on inversions c) Various broken chords and sliding broken broken chords. d) Various “hi–lo’s”, “lo-hi’s” and such. e) Various chord unfoldments (delays and embellished delays) Harmonics

Everything in ascending, descending, contrary, and broken or mixed directions

1) Chord Unfoldment and multiple sustain - Ascending, descending, broken Cascading or ? 1) Sustained melodic patterns 2) Chases (2 or or more voices) and imitation – not derived derived from chordal thinking, but rather a kind of free counterpoint 3) Certain types of harmonic patterns and and melody note note 4) Scale lines 5) Embellished entrances entrances or embellished delays delays 2) Bass in Motion – Ascending, descending, broken (2-to-1, 3-to-1, 4-to-1, or combinations. Also above in 3/4. 3/4.

With: 1) One chord chain (possibly (possibly combine with short progression progression into one category) category) 2) Short progression with chain 3) A chord progression with or without chains 4) Stepwise progression (including (including but not excluding excluding all chord scalds – ascending ascending or descending) 5) Ascending or descending descending stepwise bass progression (not necessarily root in bass) 6) Ascending or descending cycle cycle progression of 3rds 7) Progression of 4ths 4ths (cycle) (cycle) 8) Progression of 5ths 5ths (cycle) (cycle) 9) Other symmetric progressions 10) Contrary or semi- and contrary-lines - ascending and portions of of this 11) 10ths with with inner pedal (1-to-1) 12) Modulating Symmetric progressions

Misc. Notes on Solo Guitar Devices

Ted Greene, page 2

3) Middle Voice in Motion – Ascending, descending, broken. (2-to-1, 3-to-1, 4-to-1, or combinations. Also above in 3/4 With one chord chain; etc. as above except for 1-to-1 tenths. 4) Soprano Voice in Motion – Ascending, descending, broken. (2-to-1, 3-to-1, 4-to-1, or combinations. Also any of the above in 3/4

With: 1) As above except for 1-to-1 tenths 2) Plus Bass pedal or double bass pedals or Alternating Bass Pedal (with lines, melodic patterns, triads, and other chords) 3) Plus Inner pedal (delayed or not) with a bass note 4) Plus Elaborated or delayed Soprano pedal or “Sandwich” pedal. 5) Teams, Various types of each: ”Hi-Lo”, “Lo-Hi”, broken chord, delays on ascending, descending, and broken. On all the above except bass pedal, inner pedal, soprano pedal, sandwich pedal 6) Block Sounds (1-to-1) Ascending, descending, broken on: all above accept 1-to-1 tenths 7) Intervallic (2 note) Broken or Block - Ascending, descending, and mixed: One chord such as ∆7 in 5ths and 4ths, 3rds, other 8) Harmonics (various devices with same) with virtually any of the above 9) Sliding Broken Chords and ?

A Note from Barbara Franklin about Ted’s pages on MODULATION:

Ted loved to play in ALL keys. If you listen to any of his chord melody arrangements you will hear the frequency with which he modulates to various keys in the same song. Ted told me that he began doing this because staying in one key became stale for him, and that a new key brought him much needed personal stimulation in addition to rekindling interest in and infusing new life into the song. The following pages were written by Ted in 1973, and are his only written texts detailing his procedures for MODULATION. Although the pages are adequate, knowing Ted, there is no doubt that if he’d written an updated definition and explanation he would have refined the text in a manner more comprehensible for the student. In creating this translation page, I left much of what Ted originally wrote intact. In a few instances I rearranged the paragraphs so each section would only encompass the specifics of an individual concept. Where I felt it might be helpful I interjected brief comments to clarified Ted’s explanation. In a few places I eliminated that which might otherwise be confusing. My comments are in italics. If Ted would have revised these pages later in his life he certainly would have addressed this somewhat complicated subject with greater elaboration and written pages and pages of examples —Barbara Franklin

DIATONIC MODULATION by Ted Greene — 1973, May 1 Modulation is the name given to the process of changing from one key to another. There are many subtle variations of this process but the most common way is called Diatonic Modulation. This means: to modulate to a key whose home chord is diatonic to the key you are leaving. Example: A modulation from (the key of ) A to Bm, C#m, D, E, or F#m is a diatonic modulation. A diatonic modulation is almost always accomplished the same way: some variation of the V or V7 of the new key is introduced… Often a key is entered by its home chord and then a cadence is used which contains the V7 of the new key. Example: A - F#m - Bm - C#7 - F#m. [modulation to F#m via the V7 (C#7) of the new key of F#m.] You might say that the F#m and Bm were still in the key of A, but they are also in the key of F#m. One reason why diatonic modulation sounds so smooth is because there are chords that are common to both keys that are usually involved. These are called PIVOT CHORDS. Often the V(7) of the new key is prepared by ii7(b5) or IV of the NEW KEY as well. (Actually, any chord of the new key might precede the V7, but ii and IV are the most common.) Diatonic modulation is also referred to as Common Chord Modulation in which a Pivot Chord , common to both keys , is used as the means of leaving the old key and as the entry into the new key. The original key should be firmly established in the first phrase, which could end in a half cadence on the V chord (dominant). This chord (the “old” V) then becomes the I chord (tonic) of the new key. The V chord is the Pivot Chord.

Temporary Modulation If there is no cadence in the new key, the process of preceding a diatonic chord with its V7 is often called a temporary modulation. Example: A - C#7 - F#m - Bm - D - E7 - A. [The F#m - Bm is the temporary modulation ] Although A - C#7 - F#m could be said to be a modulation from A to F#m, however, because of the briefness of such a chord progression the ear doesn’t really accept this fact as much as if a final cadence progression is played in the new key: A - C#7 - F#m - Bm - F#m (2nd inversion, 5th in bass*) - C#7 - F#m. *Ted had written F#m 6/4 - I used the “word definition” to avoid confusion due to the multiple meaning of 6/4 and the inability to properly notate the 6/4 symbol as used to designate a second inversion chord.

Also, quite frequently the ii-V of different keys are strung together without resolving to their respective Tonics. Example: A - G#m7(b5) - C#7 - F#7 - Bm7 - E7 - [Em7 - A7 - D] Notice that because this whole phrase ends on a ii-V-I of D, the ear can accept this as a modulation even though no cadence follows. Most pieces of music start and end in the same key - seems to make for good sense of proportion, balance, unity, and all that good stuff. By the way, while it is wise to know about this ii-V business in the diatonic keys, it is also important to know how they relate to the home key so that you always know where you are in relation to it in case you want to get back to it smoothly. For example, the chords in brackets: A - [G#m7(b5) - C#7 - F#m] could be called: [iim7(b5) - V7 - i of F#m] OR (could be called ) [viim7(b5) - III7 - vi ] (in the key of A.) Know it both ways and you will get the most out of it.

Direct Skip Another common device in diatonic modulation is that of modulation at the end of a phrase or by direct skip. Example: A - F#m - Bm - D - A - E7 - A [pause] || E - A - E - B7 - E. Because of the pause in the phrase, the ear readily accepts the modulation.

Sequence Sometimes the same idea will be repeated at a different pitch level, this is known as a sequence. Example:

The important thing in all these thoughts expressed on this page is not to argue over whether this or that is a temporary modulation or a real modulation or such, but to learn to hear these type of progressions in songs, to learn to use them, and to understand what and why you or others are doing certain chord changes no matter what you call them.

OTHER MODULATIONS

Modulations often occur to other keys than the diatonically related ones. All of the devices that worked in the diatonic modulations tend to work in these others also. The most common keys to go to that are nondiatonic are the bIII, III, bIV, or IV if the home key is major. If the home key is minor the most common keys are I, IV, and V. Here are some Examples:

Your best bet in learning about advanced modulation (or simple modulation too) is to study many songs, preferably old standards, classical pieces, and some of the modern songs that have lots of pretty chord changes in them. Then, if you take the ideas in the songs and experiment in different inversions, and try mixing them up in various ways, you will have a whole beautiful world of sounds to play with.

Comments on Ted’s “Modulation” page From Paul Vachon: This page comes from Ted’s Private Music Studies papers, and was written only for him; it was not intended as a student hand-out, so it needs some explanation. On this page Ted was exploring various ways to modulate using a minor 6, augmented, dominant 7, and dominant 7b9 chords on different degrees of the new key – the “target” key. It was difficult to try to determine an “order” for which the comments and lists should be laid out. Some of the comments may seem disjointed. We decided to put the listing of minor 6th chord modulators first, then add some of Ted’s comments about options after that, and lump all the rest at the end. As mentioned in my “Editor’s note,” Ted used the minor 6 chords for the “pivot” chord or modulator, and placed it on various degrees of the new “target” key. These experiments allow one to hear how well the m6 chord can transition into the new key. For the first list, Ted uses the bviim6. Remembering that the minor 6 is closely related to a dominant 9 built up a 4th, Ted has listed this option in parentheses. In #1, the pivot chord of bviim6 (bIII7) is Am6 (or D9) – or you could also think of it as an F#m7b5. Listen to that sound of starting in the key of C, then moving to the key of B using its bviim6. That is what he’s defining in #1. In the #2 thru #10 the same pivot chord is used to get to the target key, but the relationship of the starting key and the pivot chord changes. I think a lot of these examples are for ear-training purposes: “How does this sound?” In the next list he does a similar experiment but using a vim6 (II7) as the pivot chord. How does that sound? It might be wise to do these all with good voice-leading to really hear the voices move most effectively, logically, and musically. In the listing of augmented chord Ted is confining his experiments to the use of augmented chords built on the I, V, IV, and II of the starting key. So, from a start in C, he’s using C+, G+, F+ and D+ to modulate to a variety of new keys. How does that sound? Work up some nice voice-leading on these. Next, he tries using bIII 7 or bIII7 to all major keys and all minor keys. This could be interpreted as using the bIII of the starting key, or the target k ey. Starting key: C – Eb 7  F (new major key) or to Fm (new minor key). Starting key: C – Eb7  F (new major key) or to Fm (new minor key). Target key: C – Ab 7  F (new major key) or to Fm (new minor key). Target key: C – Ab7  F (new major key) or to Fm (new minor key). And of course, when you arrive in the new key, you don’t necessarily have to go directly to the I chord. You may instead play a progression in that key: C – Ab 7  Gm7 – C7 – Fmaj7. The section on dominant 7 pivot chords deals with just the III7 and the VII7 degrees of the target key. For the section on progression using 7b9 chords, Ted wrote, “in C” but it seems that the examples are in more than just the key of C. At the end of the transcribed page is a collection of ideas, reminders, etc., for Ted to further enhance these experiments/examples I hope this helps in getting some ideas from this page. ~ Paul Vachon.

Comments on Ted’s “Modulation” page

From James Hober: Ted is investigating pivot chords that are not common and he’s trying to consider all possibilities. He’s being very concise in that he’s not writing confirmatory chords of a key. So when he writes: 1) C…Am6 B…Abm6 Bb etc. It must mean something like, “Establish the key of C (with I IV V I or something), then play vim6 (= Am6) which becomes bviim6 in the new key of B, and then establish the key of B. Then you can chain this modulation: vim6 (= Abm6) in the key of B is viim6 in the key of Bb. And the “etc.” means that you can continue to chain with the key areas descending by half step: C to B to Bb to A and so on. The second one: 2) C…Abm6 Bb…F#m6 Ab etc. has the key areas descending by whole step, and so on. Now, I’m not hearing things as Ted apparently did. To me, C Am6 B sounds like C F#m7b5 B, and wants to go to Em and establish the key of Em. But as Ted is being extremely terse in writing for himself, my guess is that he would have written confirmatory chords in his target keys and may not even have intended his pivot chord to move directly to the target tonic chord. Maybe the pivot would move first to V in the target key or to some other chord. As pointed out in Paul’s “Editor’s note,” the section heading “Using bviim6 (bIII7) as Pivot” must mean that the bviim6 has that function in the target key, not in the source key. Ted definitely wanted to catalog all possible pivot chord modulations. Here he is in the process of that exploration. And I know he eventually had some discoveries along this line that he wanted to share with some students. He wanted to teach me something about interesting pivot chords in my lessons but we never got around to it. But looking at this page on “Modulation,” jogged my memory of the lesson I had with Ted. We were talking about minor 6 chords near the end of a lesson. I think I asked Ted to explain them to me better. I told him that I could hear i, the minor tonic chord, as a minor with an added 6. And similarly iv with an added 6. But I had trouble understanding and hearing any other uses. To me it usually sounded more like the homonyms: m7b5 or dominant 9 no root, when used in other circumstances. So then Ted started talking about the m6 on the bVII degree and how this could be a pivot chord. That sounded bizarre to me. He said we would get back to discussing such pivot chords and the lesson ended. I don’t remember discussing it again, or maybe we did but I still didn’t understand it. To this day, the m6 chord eludes me. No doubt Ted thought about that chord in ways that I do not understand. Perhaps if I study this personal study page of his I will understand more. Maybe you will, too. ~ James

Modulation Ted Greene – 1974-02-12

Using viim6 ( III7) as Pivot

1) 2) 3) 4) 5) 6) 7) 8) 9) 10)

[First chord given is the starting key, followed by the pivot chord, which is used to modulate to the new key. In the first example the Am6 is a bviim6 in relation to the target key of B. Then Abm6 is the pivot to Bb. –Editor’s note.]

C…Am6 B…A m6 B etc. C…A m6 B …F#m6 A etc. C…Gm6 A…Em6 G etc. C…Fm6 G…Cm6 D etc. C…Em6 F#…B m6 C etc. C…E m6 F…A m6 B etc. C…Dm6 E…F#m6 A etc. C…Gm7 - C7 Gm7 - C#m6 E …Em6 G etc. C…Cm6 D…Dm6 E etc. C…B m6 C

Using vim6 (II7) as Pivot 1) C…G#m6 B…Gm6 B etc. 2) C…Gm6 B …Fm6 A etc.

3) 4) 5) 6) 7) 8) 9) 10)

C…Fm6 A …C#m6 E etc. C…Em6 G…Bm6 D etc. C…E m6 G …Am6 C C…Dm6 F…Gm6 B etc. C…C#m6 E…Fm6 A etc. C…Cm6 E …E m6 G etc. C…B m6 D …Bm6 D etc. C…Am6 C

vi, iv, VI7 can be combined ivm6 as Pivot ( VII7)

1) C…Em6 B…D#m6 B etc. 2) C…E m6 B …C#m6 A etc. 3) C…(preparation with Em F ) Dm6 A…Bm6 G etc. 4) C…C#m6 A …Am6 E etc. 5) C…Cm6 G…Gm6 D etc. 6) C…B m6 F…E m6 B etc. 7) C…Am6 E…C#m6 A etc. 8) C…A m6 E …Bm6 G etc. 9) C…Gm6 D…Am6 E etc. 10) C…Fm6 C Also to Cm, Gm, Fm (E m) (Dm, Em, Am)

Modulation - Ted Greene, 1974-02-12

im6 (im6 may be replaced with im7) 1) C…B m6 B etc. 2) C…Am6 A etc. 3) C…A m6 A etc. 4) C…Gm6 G etc. 5) C…Fm6 F etc. 6) C…Em6 E etc. 7) C…E m6 E etc. 8) C…Dm6 D etc. 9) C…C#m6 C# etc. 10) C…Cm6 C Also to B m, Am, A m, Gm, Fm, Em, E m, Dm, C#m, and Cm

iiim6 to i 1) C…Em6 Cm6 to Cm 2) C…E m6 B m6 to B m 3) C…Dm6 Bm6 4) C…C#m6 Am6 5) C…Cm6 A m6

6) 7) 8) 9) 10)

C…B m6 F#m6 C…Am6 Fm6 C…A m6 Em6 C…Gm6 E m6 C…Fm6 C#m6

iiim6 to i (Follow with III etc. in new key) 1) C…E m6 Cm6 2) C…Dm6 Bm6 3) C…C#m6 B m6 4) C…Cm6 Am6 5) C…B m6 Gm6 6) C…Am6 F#m6 7) C…A m6 Fm6 8) C…Gm6 Em6 9) C…Fm6 Dm6 10) C…Em6 C#m6

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vim6 to i 1) C…Am6 Cm6 2) C…A m6 Bm6

3) 4) 5) 6) 7) 8) 9) 10)

C…Gm6 B m6 C…Fm6 A m6 C…Em6 Gm6 C…E m6 F#m6 C…Dm6 Fm6 C…C#m6 Em6 C…Cm6 E m6 C…B m6 C#m6

vim6 to i

1) 2) 3) 4) 5) 6) 7) 8) 9) 10)

C…A m6 Cm(6) C…Gm6 Bm(6) C…Fm6 Am(6) C…Em6 G#m(6) C…E m6 Gm(6) C…Dm6 F#m(6) C…C#m6 Fm(6) C…Cm6 Em(6) C…B m6 Dm(6) C…Am6 C#m(6)

Possible [embellishment] of minor keys with their vm6 Use at least 3 functions in new key for maximum smoothness. Examples: C Cm7 D 7 E 7 A C Cm7 D 7 C#m7 A C Cm6 A 6 B7 E (vm6 or 7 may be preceded with V7+) II7 IV7 VI7 in various combinations to all major and minor ke ys.

iim6 (vii ) to iii vi ii V Baroque: residual functions: C Am7 D7 G C# F# Bm….F# etc. C or Am to B via B itself or Dm F7 (also to Gm)

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I+, V+, IV+, II+ 1) C…G+ or C+ 2) C…G+ or D+ 3) C…F+ or D+ 4) C…F+ or C+ 5) C…C+ or G+ 6) C…G+ or D+ 7) C…D+ or F+ 8) C…F+ or C+ 9) C…C+ or G+ 10) C…G+ or D+ 11) C…D+ or F+ 12) C…F+ or C+

IV+ after IV II comes after V Cm or C Bm or B B m or B Am or A A m or A Gm6 or G G or F#m F or Fm E or Em E or E m Dm or D D or C#m

III( 7)(7) to all major and minors; also IV( 7) to majors. Also VII, VI, v(6), II.

7

1) 2) 3) 4) 5) 6) 7) 8)

C…E 7 C…D7 C…C7 C…B7 C…B 7 C…A7 C…A 7 C…G7

B B A G G F E E

7

1) C…G7 A 2) C…A7 B 3) C…D7 E

Also diatonic chords Also many ii - V’s

Include iii6 to V as well as ii, iv, IV, V: C Cm E 7 to G, A , D , B , etc. C C#m6 C#m E7 to A , A, D, B, etc. and so forth.

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page 5

Some progressions using 7 9s – in C: F G7 9 C F E7 9 Dm F E7 9 E A7 Dm 4 6 F B 7 9 B 9 3 D 6 E7 A 4 6 6 F D 7 9 D 75 A 4 __________________________ F D7 9 C F B7 9 (B E7) Am F F7 9 E F A 7 9 Cm(6) D7 Gm __________________________ C F#7 9 (F# ) (B7) E or Em C A7 9 A D7 Gm C A7 9 G C C7 9 C F7 B m C D#7 9 D# G#7 C#m E7 A C#m G#7 C __________________________ Am A7 9 Dm F#7 9 F# B7 E 6

Beethoven (in E ): C F G7 9

6

Dm

5

4

G7 9 G7/6 C7 (E 7) G 7 G 72 B

4

Connect any minor to a 7th chord ( 3) whose root is a minor 3rd up. Connect any 7th to other 7ths whose roots are major or minor 3rds up or down. (C D7 B7 E m) Convert any major into a R 7 by adding leading tone of destination. I I 7+ or I7+ (also I 9+) III or VI I I7+ iiim6 7 9 part of any R 7 can function as V or II7 of new key. Also think in these terms to various keys: iii V7, iv VII, vi II, vii III, i IV, iii VI, #iv VII, vi II, v I, vii III, iii VI – either chord may be omitted from these pairs in minor keys. Use all ii V’s – that is on all degrees. Use diatonic chords in new keys as “pullers” Also chromatic alterations to old key to create new key. IV iv I ala “Valentine” intro. II9 VII9 I Compounds; Sym. Compounds (“Bouree”); Mixed Scales; Mod. Sequences; Sym. Mod’s (include subdominant and dominant) in 4ths, 3rds, 2nds descending cycle progressions: E A13 D13 G13 Gm7 C7 F. Poly. Contr.; Chrom. Contr.; Direct (phrase); Rootacization; Bass line ascending a nd descending walks.

Most Common Harmonic Tendencies in Jazz and Related Music Ted Greene, 1977-10-27 & 1979-09-14 7th symbols List modulation keys also? 7th’s can be reduced to triads or expanded to included upper extensions. Likewise 6ths. Triad symbols can be expanded…. Home Major Key I to:

I7 to: (i7 to: I+ to: II to: II 7 to: #i°7 to: ii7 to: ii 7 to: II7 to: iii7 to: iii 7 to: III7 to: III 7 to: iii7 to: III7 to: iii 7 to: IV to: IV7 to: iv6: V7 to:

I7, i 7, II7 as vamps, #i 7 (actually VI7 9 or v 7), ii7, II7, III7, ( iii7) iii 7 (actually i 7) III7, iii 7, (iii7), IV, IV7, iv7, (iv6), #iv 7, (#iv7), V7, V7, v7, v6 (iii 7), VI7, ( vi7), vi7, vi6 (#iv 7), VI7, VII7, VII, vii7, vii 7, vii7, VII7. (also i7, i6, i+, but all less common, though not totally rare.) IV, IV7, (iv7 or 6), #iv 7 (vi6), II(7), i7, i 7 IV7, vii7 or vii 7) I6, vi, IV I, I7 I, ii7 ii7, V7/5 V7, (v7), II7, II 7, iii 7, (i 7), VI7, (vi7), iii7, (III7), iv7(or iv6), VII7, ii7/7, (IV/5), vii 7, (vii7) V7, II7, II 7, I V(7), II7, II 7, ii7, ii 7 (iv6), vi7 as vamps, VI7, ii7, VI7 ii7, I/3, (V7, iii7) VI 7, VI7, ii7, II7 VI 7, ii7, ii 7 vi7, VI7, iii7, III7, iii 7, ( III 7), I7, (v7), i7 or 6 when going into key of V, ii7, IV 7, IV7, iv7 or 6, VI7 vi7, VI7, III7, iii7, iii 7, ( III 7), IV VI7 iv7 or 6, VII7, #iv 7 (i 7), #iv 7, V7, vii 7, (vii7), II7, iii7 or iii 7, III7, I III7, iii7 (iii 7), I, I7, #iv 7, #iv 7, iv7 or 6, VII7, vii 7 or vii7 (see ii 7) IV, iv7, IV7, iv6

iv7 to: VII7 iii7 or iii 7, I #iv 7 to: I/5, I7/5 VII7, IV7, iv7, iv6, V7, I #iv 7 to: #iv7 to: VII7, IV7, iv7 I, I7, iii7, iii 7, III7, v7, #iv7, #iv 7, vii 7, vii7, ii7 or ii 7 as vamps, iv7 V7 to: I7 v7 to: v6: (see iii 7) ii7, ii 7, (II7), II 7, II7, V7, I VI7 to: vi7 to: II7, v7, V7 VI 7 to: II 7 II7, V7, ii7, ii 7, vi7 vi(7) to: ii7, II7, ii 7, vi7/7 (I/5), #iv 7 (vi6), VI7, vi7, III7 as vamps, (VII7), I7/5 (see #iv 7) vi6: ii7, ii 7, II7, iii7, iii7 (or iii 7) as vamps, #iv 7, VI7, vi7 VI7 to: VII7 to: I, iii7, (iii 7), VI7, vi7, III7, III 7, iv7 as vamps III7 vii7 to: vii 7 & vii7 to: III7, iii7, iii 7, ( VII7, vii7) iii7, iii 7, III7, vii 7 or vii7, I, (iv7) VII7 to:

Non-Harmonic Tones ( NH Tones) Ted Greene 9-16-1973

Non-harmonic tones can be defined generally as quickly moving tones that are unessential and/or foreign to the chords with which they are being played. They are arrived at and usually conceived by the melodic action of a given voice in a chord. Remember that chords do not only have to be thought of as frozen blocks of sound; rather, they are most often treated as a temporary freezing of the separate melodic lines which are constantly in motion. However, because melodies tend to either be conceived from, or to imply a certain chordal background, it has been found convenient to classify tones as those belonging to the chords and those not (this is in reference to triads and triadal harmony mainly because almost any tone can be frozen to a triad, and this new combination then given a name. For example, an A triad with a B note is called an A added 9th, but this viewpoint will be covered thoroughly later – for now everything is in terms of triads – if a note does not belong to a triad with which it is being played, it will be called a nonharmonic tone). Stepwise motion has been found to be the smoothest type of melodic interval, so the whole and 1/2 steps dominate most melodies; however, when there is a melodic skip (a movement other than by step) the diatonic notes that are missing may be commonly filled in. Example: could become:

or:

This type of NH tones are called Passing Tones. Notice that chromatic (non-diatonic) passing tones could be used instead: or

However, it is better to learn how to use diatonic passing tones first, so as not to miss the many beautiful sounds they produce.


Non-Harmonic Tones

So now go back to all of your exercises and try adding passing tones. Sometimes you will run across physical limitations. Example: If you try to move the C# note in the A chord up to E in the E chord via the diatonic note D, you would have to remove one of the other notes from the neck in order to finger it.

You could try playing the A like this: which is rough, or better yet, you could try relocating the chords and see if this will solve the problem. In this case the following re-location will probably be easier than the optional fingering given:

You must use all the resources at your disposal to cope effectively with non-harmonic tones. You may have noticed that NH tones help give motion to chordal sounds; also the temporary dissonance they create helps to give variety and added color. Scale tones are used to embellish chordal tones in other ways such as some of the following: (Numbers refer to chronological order of notes to be played.)

Diatonic NH Tones:

Chromatic NH Tones will be discussed later.


Non-Harmonic Tones

As you can see this system of [ chord grid ] notation leaves something to be desired (another argument in favor of learning how to read music). You should practice these techniques with all of your old exercises and also if you haven’t learned to read music yet, you should start today; it will be much easier in the long run.

One more common device with NH tones is suspension. A suspension is a NH tone that is carried over from one chord into the following and is then resolved usually by step up or down. Example: becomes:

So suspensions act as a delaying of the resolution. Suspensions are often sustained between both chords (that is the note is not plucked again in the second chord) but this is by no means necessary and is often impossible on the guitar.

Other scale notes are often inserted between a suspension and its resolution:

Notice that because of the device in notation known as the tie, that chordal common tones can be sustained:

This device differs from a suspension in that the suspension is sustaining a note that is foreign to the second of the two chords dealt with.

“Non-Voice Leading” Exercises on Important Progressions (4-Part Triads) Ted Greene, 1974-11-15 To add variety, voice-leading is sometimes abandoned. One common instance of this (when working with 4-note triads whose top 3 notes are in close position) is to move the top 3 notes to the position opposite the normal direction. This opens up the possibility of passing tones. Example: A to D

Normal:

When connecting chords whose roots go down in 3rds, take the next higher position than normal. When connecting chords whose roots go up in 3rds, take the next lower position than normal. Following is a list of progressions with the places to chang e position circled; once you change direction, continue chord connecting procedures as usual (from wherever you are now). Example: given: I - IV - V - I Using as a starting place 

…you would get two changes of position, because D to E is a chord progression by 2nds, and as you have learned, these normally are played with a change of position to avoid parallelism.

The goal of these exercises (as with most) is not to have each one memorized by a separate title (like “I-IV-I-V-I with a change of position on I”) but rather, to get you familiar with the neck of the guitar so you will feel free to move in different directions instead of one fixed pattern. This is not to say, however, that you shouldn’t know what you are playing, that is, the names of the chords. These should always be present – you just don’t need all the ultra-specifics to be uppermost in your mind when playing a simple progression. For instance, no matter how you play a I-IV-I it is still I-IV-I — the main thing is to know lots of nice I-IV-I patterns all over the neck, not to clutter up the brain with too many specifics. The human mind can only think of so much at once — the names of the chords, the particular inversions, and the Roman numerals will be plenty.

‘Non-Voice-Leading’ Exercises on Important Progressions, Ted Greene

[

p. 2

= place to change position]

Try to add passing tones where possible in all examples. 1)

I - IV - I | I - IV - I | I - IV - I |

2)

I - V - I

3)

I - IV - I V I | I - IV - I

4)

I - ii - V I | I - ii - V - I |

5)

I - vi - V I | I - vi - V - I |

6)

I - vi - ii V I | I - vi - ii - V - I | I - vi - ii - V - I |

| I - V - I | I - V - I | V - I |

I - vi - ii V I | I - vi - ii - V - I | I - vi - ii - V - I | 7)

I - vi - IV V I |

8)

iii - vi - ii V I | iii - vi - ii V I | iii - vi - ii V I | iii - vi - ii V I |

9)

I - iii - IV V I |

10)

vi - iii - IV I | vi - iii - IV I |

11)

ii - vi - IV I |

‘Non-Voice-Leading’ Exercises on Important Progressions, Ted Greene

Important Progressions in Minor Keys (with and without voice-leading) 1)

i - iv - i | i - iv - i | i - iv - i |

2)

i - V - i | i - V - i | i - V - i |

3)

i - iv - V - i | i - iv - V - i | i - iv - V - i |

4)

i - iv - i - V - i | i - iv - i - V - i | i - iv - i - V - i |

5)

i - VI - V - i |

6)

i - VI - ii - V - i | i - VI - ii

7)

i - VI - iv - V - i | i - VI - iv - V - i |

8)

III - VI - ii - V - i | III - VI - ii

9)

i - III - iv - V - i | i - III - IV - V - i |

10)

VI - III - iv - i | VI - III - iv - i |

- V - i |

- V - i |

p. 3

Normal 18th and 19th Century Harmonic Vocabulary Ted Greene – 1975-02-22 Listed in keys of C and Am

Only chords that are normally used without completely pulling into a new key are listed here. There is a fine line to tread when deciding this – it is often debatable and up to each individual.

MAJOR KEY Degree of Scale: I

C, Csus and other appoggiatura chords like C/9 (see below), C6, C∆7 Cm, (Cm6), (Cm∆7), Cm appoggiatura chords, Cm7 C , C 7, C 7 appoggiatura chords C7, C7/6, C9, C7sus, C7+, C7¨5, C7¨9, C7¨9 appoggiatura chords, ○

○

○

C7 pedal dominants, C+ (#i) ÏI

(D¨, D¨/#11, D¨∆7, D¨∆7/#11, D¨/9#11, D¨6), D¨6 (Neapolitan 6th) D¨7, D¨9 (Italian 6th), D¨7¨5 ○

○

○

C# , C# 7, C# 7 appoggiatura chords, (C# 7), (C#+) II

D, Dsus, D7, D7/6, D9, D7sus, D7¨5, D7¨9, D7¨9 appoggiatura chords, D7 pedal dominants Dm, Dm7, Dm/9, Dm6, Dm appoggiatura chords, Dm+ D , D 7, D 7, D 7 appoggiatura chords. ○

(#ii) ÏII

○

○

E¨, (E¨6, E¨∆7, E¨sus, E¨/#11), E¨7, E¨7 – Italian 6th, E¨7¨5, E¨7¨9, E¨7¨9 appoggiatura chords, E¨+ D# , D# 7 (E¨ 7), D# 7 appoggiatura chords ○

○

○

○

(E¨m, E¨m6) III

E, Esus, E7, E7sus, E7+, E7¨5, E7¨9, E7¨9 appoggiatura chords, E7 pedal dominants, E+, (E7 – Italian 6th) Em, Em7, (Em6), Em appoggiatura chords E , E 7, E 7 appoggiatura chords, E 7 F, F/#11, F/9(#11), F∆7, F6, F appoggiatura chords Fm, Fm6, Fm∆7, Fm7, Fm/9, Fm+, (F 7), F , F 7, F 7 appoggiatura chords ○

IV

○

○

○

○

○

(F7), F7¨5, F7 – Italian 6th, (F+), (Fsus) #IV

○

○

○

(F#, F#m, F#m7) F# , F# 7, F# 7, F# 7 appoggiatura chords F#7, F#7 – Italian 6th, F#7¨5

V

G, Gsus, G7, G7/6, G7sus, G9, G7¨9, G7¨9 appoggiatura chords, G7¨5, G7+, G7 pedal dominants, G+ Gm, Gm7, Gm6, Gm+ G , (G 7), G 7, G 7 appoggiatura chords. ○

○

○

Normal 18th and 19th Century Harmonic Vocabulary

(#i) ¨VI

Ted Greene, 1975 ‐02‐ 22

page 2

A¨, A¨∆7, A¨6, A¨/#11, A¨/9#11, (A∆7#11, A¨sus) A¨7, A¨7/6, A¨7sus, A¨9, A¨7¨5, (A¨7+), A¨7¨9, A¨7¨9 appoggiatura chords, A¨7 – Italian 6th, A¨+ A¨m, A¨m6, A¨m∆7, (A¨m7) G# , G# 7 (A¨ 7), G# 7 appoggiatura chords ○

VI

○

○

○

A, Asus, A7, A7sus, (A9), A7+, A7¨5, (A7 – Italian 6th), A7¨9, A7¨9 appoggiatura chords, (A+), A7 pedal dominants Am, Am7, Am6, Am+, Am/9, Am appoggiatura chords A , (A 7), A 7, A 7 appoggiatura chords ○

¨VII

○

○

B¨, B¨6, (B¨∆7, B¨/#11, B¨/9#11, B¨sus) B¨7, (B¨7/6, B¨9), B¨7sus, B¨7 – Italian 6th, B¨7¨5, B¨7¨9, B¨7¨9 appoggiatura chords (B¨m, B¨m6, B¨m7, B¨m/9) B¨ , B¨ 7, B¨ 7 appoggiatura chords ○

VII

○

○

B, Bsus, B7, B7sus, B7+, B7¨5, B7¨9, B7¨9 appoggiatura chords, B pedal dominants, B+, (B7 – Italian 6th) Bm, Bm7, B , B 7, B 7, B 7 appoggiatura chords ○

○

○

MINOR KEY Degree of Scale I

Am, Am7, Am6, Am∆7, Am+, Am/9, Am appoggiatura chords A, Asus, A7, A7sus, A7 pedal dominants, A7+, A7¨5, A7¨9, A7¨9 appoggiatura chords, (A7 – Italian 6th), A+ ○

○

○

A , (A 7), A 7, A 7 appoggiatura chords

ÏI

B¨, B¨6, (B¨∆7, B¨/#11, B¨/9#11, B¨∆7#11, B¨sus), (B¨7, B¨7 – Italian 6th), B¨7¨5 B¨ , B¨ 7, B¨ 7 appoggiatura chords ○

III

○

○

B, B7, Bsus, B7sus, B7+, B7¨5, (B7 – Italian 6th), B7 pedal dominants, B7¨9, B7¨9 appoggiatura chords, (B+) ○

(¨)III

○

○

B , B 7, B 7, B 7 appoggiatura chords Bm, Bm7 C, Csus, C6, C∆7, C appoggiatura chords C7, C7sus, C7/6, C9, C7¨9, C7¨9 appoggiatura chords, C+ (C7+, C7¨5, C7 pedal dominants) C , C 7, C 7 appoggiatura chords (Cm, Cm6, Cm∆7) ○

○

○

Normal 18th and 19th Century Harmonic Vocabulary

§III (ÏV)

○

○

Ted Greene, 1975 ‐02‐ 22

page 3

○

C# , C# 7, C# 7 appoggiatura chords, (C# 7) (D¨6), D¨7 – Italian 6th, D¨7¨5, (D¨7)

IV

Dm, Dm6, Dm7, Dm/9, Dm+, Dm appoggiatura chords D, D7, (D7/6, D9), D7sus, D7¨9, D7¨9 appoggiatura chords, (D7 pedal dominants) D , D 7, D 7 appoggiatura chords ○

#IV (¨V) V

○

○

D# , D# 7, D# 7 appoggiatura chords, E¨7 – Italian 6th, E¨7¨5, E¨7, (E¨, E¨+) ○

○

○

E, Esus, E appoggiatura chords, E7, E7sus, E7+, E7¨5, E7¨9, E7¨9 appoggiatura chords, E7 pedal dominants, E+ Em, Em7, Em+, Em appoggiatura chords, (Em6) E , E 7, E 7, E 7 appoggiatura chords F, F#11, F/9#11, F∆7#11, F∆7, F6, (Fsus) ○

(¨)VI

○

○

F7, F7sus, F7/6, F9, F7¨5, F7¨9, F7¨9 appoggiatura chords, F7 – Italian 6th, F+ Fm, Fm6, (Fm∆7, Fm/9, Fm7) F , F 7, F 7 appoggiatura chords, (F 7) ○

§VI (¨)VII

○

○

F# , F# 7, F# 7, F# 7 appoggiatura chords, F#7 – Italian 6th, F#7¨5, F#7 ○

○

○

G, Gsus, G7, G7sus, G7/6, G9, (G7¨5), G7¨9, G7¨9 appoggiatura chords, (G+), G7 pedal dominants Gm, Gm6, Gm7, (Gm/9) G , G 7, G 7 appoggiatura chords, (G 7) ○

§VII (Ï)

○

○

G# , G# 7, G# 7 appoggiatura chords, (A¨, A¨7, A¨7/6, A¨7¨5, A¨9, A¨7sus), ○

○

○

A¨7 – Italian 6th, A¨+, (A¨∆7, A¨6, A¨/#11, A¨/9#11) Some typical appoggiatura chords on C: C/9, F 4, G7 pedal dominants, (A¨6, D¨∆72, F7 3, C 7, etc.) 6

4

○

Scale-Chord Relationships in Popular Music Ted Greene, 1974-03-23 1) 2)

Diatonic Chords in Major – use appropriate modes. Secondary Chords: II7 a) II7 – Mixolydian mode (all extensions of II7 use this mode too) b) II7, II7+, II9+ – Mixolydian of Melodic minor c) II7, II7+, II7 9, II7 9+, (II11 9(+)) – Mixolydian of Harmonic minor d) II7+, II7 5, II7 9+, II7#9+, II7 9 5, II7#9 5 – Locrian Melodic scale e) II7, II7 9, II13 9, II7 9 5, II13 9 5, II7#9, II7#9 5, II13#9 – Half-Whole scale f) II+, II7 5, II7+, II9+, II9 5 – Whole-tone scale g) II7, II9, II13, II7/6, II7 5, II7#11, II9 5, II#11, II13#11 – Melodic Minor up a 5th (do not think Lydian Melodic) h) II7#9( 5) – Blues scale — V7 uses all scales [above] according to taste and necessity —

3)

4) 5) 6)

7) 8) 9) 10)

Other Secondary Chords: VI7: Most common 1st choice usually is Mixolydian Harmonic Minor with added #9th. Second choice: Locrian Melodic. Third choice: Mixolydian. III7: Like VI7 VII7: Like VI7, III7 I7: Treat is same manner as V7 (it is used as V7 of IV) IV7: Mixolydian; Melodic Minor up a 5th VII7 Melodic Minor up a 5th; Mixolydian II7: Melodic Minor up a 5th III7: Mixolydian, Melodic Minor up a 5th V7: Treat as the bII7 of IV VI7: Melodic Minor up a 5th, Mixolydian Any major extended family sound: use Major or Lydian scales. Any major+ sound: use relative Melodic and Harmonic Minor scales On minor 7 chords other than the three diatonic ones, the Dorian mode is almost always used. Exceptions to this are when a modulation has taken place and some vi or iii chords are being used, in which case you use the appropriate modes (Aeolian and Phrygian respectively). On minor 7 5 chords use either Locrian, Dorian of Harmonic Minor, or Aeolian of Melodic Minor. On minor 6 chords use either the Melodic or Dorian scales depending on whether the melody allow either or both. On minor/major 7 types, use the Melodic or Harmonic Minor scales. Diminished 7 chords should be converted to 7 9 chords with the appropriate scale then being played.

Minor Keys 1) 2)

Diatonic Chords (all 5 main scales) – use appropriate modes. Secondary Chords: II7: Use Mixolydian of Harmonic Minor, Locrian Melodic, Half-Whole, Mixolydian. VII7: Treat as V7 of III IV7: As in major major keys, but also also when functioning as V7 of VII, the other scales on V7 may be applied. II7, V7, VI7: Same as major keys. IiI7: Treat as V7 of VI

Secondary Dominants, Tonicization (part 1) Ted Greene 1975-05-15 Play the following examples:

Observe the E7, D7 chords in the first example, and the C7, B7 in the second example. These chords are acting as V7’s of the chords which follow them. These V7’s are called Secondary Dominants. To further explain: In days of olde, musicians were curious about other sounds than the diatonic resources which they had become friends with. The V7 – I (or i) had become the most important progression for defining a key with just two chords, and this relationship of chords so intrigued a few musicians that they tried applying the same logic (that is: is: preceding a triad with its V7) to other diatonic diatonic triads.  For instance, in the key of C, they experimented preceding Dm with A7, Em with B7, F with C7, G with D7, and Am with E7. These diatonic triads (Dm, Em, F, etc.), when preceded with their own V7’s (A7, B7, C7, etc.), take on the feel of Temporary Tonics; diminished triads cannot be preceded with their own V7’s because there is no such thing as a diminished key, or in other words, a diminished chord cannot be a temporary tonic, and it has no V7. If you are confused, here is another approach: A great deal of harmonic richness can be gained by temporarily treating diatonic major or minor triads as if they were the home key and preceding them with chords that function as dominants (V, V7, vii , vii 7, vii 7) in their own key. These dominant functioning chords are called Secondary Dominants; this whole process is called Tonicization. °

°

__________________________ _______________________________________ _________________________ __________________ ______

Secondary Dominants, Tonicization, (part 1)


Examples: Suppose you decided to work work with I IV V I in the key of C. Here it is is with tonicization: tonicization:

Notice in both examples (#3 and #4) that I is also being “tonicized,” that is, preceded with its own V7. Also notice in example #1 at the top of the page that V7, not V, is being tonicized – since diatonic 7ths may replace diatonic triads, the 7ths may be tonicized too. __________________________ _______________________________________ _________________________ __________________ ______

Here are examples of each specific type of secondary dominant commonly used in Baroque harmony: Major Key Types: V of V Formed by raising the 3rd of the ii triad, so as to make a major triad (II); often substitutes for ii (all secondary dominants are used as substitutes for their various related chords).

V7 of V

Formed by raising the 3rd of the ii7; becomes II7.

Notice how V of V and especially especially V7 of V increase the drive to V in these 1/2 cadences.



vii 7 of V

Formed by raising the root of IV major 7; 7; becomes #iv 7. vii of V (#iv ) is more rarely used. °

°

__________________________ _______________________________________ _________________________ __________________ ______

Minor Key Types: For an interesting comparison showing the contrast between major and minor modes, the above examples (#5, #6, and #7) are shown in their parallel minor keys below, illustrating the secondary dominants (as listed [below]) in minor keys.

V of V

Formed by raising the 3rd and 5th of ii , thereby creating II.

V7 of V

Formed by raising the 3rd and 5th of ii 7, creating II7.

°

Note use of melodic melodic minor to avoid the +2nd interval

Rvii 7 of V – also called V7b9 of V [R = “raised”] °

Formed by raising the 3rd and root of iv7, creating #iv 7 or II7b9. Rvii of V is used more rarely. °

°

Secondary Dominants, Tonicization (part 2) Ted Greene 1975-05-15 Play the following examples: Major Key Types:

V of vi

Formed by raising the 3rd of the iii, thereby creating III.

Example:

V7 of vi

Formed by raising the 3rd of the iii7, thereby creating III7.

Rvii 7 of vi (V7b9 of vi): °

Formed by raising the root of V7, creating #v 7 or III7b9. Rvii of vi is more rare. °

°

E# 7 °

________________________________________________________



Minor Key Types:

For an interesting comparison showing the contrast between major and minor modes, the above examples (#5, #6, and #7) are shown in their parallel minor keys below, illustrating the secondary dominants (as listed [below]) in minor keys. V of VI

Formed by flatting the 7th of IIImaj7, creating III7.

Example:

vii 7 of VI

Pretty rare. Formed by lowering the 5th of v7, creating v 7. vii of VI is more rare. °

Example:

________________________________________________________

Major Key Types:

V of ii Example:

Formed by raising the 3rd of the vi, creating VI.



V7 of ii

Formed by raising the 3rd of the vi7, creating VI7.

Example:

Rvii 7 of ii (V7b9 of ii): °

Formed by raising the root and lowering the 7th of Imaj7, creating #i 7 or VI7b9. Rvii of ii is more rare. °

°

________________________________________________________

Major Key Types:

V of IV = I

V7 of IV Example:

Formed by lowering the 7th of Imaj7, creating I7.


vii 7 of IV:


Formed by lowering the 5th of iii7, creating iii 7. (Medium rare) vii of IV is pretty rare. °

________________________________________________________

Minor Key Types:

V of iv

Formed by raising 3rd of i, creating I.

Example:

V7 of iv Example:

Formed by raising 3rd of i7, creating I7.



Rvii 7 (V7b9 of iv): Formed by raising root and lowering 7th of IIImaj7, creating I7b9 (iii 7). Rvii of iv is rare. °

°

°

________________________________________________________

Major Key Types:

V of iii

Formed by raising the 3rd and 5th of the vii , creating VII. °

Example:

V7 of iii Example:

Formed by raising the 3rd and 5th of the vii 7, creating VII7.



Rvii 7 (V7b9 of iii):

Formed by raising root and 3rd of ii7, creating VII7b9 (#ii 7). Rvii of iii is more rare.

°

°

°

________________________________________________________

Minor Key Types:

V of III = VII V7 of III = VII7 All these are already diatonic. vii 7 of III = ii 7 vii of III = ii °

°

________________________________________________________

Minor Key Types:

V of VII = IV V7 of VII = IV7

On the one hand, these chords are derived from the melodic minor scale and are used to avoid the +2nd interval.

vii 7 of VII = Rvi 7

On the other hand, they function as secondary dominants of VII.

vii of VII = Rvi °

°

________________________________________________________

You probably have noticed how most of the secondary dominants bring in chromatic (nondiatonic) tones to a key; also, how rich they sound. Because of this variety and richness, composers have used them extensively for hundreds of years. Use of secondary dominants is actually a type of Temporary Modulation (modulation means changing from one key to another) – more on this later. Try variations on all the examples given so far; use different inversions but the same root progressions. Do in many keys. A series of exercises will follow soon.

Secondary Dominants, Tonicization (part 3) Ted Greene 1975-05-16 Sometimes it might be easier to think of secondary dominants in terms of the home key as far as Roman numeral thinking goes. Example: Suppose you are playing around with a I vi ii V progression, and decide to precede ii with its V7 (which is VI7 in the home key). You might then play I VI7 ii V and think of VI7 as a chromatic substitute for vi. Experiment with this type of thinking in various progressions. Other good places to use home key numbering are in progressions that use secondary dominants as chromatic replacements in cycles of 4ths which will be illustrated below: A pretty common device in Baroque music is the Chain of Dominants where each secondary dominant is followed by another secondary dominant whose root is a 4th higher. Example: in key of C 

E72 V72 of vi

6

A7 5 6 V7 5 of ii

D72 V72 of V

6

G7 5 6 V7 5

C

Such a cycle could probably be thought of (in terms of Roman numerals) more easily in the home key. 6 6 III72 VI7 5 II72 V7 5 Example: Also see example #23 [in part 2]. Here is an example of some chain dominants to play:

Notice the chromatic bass line; this is what happens when you alternate 3rds and 7ths in the bass in such a chain, which brings up another point: you may have noticed that in the examples of secondary dominants given so far, very few root in the bass voicings are used as secondary V’s or V7’s. All I can say is that this was the custom of the time—that is, the composers and musicians just favored the sound of inversions over root position voicings (as secondary V’s and V7’s). You must have observed how rich these inverted chords sound by now so this shouldn’t be hard to accept; it was only later in impressionistic and jazz harmony, with the addition of other colorful tones to chords, that root in the bass voicings took over again. Another use of secondary dominants which could be labeled Sandwich Tonicization or Internal Tonicization is illustrated in the following examples:



In example #25 the secondary dominant is “sandwiched” between two inversions of its tonic (ii). In example #26 the secondary dominant precedes and then is sandwiched between its tonic (ii). You can see why this device is given its name, I hope. To really absorb these concepts, to make them become part of your musical life, it would be good for you to make up some progressions (in both major and minor keys) using the chain dominant concept; then also make up some using the Internal Tonicization concept . Next, go back to some of your old progressions and try the following modifications: 1) 2) 3) 4) 5)

Replace, precede or follow vi or vi7 with VI or VI7 or VI7b9 (this includes all inversions). Replace, precede or follow ii or ii7 with II or II7 or #iv 7 (this includes all inversions). Replace, precede or follow iii or iii7 with III or III7 or III7b9 (this includes all inversions). Replace, precede or follow vii or vii 7 with VII or VII7 or VII7b9 (this includes all inversions). Replace, precede or follow I or Imaj7 with I7 or iii 7 (this includes all inversions). ○

Then do similar in minor keys. All of the above modifications will not work in all cases, but it is good for your ears to find out for yourself. You might try combining different modifications. Example: Taking I vi ii V as a model you might play 6

I VI7 5 II V7

6

5

or 6

I vi6 VI7 5 ii II72 V6 I or 6 5

I vi VI72 II6 ii7

V7 I (or III)

Later for variety’s sake you might wish to try different meters (such as 4/4, 3/4, 6/8, etc.) or pulses, and possibly different harmonic rhythms (harmonic rhythm has to do with how often chord changes appear in a piece of music). Examples of different harmonic rhythms applied to I vi ii V are the last two examples listed. More exercises are listed on the follow page [ part 4 of this series].

Secondary Dominants, Tonicization (part 4) Ted Greene 1975-05-17 Practice the following exercises in various keys (all keys for the serious musician) with different meters, pulses, and harmonic rhythms as discussed on the previous page [ part 3]. Many of these are sequences, and you will find that they work out best in keys where the 1st chord can be started on a reasonably high or reasonably low fret, depending on whether they are descending sequences or ascending sequences—this will become clear as you try them. You might try “setting up” the home key first (play a diatonic progression to get the sound of the key in your ears) to help you hear the main tonal center of these examples. Major Key: 4 4 4 4 4 1) I V7 3 of vi vi V7 3 of IV IV V7 3 of ii ii IVmaj7 3 vii 7 V7 3 of V V 6

2)

6

6

6 5

6

I V7 5 of vi vi V7 5 of IV IV V7 5 of ii ii IVmaj7

6 5

V7

I

6

vii 7 V7 5 of V I 4 V7 I why V of V to I?

6

6

6

6 5

6

I V7b9 5 of vi vi V7 5 of IV IV V7b9 5 of ii ii IVmaj7

2b)

I V7 5 of vi vi V7 5 of IV IV V7 5 of ii II72 V7 5 I IV #iv 7 #iv 7

3)

I6 V72 of vi vi6 V72 of IV IV6 V72 of ii ii6 V7

6

6

6

6

6

||

vii 7 II7

6 5

2a)

5

I 4 V7 I 6 5

I I6 #iv 7

6 5

6

I 4 V7 I 6

#iv 7 I 4 V7 I

6

Try 1st inversion triads in place of 5’s occasionally; also 7b9’s on V of ii, iii, and vi. (See #2a). || 6

6

4)

I I72 IV6 vii 72 III7

4a)

I I72 vii 72 III7

4b)

I IV6 vii 72 III7

4c)

I I7 5 IV VII7

4d)

I IV VII7 5 III72 | VI7

4e)

I IVmaj7

4f)

I IVmaj7 5 VII III7 5 VI II7

4g)

I #iv 7 5 vii III7 5 vi II7

4h)

Imaj7 5 IV vii 7 5 iii VI7 5 ii V7

4i)

Imaj7 5 IV vii 7 5 III vi7 5 (or VI7 5) II V7

4j)

Imaj7

6

6

6

5

6

5

5

VI72

6

V72 I7

6

6

6

6

5

6

5

6 5

6 5

6

6

6

6

6

5

○

6

6

6

5

| IV vii 7 5 iii vi7 | ii7 V7 I

5

#iv 7 | I 4 V7 I

6

| I I72 IV6 I

6

4 6 5

I72 | IV6 ii6 I6 II7

V

6

6

#iv 7 I 4 V7 I 6 4

V

6

4

| IV vii 7 IV

V

6

6

IV

5

6

II72 V7 6 5

6

6

5

5

V72 I6 vii 7

II72 V7

5

vii III7 5 vi II7

6

V72 I7

II7

6

6

6 5

| vi72

6

○

5

II7

| III72 VI7

5

II7

| VI72

6

6

5

I

IV (or #iv ) VII7 5 III VI7 5 II V7

6

6 5

5

I I

| II6 V7 I

V



5)

I V72 of ii ii6 V72 of IV IV6 V72 of vi vi6

5a)

I V7 5 of ii ii V7 5 of IV IV V7 5 of vi vi

5b)

I V7 3 of ii ii6 V7 3 of IV IV6 V7 3 of vi vi6

6)

I V7 5 of IV IV V7

7)

I V7 5 of ii ii V7 5 of IV IV V7 5 of V V V7 5 of vi vi V7

8)

I V7 5 of IV IV V7 6 #iv 7 I 4 V7 I

8a)

I V7 5 of IV IV V7 6 #iv 7 I 4 V7 I

9)

I V7 5 of vi vi V7 5 of V V V7 5 of IV IV V7 5 of iii iii V7 6 I 4 V7 I

9a)

I V7 5 of vi VI V7 5 of V V V7 5 of IV IV V7 5 of iii III V7 6 6 #iv 7 5 I 4 V7 I

9b)

I6 V7 3 of vi vi6 V7 3 of V V6 V7 3 of IV IV6 V7 3 of iii iii6 V7 3 of ii ii6 V7 6 IV I 4 V7 I

9c)

I6 V72 of vi vi6 V72 of V V6 V72 of IV IV6 V72 of iii iii6 V72 of ii ii6 V72 I6 vii 7 6 IV 4 V7 I

9d)

I6 V72 of vi VI6 V72 of V V6 V72 of IV IV6 V72 of iii III6 V72 of ii II6 V72 I6 6 6 vii 7 5 IV 4 V7 I

10)

I V72 of V | V6 V72 of iii | iii6 V72 | I6 V72 of vi vi6 V72 of IV | 6 6 6 6 IV6 V72 of ii ii6 vii 6 of ii | ii vii 7 IV 4 | #iv 7 5 #iv 7 I 4 V7b9 5 of vi | vi

6

6

4

6

4

4

6

6

6

5

6

of V V V7 5 of vi vi

6

6

6

6

6

6

6

6

6

6 5

6

6

of ii ii V7 5 of V V V7 5 of iii iii V7

5

of ii II V7

6

5

6

6

4

6

of vi vi V7

of vi vi V7

6 5

of ii ii V7

6

4

6

IV

5

6

5

6

4

I V7 of V (II7) V

5

of V V V7 5 of iii III V7

6

6

4

6

5

6

6

6

5

6 5

5

6

of ii II V7

4

6 4

IV

I ii6

5

4

I

4

3

I6

6

○

/ 4

4

/

// 4

4

10a)

I V7 3 of V | V V7 3 of iii | iii V7 3 | I V7 4 6 6 6 6 IV V7 3 of ii ii V7 5 | IV 4 II7 5 I 4 V7 | I

10b)

I6 V7 5 of V | V V7 5 of iii | iii V7 5 | I V7 6 6 6 6 6 IV V7 5 of ii ii V7 5 | IV 4 II7 5 I 4 V7 | I

11)

I IV

12)

I V7

6

6

4

6

5

6

6

4

I

V72 of V V6 V7

I

V7

6

5

3

3

6

4

of vi vi V7 3 of IV |

5

6

of vi vi V7 5 of IV |

4

of V V V7 3 of iii iii vi7 ii7 V7 I 4

of V V V72 of ii ii6 V of vi vi V72 of iii iii6 IV I6 V7

3

____________________________________________________________

I

5



Minor Keys: Before you go any further in minor keys it would be good to know about a few other choice sounds: Play the following example:

Notice the colorful sound built on the bII of Gm (Ab6)—it is called a Neapolitan 6th. It is built by lowering the root of a ii (thereby forming a major triad on bII). The name comes from the fact that, it was supposedly first heavily used by composers around Naples in the late 1600’s and it was most often used in 1st inversion (chord of the 6th). It is subdominant in function, since it is a derivative of ii (also, compare it with iv). The 3rd is often doubled in the chord. ○

○

6

6

6

6

6

The N6 often progresses to V72, V7b92, V, i 4, II7b9 5, iv7 V72, II7b9 5 i 4, ii 7, I7b9 5 (and others to be discussed in the sections on secondary sub-dominants and modulation). Make up progressions using the N6 progressing to each one of the above sounds; for now, keep the N6 in 1st inversion. In the classical period of music (1750-1825), N6’s began to appear more often in root position, even in 2nd inversion, and 7ths or b7th were sometimes added; also, bII came to be used as a temporary tonic and preceded with its own dominant forms of harmony. Some of these sounds are going to be incorporated in the exercises on the next page [ part 5], to enable you to have some kind of temporary key center on the 2nd degree (V of II sounds too distant). Although chronologically, the sounds are out of place, to the ear, they fit very nicely, and it is only a quirk of musical evolution, that mankind waited till the classical period to make heavy use of them.

Secondary dominants of bII —

V of bII = VI V7 of bII:

Formed by lowering the 7th of VImaj7, creating VI7. vii 7 and vii of bII are more rare. ○

Secondary Dominants, Tonicization (part 5) Ted Greene 1975-05-18 & 1975-07-01 Minor Keys: Follow instructions as given at top of last page (part 4). 6 6 6 1) i 4 V72 i6 V72 of VI VI6 V72 of iv iv6 V72 of bII bII6 ii 7 5 i 4 V7 i

1a)

6

i

4

V72 i6 V72 of VI VI6 V72 of iv iv6 V72 of bII bII6 ii 7

6 5

i

6 4

6

II7

V (or II7

5

4 3

V6)

6

Try 1st inversion triads in place of 5’s; also 7b9’s on V’s of I, iv, and v (V). Also I for i at end of phrases (Picardy 3rd) – See 1b. 6

1b)

i V7

1c)

i V7

1d)

i V7

1e)

i V7

6

6

6

6

5

i V7

5

i V7

5

i V7

5

i V7

6

6

6

6

5

of VI VI V7

5

of VI VI V7

5

of VI VI V7

5

of VI VI V7

6

6

6

6

6

6

6

5

of iv iv V7 5 of bII bII ii 72 V7

5

of iv iv V7 5 of bII bII ii 72 V7

5

of iv iv VImaj7

5

of iv iv VImaj7

6

6

5

i ii 7

6 5

V I

5

i ii 7

6 5

II7

5

ii 7 V6 I72 iv6 II7b9

5

ii 7 V6 I72 IV6 ii 7 6

or end on i

II7

4

4 3

4

6

5

V

V(7) i

3

4 3

V(7) i

V(6) after iv6 or IV6

4

1f)

Do 1b, 1c, 1d, and 1e all with 3’s on V7, V7 of VI, V7 of iv, and V7 of bII; also 1st chord becomes i6.

2)

i V72 of III III6 V72 of iv iv6 or IV6 V72 of V V6

2a)

i V7 5 of III III V7

3)

i V7

3a)

i V7

3b)

i V72 i6 V72 of III III6 V72 of iv iv6 V7 5 of VI VI6 ii 7 5 (or II7b9 5) i 4 V7 i 6 6 or ii 7 5 II7b9 5 V(7) I

3c)

i V72 i6 V72 of III III6 V72 of iv iv6 V7 5 of VI VI6 i

4)

VI i 4 II7b9

4a)

VI i 4 II7b9

4b)

V7b9

4c)

V7b9

6

6

6

6

5

i V7

5

i V7

6

6

5

6

of iv iv or IV V7 5 of V V

5

of III III V7

6

5

of III III V7

6

6

6

5

of iv iv V7 5 of VI VI i

6

6 4

6

6

6

6

5

V72 I7

5

V72 I7

6

4 3

i6 II7b92 V7

4 3

i6 II7b92 V7

6

6

6

6

5

IV72 VII7 5 III72 VI7

5

IV72 VII7 5 III72 VI7

6 5

I72 IV7 5 VII72 III7

6 5

I72 IV7 5 VII72 III7

6

ii 7 5 II7b9 5 V 6 6 6 or II7b9 5 i 4 ii 7 5 V 6

6

6

6

of iv iv V7 5 of VI VI ii 7 5 (or II7b9 5) i 4 V7 i

6

6

6

5

6

6

6

6

6

6

6

6

ii 7 5 II7b9

4

6 5

i 4 V7 i

6 5

i

5

ii 7

5

ii 7

6

5

6

6

5

VI72 ii 7

5

VI72 ii 7

6

6 4

6 5

II7

V

6

5

i 4 V7 i

5

i

6 4

6 5

II7

V

V



6

5

| i (or I) V7

6 5

of VII VII V7 5 of VI | VI V7 5 of V (or bII6) V |

6

6

5

| i (or I) V7

6 5

of VII VII V7 5 of VI | VI i

5)

V

5a)

V

5b)

V7

5c)

V72 | i6 (or I6) V72 of VII VII6 V72 of VI VI6 V72 of V V6

6)

i I72 iv6 (or IV6) VII72 III6 VI72 bII6 (or ii 6) V i

6a)

i V7 5 of iv iv (or IV) V7 5 of III III V7

7)

i I72 iv6 IV7 5 VII VII72 III6 III7 VI VI72 ii 7

8)

V7 5 of III | III V7 5 of VI VI V7 5 of iv | iv (or IV) V7 6 6 V V7 5 i V7 5 of III | III - Finish this modulation.

9)

i V7

9a)

i V7

10)

| i V7 5 of VII VII V7 5 of v | v V7 5 of III III V7 6 4 | i V7 5 of VI VI V7 3 of V | V or V6

10a)

| i V7 3 of VII VII V7 3 of v | v V7 4 4 | i V7 3 of VI VI V7 3 of V | V

10b)

| i6 V72 of VII VII6 V72 of v | v6 V72 of III III6 V72 | | i6 V72 of VI VI6 V72 of V | V6

6

4

4

| i (or I) V7

3

6

3

4

of VII VII V7

3

6 4 4

of VI VI V7

V7 | i 3

6

of V V (or i 4 V7 i)

○

6

6

6 5

6

6

6 5

6

6

4

6 5

of bII II V7

i

○

ii

V

6

6

6

6

5

i V7 5 of III | III V7

3

i6 V7 3 of III | III6 V7 3 of V V6

4

5

5

6

of VII VII V7 5 of V |

of V V 4

6

6

6

4

4

4

3

of III III V7

6 5

|

4 3

|

____________________________________________________________

Miscellaneous Facts: 1) Some other more rarely used sounds of the Baroque era are those of I7b9, II7b9 and V7b9 being used in major keys to replace I7, II7 and V7; you might try experimenting with these sounds

2)

Also, try leaving out any note in a 7b9 chord (in either major or minor keys).

3) When adding decoration notes to progressions with secondary dominants, these notes are derived from the new temporary key scales in most cases. 4) Sometimes secondary dominants resolve to chords other than the new I or i; this subject will be covered with up-coming topics.


5)


Secondary Dominants are also used in 1/2 cadences:

This phrase could go right back into Bb or it could go further into Cm (it could even go into other related keys – all this type of operation will be discussed under the soon-to-come topic of Modulation).

6)

Secondary Dominants can be used as deceptive cadence chords: Example:

Try experimenting with these concepts. Also integrate last part of Secondary Subdominants page 1.

Tonicization (Secondary Dominants) Ted Greene 1973-10-22 A great deal of harmonic richness can be gained by temporarily treating diatonic major or minor triads as if they were the home key and preceding them with chords in their own key. By far the most common device is to use the V7 (or V) of the new temporary key. Example: for A F#m D A you could have A C#7 F#m A7 D (E7) A Or for A D Bm E you could have A A7 D F#7 Bm B7 E In minor keys the ii and II are not tonicized this way, but bII is: For Am Dm C Bb Am 

Am A7 Dm G7 C F7 Bb E7 Am

Tonicizing V7 chords are called Secondary Dominants or Applied Dominants. The V7 of the new temporary keys are often preceded by other chords in the new key, namely the ii, IV, iv, ii , II, bII, and bVI (also more rarely, bIII, bVII). Also the related 7ths of these triads are often used. °

Examples of a two chord tonicization of vi (F#m) in A:

ii V7 ii7 V7 iv V7 iv7 V7 iv6 V7 IV V IV7 V7 ii V ii 7 V7 II V7 II7 V7 bII V bII7 (7) V VI V VI7 V7 °

1) 2) 3) 4) 4a) 5) 6) 7) 8) 9) 10) 11) 12) 13) 14)

G#m C#7 F#m G#m7 C#7 F#m Bm C#7 F#m Bm7 C#7 F#m Bm6 C#7 F#m B C# F#m B7 C#7 F#m G# C# F#m G# 7 C#7 F#m G# C#7 F#m G#7 C#7 F#m G C# F#m Gmaj7 (7) C# F#m D C# F#m Dmaj7 C#7 F#m °

Also: G, Gmaj7, D, Dmaj7, Bm, Bm7 to E(7) F#m dominant function _________________________________________________________


Modulation and Tonicization

Even non-diatonic triads are tonicized frequently: 1)

A F Bm7 E A

2)

A C D E A





A Gm7 C7 Fmaj7 Bm7 E7 A

A Dm7 G7 Cmaj7 Bm7 E7 A Remember, ii can be used for IV.

_________________________________________________________

V7 chords may be tonicized: A E7 A



A B7 E7 A or A F#7 B7 E7 A or A F#m7 B7 E7 A

An easier way to think of it (and this opens up other doors too) is that a tonicization may deceptively lead to a 7th chord. Example: Given A F#m  could become A G# 7 C#7 F#m  A G# 7 C#7 F#7 or F#m7 _________________________________________________________

Internal Tonicization: The principles of tonicization may be used to enrich a chord “internally” as follows: Given A Bm E A  A Bm Em F#7 Bm E7 A iv V7 of Bm _________________________________________________________

Pivot Chords or Change of Function: Suppose you encountered the following progression in a song:

A F#m B7 E7 A. F#m can be considered to be the vi of I or ii of V(7). Likewise B7 could be II7 of I or V7 of V(7). It is a matter of taste as to how you will interpret these things. In a sense the home key can be tonicized: for A E A A Bm7 E7 A

or

A F#m7 Bm7 E7 A



or

A C# 7 F#7 B7 Bm7 E7 A

You may have noticed that tonicization often results in a circle of 4ths; for this reason tonicization is also called Back-cycling. (7)

Practice making up exercises in brief tonicization (V ), internal tonicization, and also more lengthy visits to the new keys. Stick firstly to diatonically related keys; then later get more distant using modal mixture keys. This whole process of leaving one key for another is also called Modulation, but modulation often is used to refer to the lengthy stays in the new keys. Tonicization is temporary modulation.

Modulation and Tonicization Ted Greene 1973-10-23 Modulation is simply the process of abandoning one key for another. Hopefully you have seen that tonicization is a way of temporarily changing keys, so it is therefore a temporary modulation. A more permanent feeling of modulation is established if you linger in the new key or, even more, if a cadence is played in the new key. This usually only happens in longer pieces of music – most modulation in popular songs are of such a fleeting nature that they are really just tonicizations because you are not really abandoning the old key, just putting a veil over it for a few seconds. Anyway, some phrases are up for grabs as to whether they are modulations or tonicizations. The important thing is to be able to go smoothly into a new key for either a brief vacation or an extended visit. Equally important is being able to smoothly return to the home key if desired. The whole process of key changing is one of the main elements of variety in music. Paradoxically, key changing is also a prime factor in creating unity in a piece of music. For example, many songs use the so-called “A A B A” form – that is the main tune (A) is stated, then repeated, then a contrasting tune (B) is played, then the main tune (A) is played again. The B section is almost always in a different key than the A section. So there is this balance of unity and variety that modulation helps to keep in check.

Essentially there are two types of modulation: 1)

Phrase Modulation. This is the case when modulation occurs at the end of one phrase and the beginning of another. Usually, the ear readily accepts this type of modulation because of the pause between phrases. Analyze some popular songs and you should encounter some phrase modulations.

2)

The second type of modulation is the type discussed in connection with tonicization, that is, within a phrase.

Modulation can be viewed as an elaborated chord progression or cadence:

A I

G# 7 C#7 F#m Bm7 G#7 C# F#m Bm7 Em7 A7 D G A7 D ii V i iv II7 V i iv vi

A

ii

V

I

IV V

I

F#m

D

Or to reverse the procedure if you were given the progression A F#m D with simple tonicization  A C#7 F#m A7 D  with more complex tonicization  A G# 7 C#7 F#m Em7 A7 D  A G# 7 C#7 F#m Bm7 G#7 C# F#m Bm7 Em7 A7 D G A7 D with internal tonicization 

Modulation and Tonicization


Exercises: Use brief (symmetrical) tonicization, more lengthy tonicization, and internal tonicization in all of the following – transpose to all keys eventually. Also remember about deceptive resolutions to 7th chords in place of triads. 1) 2) 3) 4) 5) 6) 7) 8) 9) 10) 11) 12) 13)

A D A E A A Bm D E F#m A A F#m D Bm G E A A D C#m Bm A A C#m F#m E A A E Bm F#m C#m D A Am Dm Am Em Am Am F C G Dm Am Am C Dm F Am (C) Am F Dm Bb (E) Am Am Dm C F Am (Am) C F Dm G Em A D Bm E C#m

In key of D: Use V7 before each chord in symmetric resolution cycles. Then use V7b9 for each. 1) 2) 3) 4) 5) 6) 7) 8) 9)

D Bm (A) G (F#m) Em (D) Em (F#m) G (A) Bm D cadence Bm D F#m A G Bm D F#m cadence. D F#m A cadence. D G Em A F#m cadence. D G, Bm Em, A D cadence. D A Em Bm F#m (G) D cadence. D F#m Bm Em A D G

_________________________________________________________

Secondary Dominants in Common Progressions Ted Greene – 1990-01-20 1)

Key of A. V7 of IV(I7) is often preceded by V

1a)

I7 is often also preceded by V7

v

2)

Pedal bass under the V is common

Why do you think the “four minor” types appear above? Why the Asus4? And the other sus’s? The sopranos above (that is, the top “voice” in each example) contain the line that is generating the progression I V(7) I7 IV…have you noticed? [Take note] This line is also often found in the bass, that is, songwriters and composers like to sometimes place it here on purpose. Also it is sometimes buried in an inner voice. Study the following example and all this will likely be clear. 3)

Key of C

4)

Give each chord 2 beats here

Secondary Dominants in Common Progressions 5)

Key of Eb

6)

Key of E. Each diagram [gets] one beat here

Ted Greene, 1975 ‐01‐ 20 page 2

* IMPORTANT: Be able to SING every soprano and bass line on this page.

Secondary Subdominants Ted Greene – 1975-07-01 You may be wondering if any diatonic major or minor chord may be preceded with a subdominant type of chord in its own key (since you spent so much time working with dominant types); the answer is yes, but not commonly. For some reason, Baroque composers went wild over dominant harmony, and it is relatively rare to see a progression such as IV-I (iv i) or ii-I (ii i) in a temporary new key unless the new I (i) is followed by a dominant type of chord. ○

Example:

C Bb F G C IV I

is more rare than

C Bb F C7 F G7 C (in Baroque music). IV I V7 I

However, you may wish to try out some of these Secondary Subdominant harmonies even without dominants, so here are a few examples that try to illustrate how good voice-leading and lines can help make a progression sound “more Baroque.”

If you experiment with the above concepts, you will find that many secondary subdominants are chords that are diatonic in the home key, so they will conform to normal sounds that you have experienced so far. _____________________________________________________________________

Secondary Subdominants

Ted Greene, 1975 ‐07 ‐01

page 2

A much more common use of secondary subdominants is as follows: When any chord is being tonicized with a secondary dominant, the secondary dominant may be preceded with a chord that is functioning as a subdominant in the new key; naturally this subdominant functioning chord is called a Secondary Subdominant . _____________________________________________________________________ Examples:

Normal Progression: With secondary dominant: With secondary dom. and secondary subdom.:

C C C

Normal Progression: With secondary dominant:

C C

With secondary dom. and secondary subdom.:

C

6

6

F# 7 ii 7

5

B7 5 B V7

5

F F

5

F

6

C7

6

B¨6

C7

IV

V7

Em Em Em i

I

To find out what secondary subdominants are available, you should get acquainted with the “Catalogue of Baroque Harmonies” sheet; as you will notice, there are more subdominant harmonies than any other type, so we are talking about a wealth of rich sounds. As mentioned, though, many of the sounds already have appeared in progressions, so you don’t have to be worried about learning thousands of new chords – it’s not nearly that bad of a situation. In fact, you have already worked with the great majority of these sounds, but as dominant functions or diatonic chords. Example:

6

C E7 5 A72 Dm6 II7 V7 i

You have already played progressions like this, but it would have been analyzed as: I V7 of vi V7 of ii ii or I III7 VI7 ii So all this amounts to is a different viewpoint on this progression, not any different sounds. You might be saying, “If that is so, then why bother?” Well, look at it this way: Suppose you had a normal progression of C Am F Dm, etc. Here it is with secondary dominants and subdominants:

I…………. II7

V7

i…….…

II7

V7

I…………..

II7

V7

i

└──── of vi ────────┘└──── of IV ────────┘└──── of ii ───┘

You can see that some nice sounds result from this different viewpoint; in other words, different viewpoints inspire different creative ideas and chord progressions. (There is a good chance that you wouldn’t have come up with this type of progression unless you were thinking in II7 V7 I(i) groups like these.)

Secondary Subdominants

Ted Greene, 1975 ‐07 ‐01

page 3

Exercises: 1) It’s suggested that you go back to any of the progressions that used secondary dominants and try to squeeze in secondary subdominants where they seem to fit. 2) Then take each type of subdominant harmony listed in the catalogue and make up a few progressions that use it (in different inversions, different keys, etc.) and don’t forget that the whole catalogue is applicable to a tonic minor and its related keys if you renumber the whole business. 3) A separate list of some progressions using secondary subdominants will follow on the next page; these will all be cycle of 4ths types because they are so common and characteristic of Baroque music. 4) Secondary dominants may resolve as in deceptive cadences; this new deceptive chord can: 1) continue in the home key (if possible) or 2) in the intended new key. Examples:

1) C E7 F G7 C 6 2) C D7 Em Am6 G 4 D7 G

The new deceptive chord can even pull into a totally different related key: 3) C I

A7

B¨

Vof ii

VI of ii

Examples 2) & 3) are….[ page is cut off ]

Gm6

6

F 4 C7

F

Catalogue of Common Cycle of 4ths Patterns (Including Secondary Chords) Ted Greene – 1975-07-04 & 10

Give the following progressions a try, starting from all the different forms of close and open triads. These patterns are for sequence type voice-leading, but you might want to try regular voiceleading as well. Not all progressions will sound that great because of some augmented 2nd intervals that will appear in the soprano. Breaking up these patterns and using decorations will help. is optional at the end of minor key cycles

Major Keys: Normal

Minor Keys:

I IV vii ͦ iii vi ii I IV VII iii vi ii

V I V I

normal

i iv VII III VI ii ͦ V (i) i iv VII III VI ii V

I IV VII III vi ii V I

i iv VII III VI ÏI V

I IV VII III VI ii V I I IV VII III VI II V I I IV VII III vi II V I

i iv VII III VI II V i iv VII III Rvi ͦ ii ͦ V i iv ¨vii III VI ii ͦ V

I I I I I I I I

i iv VII III VI ii ͦ V i iv VII III Rvi ͦ ii V

IV IV IV IV IV IV IV IV

VII VII vii vii vii vii ͦ vii ͦ vii ͦ

iii iii III III III iii iii iii ͦ

VI vi vi VI vi VI vi VI

ii II ii ii II ii II ii

V V V V V V V V

I I I I I I I I

[R = raised]

I IV ¨VII iii ͦ VI ii V I I IV ¨VII iii ͦ • • • • •

vi ii V I

Try replacing i with I. Then precede all of these (using I for i) with v or v ͦ, using substitute voice-leading. Next try starting the cycle of 4ths on iv or V using sequence voice-leading. Try replacing IV with #iv ͦ in all of the above. Next try these: I #iv ͦ vii iii vi ii V I I #iv ͦ vii iii VI ii V I I #iv ͦ vii iii vi II V I

Then try preceding all of the above with v or V, using substitute voice-leading. If you start the cycle of 4ths from IV or V using sequence voice-leading, you will notice that vii ͦ, vii or ¨VII will sound better than VII in many cases (because of the augmented second problem again).

_______________________________________________________________________ One last thing – you should try similar patterns with 7ths (or 4-note triads) replacing the above triads, or in patterns of your own devising. _______________________________________________________________________

Seventh Chords Ted Greene, undated and 1975-03-16 & 30 Sevenths may be added to triads; they change the color – not the function. The diatonic major scale produces: I 7, iim7, iiim7, IV 7, V7, vim7, viim7b5. The natural minor scale produces: im7, iim7b5, [b]III 7, ivm7, vm7, [b]VI 7, [b]VII7. The harmonic minor scale produces: im 7, iim7b5, [b]III 7+, ivm7, V7, [b]VI 7, viio7. The V7 and viio7 are widely used to replace the V in minor keys. The other chords of the harmonic minor can be discarded for now, and the chords of the natural minor then contended with. The figured bass symbols for 7ths are: Root position: 1st inversion: 2nd inversion: 3rd inversion:

7 6 / 5 4 / 3 4 / 2 or

 Root

2

in bass  3rd in bass  5th in bass  7th in bass

The main 7th chord to learn how to use at first is the V7 (dominant 7th). In authentic cadences, the V7 usually is voiced with two roots, a 3rd, and 7th (no 5th). Examples:

Here are some important V7’s with all 4 tones:

Notice the inversions (6 and 6/4).

Notice the passing tone [o].

Seventh Chords – Ted Greene, undated and 1975-03-16 & 30

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Practice Comparable Exercises in Minor Keys Here are some exercises with V6/5’s :

V7 also connects well with vi :

V6/5’s progress well to 6/4’s a scale step higher:

Second inversion (V74/3) :

When done at the end of a phrase, V – vi is known as a deceptive cadence. In minor it is V – VI.


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Second inversions also progress well to 6/4’s :

Third inversions ( 4/2 or 2 ) :

Notice the appoggiatura chords; also the freer use of chords in general.

Key of F:

Key of Db:

Make up similar exercises to all those on this page in major and minor keys.


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As you may know, there are many kinds of dominant 7th type chords which are used in jazz; but (as usual) they can be organized into groups according to similarities of sound . So which of these chords can take the dominant 7th scale? The secret lies in analyzing the chord tones of the dominant 7th scale, which are as follows: 1, 3, 5, b7, 9 (2), 11 (4), and 13 (6) Important: Any chord containing some combination of any of (but only) these chord tones, can take the dominant 7th scale. Here is a list of the most commonly used of these chords: GROUP 1 Name Dominant 7th Dominant 9th Dominant 7/6th (or 7/13) Dominant 13th

Formula 1, 3, 5, b7 1, 3, 5, b7, 9 1, 3, 5, 6, b7 1, 3, 5, b7, 13 1, 3, 5, b7, 9, 13

Symbol 7 9 7/6 (7/13) 13

GROUP 2 Name Dominant 7th suspended 4th Dominant 9th suspended 4th or Dominant 11th Dominant 7/6th suspended 4th (7/13) or (7/6/11) Dominant 13th suspended 4th or Dominant 11/13th

Formula 1, 4, 5, b7 1, 4, 5, b7, 9 1, 5, b7, 9, 11 1, 4, 5, 6, b7 1, 4, 5, b7, 13 1, 4, 5, b7, 9, 13 1, 5, b7, 9, 11, 13

Symbol 7sus 9sus 11 7/6sus (7/13sus) 13sus 11/13

For the curious: the 11th and 3rd are not often played together in the same chord because they tend to clash to most ears. Notice that the above chords are divided into two group s. Also notice that for every chord in the group on the left [Group 1] there is, in the group on the right [Group 2], a corresponding chord which has the exact same formula except for one thing: the 3rd has been replaced by the 4th or 11th. Check this out…. The two groups will be referred to as Group 1 and Group 2 dominants. In case you are wondering about the names of these chord, specifically about words like “dominant” and “suspended,” the explanations are long and unfortunately not too logical, so for now it is in your best interests to just accept these terms as something you have to put up with, at least in the sense of knowing what chords these words stand for. we’ll take a pass on this subject here. It’s better left for a book on Harmony. You will recall that in the section on Major chords, a discussion of chord tones was presented. There will be a similar discussion pertaining to the Group 1 and 2 dominant chord tones, but it will be after the soon-to-be-given musical examples. In this section, as in the Major section, there will be chord forms and arpeggios given for each position (of the dominant 7th sounds); and as before, you will want to learn these – one group of chords and arpeggios at a time to fit each position as you encounter them as you progress through this section.


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You will also find it in your best interest to learn the scale fingerings given for the different positions of the runs, as many of the runs are derived from just freely mixing up the notes of the dominant 7th scale. Remember to visualize the notes on the fingerboard as explained earlier, especially for any runs that you like enough to memorize. And as before, if you want to (and know what this means) try phrasing all runs as “jazz” 8ths and “straight” 8ths. If you’re still having some difficulties in making the runs you have learned so far sound like jazz, it is probably the time to try to find a good teacher to take at least one lesson in the “feel” of the music. (Just a suggestion: take a tape recorder to your lesson if you can, because we humans aren’t blessed with the memories of elephants or recording tapes.) Naturally, you will want to learn your favorite sounds out of all this material in more than one key. I have found certain orders of keys that sound very good to my ears, so I would like to share them with you if you care to try them: 1) For the 1st three positions (which star in the key of Bb7) try the following order of keys for each arpeggio and run (and the scale diagrams too): Bb7, (F7), D7, B7, Ab7, Eb7, C7, A7, (G7), E7, Db7, Bb7 ( ) = optional 2) For the last position that starts n Bb7 (7th-8th fret), try the following key order: Bb7, G7, E7, C7, A7, F#7, Eb7, B7, Ab7, F7, D7 3) For the position that is given as G7 (on the 7th fret), try the following key orders: G7, E7, Db7, F7, A7, F#7, Eb7, Bb7, G7 or G7, E7, Db7, A7, F#7, Eb7, C7, Ab7, F7, D7, B7 4) For the two positions that are given in the key of E7, try the following key orders: E7, Db7, F7, D7, F#7, Eb7, G7, B7, Ab7, (F7) You may have noticed that most of the intervals between all these keys are ascending or descending 3rds. It just seems to sound good to me this way.


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Seventh Chords Ted Greene, 1975-03-16 & 30 7ths in Major Keys: When another 3rd interval is added on top of a triad, the sound that results is called a 7th chord .

An important thing to remember is that 7th change the color of triads but not the function. For instance, a I 7 is still a Tonic chord, just like a I. To put it another way, you may replace a triad with its related 7th chord (according to personal taste) without changing the essence of a chord or progression. Compare:

To learn the 7th chord fingerings on guitar you should study the page on 7th Chord Voicings in various keys. The most important 7th chord is the V7, having been used by composers much more than the others. One reason for this is that the V7 – I progression clearly defines a key. Look at it this way: when you play a G chord to a C chord, no key is clearly established yet. It could be I – IV [in the key] of G, or V – I [in the key] of C. But G7 to C by itself indicates only the key of C. If you were to make other experiments using just two chords, trying to define a key, you would see that vii 7 – I gives a similar effect to V7 – I; this is logical because, as you know, vii o is dominant in its function. Anyway, separate sheets will be passed out on the progression V7 – I, and you should figure out similar examples of vii 7 – I after you have learned the V7 – I’s. An easy way to convert V7 into vii 7 is to raise the root of a complete V7, one whole step. Important: vii 7 = V9.


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Naturally, like triads, 7th chords can be inverted. Because there are 4 notes in a 7th chord, there are 3 inversions. The figured bass symbols are as follows: Root position: 1st inversion: 2nd inversion: 3rd inversion:

7 6 / 5 4 / 3 4 2 (or / 2 )

An easy way to memorize these symbols is to notice that the numbers, coincidentally, go in order: 7, 6/5, 4/3, 2.

You will find a list of exercises using all types of the 7th chords on the same page that has the 2nd inversion triad exercises. Practice these (with decoration, suspensions, etc., optional) patiently, and the world of 7th chords will open up to you. Sidelight: In the “old” days, the 7th in a chord was considered a dissonance, and consequently, people thought it too harsh to have the 7th tone enter without suitable “preparation.” The rules governing preparation of the 7th were: 1) it could enter as a suspension or repeated note from a previous chord, or 2) it could be approached step-wise from a previously heard tone.

Notice the prepared 7ths in the above examples near the top of the page. While modern ears definitely do not require the preparation of 7ths, it is good practice to do this once in a while to know how to create the old, authentic sounds. Irregular Resolution of V7 or vii 7: For variety’s sake, composers would sometimes avoid I after V7 or vii 7, instead progressing to some other chord. Some of the most common of these chords are IV, vi, iii, and iii7 (and other chords to be discussed later). This concept includes all inversions of all chords involved. 7ths in Minor Keys: The diatonic 7th chords in minor keys are as follows:

Natural minor :

i7, ii 7, [b]III 7, iv7, v7, [b]VI 7, [b]VII7

Harmonic minor :

i 7, ii 7, [b]III 7+, iv7, V7, [b]VI 7, Rviio7

Melodic minor :

i 7, ii7, [b]III 7+, IV7, V7, Rvi 7, Rvii 7

[R = raised]

Of all these 7th chords only some have been commonly used by Baroque composers: Common: i7, ii 7, [b]III 7, iv7, V7, [b]VI 7, Rvi 7, [b]VII7, Rviio7 Less common: ii7, IV7, v7 Rare: i 7, [b]III 7+, Rvii 7 The ii7, IV7, Rvi 7 are used according to the normal use of the melodic minor (to avoid the augmented 2nd interval). Otherwise the above chords are used just like in major keys. Naturally, inversion are not only possible, but welcome. Rviio7 is used to replace V7 quite often in minor keys, so it is a good idea to take the V7 – i resolutions and convert them to Rviio7 – i by raising the root of any complete V7, one 1/2 step. Important: Rviio7 = V7b9.

Sub-dominant Harmonies Ted Greene – 1973, October 24

There are many colorful chords that can be classified as subdominants (a subdominant harmony could be said to be a harmony that can smoothly lead to the dominant harmony or the tonic). Here is a list of triads and 7th chords that are sub-dominant in their function (of course, extensions can be used): Major Key: 1) ii, II, iiº, ii7, II7, ii 7 2) IV, iv, IV∆7, IV7 (“blues”), iv7

3)

¨VI, ¨VI∆7, ¨VI7

4)

#ivº, #iv 7

5)

ÏI, ÏI∆7 ÏI7

6)

iº, i 7

7)

ÏII, ÏII∆7, ÏII7

8)

¨VII (¨vii), ¨VII∆7, ¨VII7, (¨vii7)

9)

viº, vi 7

Less important

In Minor Keys all chords are the same except: 1)

omit IV∆7, #ivº, #iv 7, ¨vii, ¨vii7

2)

viº, vi 7 are §viº, §vi 7

Diminished 7th chords are not listed, as they can be interpreted as 7¨9 chords. Practice connecting all the sub-dominant harmonies to dominant 7ths and tonics. Try all basic inversion of each chord – plan on this taking a few months, at least, to learn in all major a nd minor keys. Examples: Key of A (Am where applicable)

Subdominant Harmonies

Ted Greene, 1973‐10‐ 24

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Theory of Chord Progressions Ted Greene – 1974-02-17

In different time periods, composers have favored certain root progressions move than others. A man named Allen McHose has done research on the tendencies of the 18th century along these lines and has come up with the following information: 1)

Tonic chords are most often preceded by V (or viiº); in minor – V, (viiº). These chords that precede the tonic are all given the label Dominant Function or 1st Classification.

2)

1st Classification chords are most often preceded by ii or IV (ii, iiº (ÏI), iv and IV in minor). These chords are labeled Subdominants or 2nd Classification.

3)

2nd Classification chords are most often preceded by vi or I (¨VI, i in minor). These chords are labeled 3rd Classification.

4)

3rd Classification chords are most often preceded by iii (ÏII in minor). These chords are called 4th Classification.

Summing up major keys): 1) 2) 3) 4)

these observations of McHose the following would be typical root movements (given in V I ii V I IV V I vi ii V I

5) 6) 7)

vi IV V I I IV V I iii vi ii V I

Any progressions such as the above, McHose calls Normal Progressions, and justly so since he found them used so frequently. Also important: Tonic Chord Movements: 1) The tonic chord may progress to any chord in its key and 2) the tonic chord may be used between two chords which form a normal progression without disturbing their classification. The Circle of 4ths: An often used long progression is I - IV - vii - iii - vi - ii - V - I etc. It may start on other degrees than I. Example: IV - vii - iii - vi - ii - V - I. ○

○

Some other types of chord progressions: 1) Elision – the skipping of a classification. Some of the more common ones are: iii - IV, IV - I, ii - I, and vi - V. 2) Retrogression – movement in reverse of the normal progressions, such as from a 1st classification chord to a 2nd classification chord. Some common examples: vi - iii, V - IV, ii - vi. 3) Repetition – the chords which are most commonly repeated (almost always with a change of position at least, if not change of inversion) are the I, V, IV, and ii. Some startling specific facts relating to the above: after analyzing thousands of chord progressions of Bach and Handel, the two most highly respected masters of the early 18th century, it was found that they used approximately 80% normal progressions, and approximately 90 to 95% tonic, 1st classification, and 2nd classification chords!

Tonality Types (Modulation & Tonality Transitions are Very Important) Ted Greene, 1975-10-10 and 12 (Material arranged according to how to think when playing) 1) Organum, Gray Harmony (intervals of 5ths, 4ths, 2nds, and octave s; rarely others) Rhythms: rubato, marches Parallel harmonization of melodies (in any mode or scale) using any perfect interval or combinations (chords). Random use of perfect intervals or combinations Fanfares with gray harmonies Soprano pedal (Root) with 5ths in Aeolian (optional: II, ii, vi) ( V) •

• • • • • • • • • • • • • •

Soprano pedal (Root) with 4ths in Aeolian (optional: II, ii, vi) ( V) Soprano pedal (Root) with any other gray harmonies (same options as above) Soprano pedal (5th) with all above sounds (optional: also iii) Soprano pedal 5th & Root, Root & 5th or other double pedals with above sounds Bass pedal (Root) with 4ths, 5ths, or any other gray harmonies Bass pedal (Root & 5th) with 4ths, 5ths, or any other gray harmonies Bass pedal (5th & Root) with 4ths, 5ths, or any other gray harmonies “Sandwich” double pedal (Root & Root) as usual “Sandwich” double pedal (Root & 5th) as usual Miscellaneous other degrees used as miscellaneous (above) pedal types All pedals: ascending, descending, or broken

2) Minor 6/9 Scale Tonality (easy transit to synonym tonality (maj7#11)  see page Rhythm: rubato with textures, also 4/4 march. Single-note melodies and melodic patterns (textures)  see page 3 8 2-note “3rds”; 2-note “4ths”, 3-note ( 5R ) diatonics; also ( 5R ) but with necessary right-hand breakup. (many others) Pedals (Root or 5th): ascending, descending, or broken Soprano pedals with “3rds” or “4ths” (Root) Bass pedal with “3rds” or “4ths” Root & 5th, or Root & Root Sandwich pedals with “3rds” or “4ths” Contrary from unison Option: sustain some voice (which then becomes an inner or bass voice) • •

• • • • •

3) Dorian Rhythms: rubato, 6/8 with or without lilt, 4/4, march. Dorian vamp…IV (3- or 4-note) Same with soprano pedal of Root, 5th, Root & 5th, or 5th & Root. 6 Soprano pedal (Root) with closed triads: R in b ass, 4’s, i-IV Soprano pedal (Root) with open triads: R in bass, i-IV Double-Soprano pedals Root & 5th Sandwich pedal with close triads (3rd in bass) or 6th’s or i-IV Root & Root Sandwich pedal with 6th’s or i-IV Bass pedal (Root) with all close, open triads, 6ths, i-IV Bass pedal (5th) with all close, open triads, 6ths, i-IV • • • • • • • • •

“Tonality Types” – Ted Greene, 1975-10-10 and 12 • • • • •

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Alternate Root & 5th bass pedal with all close, open triads, 6ths, i-IV All pedals: ascending, descending, or broken Chord scales Various chord forms with inner pedals Contrary from odd and even intervals in 1-to-1 (or either voice in 2-to-1)

4) Aeolian (options: II (Phrygian), ii, V, II) Rhythms: rubato, 6/8 with or without lilt, 4/4, march, 3/4 i-v, i-v-VI-(ii )-V

i-v-VI-III-iv-i-ii -V All pedals: ascending, descending, or broken 4 Bass pedal (Root) with closed and open triads, 7 3, 6ths, 3rds To a lesser extent: 5th in bass, alternate Root & 5th, anchors Soprano pedal (Root) with closed and open tirades, 6ths, 3rds, and others Soprano pedal (5th) with closed and open tirades, 6ths, 3rds, and others Double-Soprano pedal (Root & 5th or 5th & Root) with closed and open tirades, 6ths, 3rds, and others Inner pedals: Root & 5th inside of 6ths, 10ths, various others Sandwich pedals: Root & 5th with close triads, 6ths, 3rds Sandwich pedals: Root & Root with close triads, 6ths, 3rds Contrary sounds (remember about options) Chord scales (remember about options) Vamps (with and without options) Chord progressions: bass or Root progression view • • • • • •

• • • • • • •

5) Phrygian Major (options: i, iii , VI+, II7, II7 5, (V7 5), vi, VII7, ii )

(hi-note chord, chord scale descending from II72) Rhythms: rubato, 4/4, march, 6/8, 3/4 Pedals: ala Johnny Smith “Michelle”, “Young Man with Horn” pedals Single-note melodies and melodic patterns Vamps: I- vii | I- vii6 (v 7) | I- vii7 | I- II | I- II7 | I- II7 5 (V7 5) | I-V7 7 (or V7#5 to 7 5 or ?) • • • •

• • • • • • • • • • • • •

(or reverse these) | I- vi(6) | I- VII7 | Pedals: ascending, descending, and broken 4 Bass pedal (Root) with closed and open triads, 6ths, 3rds, 7 3 4 Bass pedal (5th) with closed and open triads, 6ths, 3rds, 7 3 4 Bass pedal (alternate) with closed and open triads, 6ths, 3rds, 7 3 4 Bass pedal (5th anchor) with closed and open triads, 6ths, 3rds, 7 3 4 Bass pedal (4th) with closed and open triads, 6ths, 3rds, 7 3 4 Soprano pedal (Root) with closed and open triads, 6ths, 3rds, 7 3 4 Soprano pedal (5th) with closed and open triads, 6ths, 3rds, 7 3 4 Soprano pedal (Root & 5th or 5th & Root) with closed and open triads, 6ths, 3rds, 7 3 6 Sandwich pedal (Root & 5th) with closed triads (6 & 4), 6ths, (3rds) 6 Sandwich pedal (Root & Root) with closed triads (6 & 4), 6ths, (3rds) Contrary sounds Chord scales first inversion: I- II- III-iv -v - vi -vii | i-ii -iii -iv-v- VI- VII

“Tonality Types” – Ted Greene, 1975-10-10 and 12

6) Aeolian Major (options: iii , V, ii) (svn with borrowed major in 20th century) Rhythms: rubato, 6/8 with or without lilt, 4/4, march, 3/4 Vamps: I-v | (I- VI or I-iv or I- VII) • • • • • •

Pedals as above: Root & 5th, Sandwich, Pedal with added melodies using 7 Contrary sounds Chord scales “Borrowed Major” progressions I-VII with bass pedal

7) “Biblical Renaissance” Melting Pot (major and minor) Rhythms: as above Fanfare Major and minor horn 5ths Progressions (major and minor) Symmetric progressions • • • •

8) Lydian Rhythms: rubato, 4/4, march, 6/8 (lilt) Pedals: ascending, descending, and broken Bass pedal (Root) with 3rds, 6ths, I-II, 4ths, 5ths, contrary Bass pedal (5th) with 3rds, 6ths, I-II, 4ths, 5ths, contrary Bass pedal (alternate) with 3rds, 6ths, I-II, 4ths, 5ths, contrary Bass pedal (anchors) with 3rds, 6ths, I-II, 4ths, 5ths, contrary Inner pedal (Root) with 6ths, 10ths, miscellaneous chords Scales with suspension Soprano pedal 6 4 Triad Anchor 3rd Anchor • • • • • • • • • •

9a) 9) Baroque (Major and Minor) (also Mixolydian of melodic minor) Also consider harmonic rhythm Rhythms: Rubato, chorale in 4/4, 3/4, 6/8 3/4: 3/4: 3/4: 4/4: 6/8: March: 6/8 9/8 is optional

p. 3

“Tonality Types” – Ted Greene, 1975-10-10 and 12 • • • • • • •

•

• • • • • • • • • • • • •

•

• •

p. 4

Single-note melodies (including diminished 7th sounds) “Held-note” exercises Broken chord scales and harmonic patterns Pedals: ascending, descending, and broken Soprano pedal (Root) with 3rds, 6ths, 10ths, closed, open, and wide open (3rd in bass only) triads Soprano pedal (5th) with 3rds, 6ths, 10ths, closed, open, and wide open (3rd in bass only) triads. Soprano pedal (Root & 5th) with 3rds, 6ths, 10ths, closed, open, and wide open (3rd in bass only) triads. Soprano pedal (5th & Root) with 3rds, 6ths, 10ths, closed, open, and wide open (3rd in bass only) triads. Inner pedal (Root) with 6ths, 10ths, various ch ords Inner pedal (5th) with 6ths, 10ths, various chords Bass pedal (Root) with 6ths, 3rds, 10ths, closed and open triads, progressions Bass pedal (5th) with 6ths, 3rds, 10ths, closed an d open triads, progressions Also Bass and Inner [voice] with various Sandwich pedal (Root & 5th) with 6ths, 3rds, closed triads Sandwich pedal (Root & Root) with 6ths, 3rds, closed triads (Optional: Mixolydian Sandwiches) Try pedals on other degrees too. Vamps: I-IV | V-I | V7-I | I-IV-(I)-V-I | I-V-(I)-IV-I | Adjacent degrees Chord Scales #iv 7-I Similar in minor keys, also iv - i | vi -i | i-iv6 or 7 | II7 9-V or fragment. Progressions: o o

o o o o o o o o o o o o o o

Bass view (ascending, descending, or broken [leaps]) diatonic or chromatic Diatonic cycles of 4ths (start on V, I, IV and in minor) a) closed triads, b) open triads, c) combinations, d) 4-note triads, e) 4-noters & 7ths, f) 7ths only Streams or Switches possible on all above Cycles of 4ths with secondary chords Other progressions with secondary chords Main progressions with diatonic chords (voice-leading and non-voice-leading) 1st Inversion following root position triads on same bass (using any symmetric pattern) Internal tonicization Pedal and appoggiatura 64’s Building bass 1st on any progression formula Harmonic tendencies view Contrary thinking: switches and others Counterpoint, Pyramids, Announcing one voice then all Trick canons


p. 5

10a) 10) Classical and Romantic (Major and Minor) Rhythms: as in Baroque, but also waltzes, on 6/8 • •

also more powerful 4/4’s with dynamics and accents Basically, Baroque sounds can be used in moderation Chord progressions with borrowed or color chords: a) Vamps o b) Other root progressions c) Replacing preceding or following diatonic or secondary chords with borrowed or color chords o d) 5th substitute and 2nd embellishment o e) Mediant relations and generally free harmonic tendencies o f) Chromatic flux technique (ala Chopin) and wandering o Contrary Sounds: chromatic and semi-chromatic contrary [motion]; Switches More extensive use of chromatic tones in melodies Mixed Root relations: example  A , A, E , G7, C#7, B Gypsy minor sounds Some chromatic pedal sounds (see 20th C entury urban) Rhythmic transitions o

• • • • • • •

11) 20th Century Romantic (Major) (see supplement) Rhythms: Rubato, Bouncy horizontal walk and other 4/4 (Dixieland, “[My] Mammy”, “Surrey [with the Fringe on Top]” 3/8 with or without lilt Waltz with or without lilt March with or without lilt Slow jazz swing Fast jazz swing Jazz waltz 3/4 [Also Rhythmic displacement of at least one factor: Textures: Chord - hi-note Alternates Broken chords Teams and delays Harmonics Pinch harmonics 3-note pinches Entrances (ascending or descending, scale or 1/2 step embellishment) Ascending or descending (and variations) Melody on streams Bass then chord Switches Held-Note sounds are very similar Different melody types: 1) common tone, 2) ascending, 3) descending, 4) patterns


p. 6

11) (continued) Chord scales of 7ths, some triads (ascending, descending, leaps) Harmonic patterns (with or without rhythmic displacement) Streams (with or without melodies) Pedals: (ascending, descending, or broken); try on different degrees than Root and 5th also a) Soprano pedal (Root) with closed and open (R or 3 in bass) triads, small density 7th’s (R in bass), 6ths, 10ths, 3rds. b) Soprano pedal (5th) with closed, open, and wide open (3rd in bass), Triads, small density 7ths (R or 3rd in bass), 6ths, 10ths, 3rds, top 3-noters of #17th c) Soprano double pedals (5th & Root) with closed triads (3rd in bass), and 6ths. d) Bass Pedal (Root) with closed and open triads, small density 7ths (except 3rd in bass), 6ths, 3rds, 10ths, 5ths, 4ths, close har. 7ths, bottom 3 notes of #17ths. (Likewise, Bass and inner pedal) e) Bass pedals (5th) with closed and open triads, small density 7ths (5th in bass), close har. 7ths, 6 bottom 3 notes of #1 5, 6ths, 3rds, 10ths, 5ths, 4ths f) Anchors (5th or 4th interval) with some sound g) Inner Pedal (Root) with 6ths, 10ths, various chords, 4ths h) Inner Pedal (5th) with 6ths, 10ths, various chords, 4ths i) Sandwich Pedal (Root & 5th) with 6ths, 3rds, closed triads, 4ths, 5ths j) Sandwich Pedal (Root & Root) with 6ths, 3rds, closed triads, 4ths, 5ths k) Likewise in Mixolydian with both types of sandwiches • • • •

11a) (Chain) Vamps (and reverses): ii7-V7 (normal and “Max Steiner” types); also Dorian sounds ii7-iii7 (IV 7-iii7) | IV 7-iii7-ii7-(V7) | [I-IV | (ii7)-V7-I | ] [Also include letters b), e), h), and k) from above #11)] 11) (continued) Progressions: 1) Bass view progression (ascending, descending, o r broken) 2) Diatonic Cycles of 4ths (start on V, I, or IV) a) 4-note triads and 7ths b) 7ths only. Also other Baroque types 3) Root Progression view (option: build bass 1st) 4) Symmetric progressions (moving line progressions) •

11b) Secondary Chords (may replace, follow, or precede diatonic chords (even in chord scales). (Use in moderation, and don’t use highly extended chords too much in this style): Root Progression view Bass view Semi-classical variations of iii (III)-VI-ii (II)-V (chromatic basses are common) • • •

11) (continued) Contrary Sounds (from all odd and even intervals in 1-to-1 and 2-to-1; start with diatonic sounds, then add Secondary or Color chords “later”) Diatonic Contrary around pedals (1-to-1, 2-to-1) — all degrees. •

•

11c) • •

Switches Color Chord Progressions (as in 19th century but also a moderate use of more extended sounds:)


p. 7

Vamps Other Root Progressions Replacing, preceding, or following diatonic or secondary chords with color chords Progressions using diminished 7ths or diminished triads 11d) • • • • • •

Borrowed chords (mixed modes) (mainly VI, III, VII, [( II]) Chord progression (Root progression view) Vamps (Chord scales) Pedals Contrary Sounds

11e) •

American Gospel Progressions: Start with diatonic, then use other devices. (example: “Lucky Ol’ Sun”)

12) 20th Century Urban (Major) or Modern Rhythms: as above, also Bossa. Textures: as above. [Any harmonic device listed above, but not here can be used (in moderation) as a foil.] Single-note melodies and melodic patterns Chord scales of 4th chords (3-note, 4-note, 4-note with extensions, (5-note, 5-note with extensions), add 9’s Altered chord scales Streams (really a texture) Chord progressions (see melody types): Vamps o Variations on ii-V-(I) o Short progressions using color chords o Short turnarounds o Symmetric – mono family types o Moving line types (or bass view) o o Combined vamps Long turnarounds and cycles o Some symmetric progressions o Borrowed chords: progressions, chord scales, pedals, contrary, vamps. o Pedals: (ascending, descending, or broken) 1) Bass with chromatic or semi-chromatic minor 3rds, major 3rds, 4ths, #4ths, 5ths, o minor 6ths, major 6ths, minor 10ths, major 10ths. All closed and open triads, 3- and 4-note. 4th chord structures, some 7ths, also bass and inner 2) Soprano pedal (or double) with same o 3) Interval stacking: bass view o 4) Interval stacking: soprano view o 5) Sandwiches with above o 6) Inner pedal with chromatic 4ths, #4ths, 5ths, minor 6ths, etc. in 1-to-1 or 2-to-1. o 7) Bass pedal with chromatic or semi-chromatic contrary o 8) Soprano pedal with chromatic or semi-chromatic contrary o • •

• • •

•

“Tonality Types” – Ted Greene, 1975-10-10 and 12 o o

p. 8

9) Sandwich pedal with chromatic or semi-chromatic contrary 10 Anchors with chromatic or semi-chromatic contrary

12a) Chromatic Universe Concepts – Equal Interval and 12-Tone thinking Poly-contrary (bass and triads or group of notes) Chromatic or semi-chromatic contrary from all odd or even intervals (1-to-1, 2-to-1) Chromatic or semi-chromatic contrary around pedal 4 (1-to-1, 2-to-1) Any chord or idea in equal interval progressions (also compound patterns such as 1 /2-whole) with or without voice-leading, substitute tones, etc. Precede, replace, or follow any diminished 7, diminished, or 7 9 with any triad or 7th. • • • •

• •

• •

• • • •

Progression of triads in minor 3rds or 5ths; 4 4 compounds: open triads – D B6, F D6 or D A 7 3, F B7 3 Pedals or Contrary on 1/2, whole or whole, 1/2 scale Wandering: lots of entrances, semi-scale entrances, pyramids (because the fewer notes played, the more you can wander) Parallel Harmonization of any scale or melody “Rootacization”: continuous change of function Tri-tone scale Embellishment and substitution principles and “leading tone” embellishments

13) Impressionistic, Exotic, Oriental Rhythms: rubato, happy 4/4, happy 6/8, happy 3/4, march Textures: See list [for #11] 1) Major 6/9 pentatonic (m7/11) a) Single-note melodies and melodic patterns (textures - also see list for #11), also “harmonics” b) 2-note “3rds”, “4ths”, many other chord scales c) Chord progressions (“tonality” progressions) d) Pedals: Soprano pedal (5th, 5th & Root, Root, Root & 5th, 6, 9, 3) Bass Pedal (any note or notes) and any 2 or 3 notes. Various anchors Various sandwiches e) Contrary from all intervals (with or without inner pedal) f) Contrary with any pedal type 1a) Add 9th (as above) 1b) 6th (as above) 1c) Major 7th (as above) 1d) Triad (as above) 2) Major 7#11 Pentatonic (also major 7#11, 6/9#11, major 9#11, major 13#11) as above 3) 9th Pentatonic (also 9th no root, 13th) as above do diatonics as above 4) 13#11, #11, 9 5, whole-tone scale as above, also chords in 3rd interval and streams 4a) Augmented family – likewise 5) 13sus, 11 – as above where applicable 6) Minor 6/9 Pentatonic (m6) (m6/ 7, minor 7, m6/9/ 7, m6/11)


p. 9

as above; triad Minor 6/9 Pentatonic. As above.

6a)

Lots of 20th century major and minor sounds and impressionistic sounds overlap 14) 20th Century Minor Rhythms and Textures: as at [#12] Single-note melodies and melodic patterns - in harmonic, melodic, natural, Dorian, Phrygian, Hungarian Chord scales of 7ths, some triads, 4th chords - in harmonic, melodic, natural, Dorian, Phrygian, Hungarian Streams (voicings: ala 19th century and also modern ones (“4thy”, altered., extensions) Chord progressions: (voicings: ala 19th century and also modern ones (“4thy”, altered., extensions) Vamps Variations on ii-V-(i) Short progressions using color chords Short turnarounds Symmetric - mono family types Moving line types (on bass view) Combined vamps Long turnarounds and cycles Switches Contrary - as in major (in any minor scale or combinations) Pedals - as in major (in any minor scale or combinations) (also Gershwin chromatic inner voice type) All chromatic universe concepts where applicable Minor blues •

•

• • • • • • • • • • • • • • •

15) Blues (and Gospel, some country sounds) Rhythms: Rubato, slow swing, fast swing, 6/8 Gospel, jazz waltz Textures: ? Single-note melodies Chord progressions: Vamps o Short progressions o Short turnarounds o Satellite 12 bar o Moving line or bass view types o Combined vamps o Long turnarounds and cycles o Borrowed chords in Gospel style o Open triad borrowed chords o 12-Bar Progressions o  Dominant 7th ext.  ii-V types (with ext.)  I-V  Major  GVE [George Van Eps]  Lenny Breau • •

“Tonality Types” – Ted Greene, 1975-10-10 and 12      

p. 10

Bluesette Riffs like “Rock House” or “Blue Monday” Parallel Close harmony (Western swing) Counterpoint Gershwin (I - V+ - v - V+ )

Original Gospel progressions “Swing Low” progression “Zipadee” progression Sub-dominant connection like “Young Man with Horn” (also, slight use of p arallel minors) [George] Benson 7b9 Sliding 6ths “Birth of the Blues” type 15a) Minor Gospel Chord scales of (2, 3, 4 notes) 7/11 Pentatonic, 9th Pentatonic, and other hybrids; also from other blues scales (see list) Pedals - ala Gershwin (major and minor) •

•

Tonality Types for Solo Guitar (Dealing more with Norms than Exceptions) Ted Greene, 1975-03-25 MAJOR 1)

Baroque (ala Bach, Handel) A. Rhythm (Meters and tempos actually): 1) Rubato – M.M. 72-80 2) Chorale – (slow 72-80, medium slow 84-92, medium 96-100) in 2/4, 3/4, 6/8 “Jesu” 3) Lively “4” Feel –

on 80-88 or more. (2/4, 4/4)

4) Lively “3/4” Feel – on 126-168 or more. (3/4) 5) Lively “3” Feel – 6/8 time on 92-120 6) March – 6/8 time on 100-126 B. Harmony – Diatonic, Secondary Harmony, Diminished Scale. Also used Mixolydian of Melodic Minor 2)

Early Romantic (ala Mozart, Beethoven, Schubert) A. Rhythm: As in Baroque, also 7) Minuets with Lilt, or slow “3” feel (“Minuet in G” and “Moonlight Sonata”) 3) in

72-84

Development of rhythms that are much more

4) and 5) in Scherzo playful, passionate, powerful than Baroque. Also more syncopation. B. Harmony: As in Baroque plus Borrowed Triads, 7ths; Secondary chords of more remote keys; Modulation to all keys; lots of diminished 7’s with new resolutions; lots of augmented chords; lots of +6th’s mediant relationships, Horn 5ths more often. 3)

Late Romantic (ala Chopin, Liszt, Grieg, Tchaikovsky, Wagner) A. Rhythm: Extensive use of Rubato; also Chorale; March; limited use of Baroque type lively feels except for certain composes like Tchaikovsky; emergence of 8) Waltz. B. Harmony: As above; also emergence of 6th, 7/6, 7+, m6, m 7, (m6/ 7); more free use of +6ths; Chromatic Wandering; 5th substitute and 2nd Embellishment used more frequently.

4)

Impressionistic (ala Debussy, Ravel, Film Composers like Max S teiner) A. Rhythm: Again, extensive use of Rubato; temporary animated 2/4, 3/4, 6/8 feels. B. Harmony: Triads only occasionally; emergence of lots of new kinds of chords  Vocabulary consists of 9 main families: Major ext., Major 7#11 (Pentatonic), 9th, 13th, 13sus, 13#11, 9 5 (9+), m6(9), m7. [9 5 and 9+ and families sound the same but function differently.] See Impressionist Sheet. (Also use of Ancient modes again.) Any of the 9 families (or sub-families within the families) can be lingered upon. Many of the families are built on Pentatonic scales, exotic-mystical chords

“Tonality Types for Solo Guitar” — Ted Greene, 1975-03-25

5)

p. 2

20th Century Romantic (ala Max Steiner and other film composers) A. Rhythm: Rubato, Chorale, 9) Horizontal Walks 10) Bounces (See themes from “Gone with the Wind” and other movies.) Happy or Romantic 6/8, Marches, Waltzes, snatches of animated 2/4, 3/4 as in Baroque, 11) Swing, 12) Bossa, and Latin Rhythms B. Harmony: 1) Mostly diatonic triads, Pedal chords, 6ths, 7ths, /9ths (add 9), V7/6, Appoggiatura chords: /9sus, sus4, 7/6 sus (possibly some extensions as below). Ala one theme of “So Big”, “Hanging Tree”, Big Country” “The Magnificent Seven.” 2) More emphasis on diatonic 7ths, 9ths, 7/11s, 11ths, 13ths, 13sus, 6/9 (on ii, IV), 6/11, 6/9/11, (13/11), /9ths, 7/6’s, 6ths. 3) Combining 1) with Color chords, Extended Color chords, Secondary chords, Extended Secondary chords, Borrowed chords, Extended Borrowed chords, or any combination of these. 4) Combining 2) with same. 5) Aeolian with Borrowed I (and/or II) – Triads, Extensions. 6) Phrygian with Borrowed I – Triads, Extensions. 7) Lydian mode – Triads, Extensions. 8) Diminished, diminished 7 types – some are included in Color chord types. 9) Extended (or plain) Borrowed majors only (optional: iv7, v7) 10) Blues (ala Gershwin) – include I7-V7, I VII (see IV part of “Willow Weep for Me”) 11) ii7-V7 (Modern Mixolydian) also ii7 iii7 or reverse. 12) Whole-Half (Half-Whole) scale chords and intervals. 13) Wandering.

Also with Aeolian and I: Also with Phrygian and I: Harmonic Minor with I; I, ii , iii , iv, v, VI, VII

Mixolydian with bIII ( VI) Spanish Gypsy scale (Mixolydian of Harmonic Minor) I6, II6, III6, iv 6, v 6, vi 6, vii 6

MINOR 1)

2)

3)

4)

Dorian (optional VI, V, and I at cadences) A. Rhythm: Possibly all 12 rhythms [listed above in yellow highlight] B. Harmony: Triads, Extensions Aeolian (optional ii, II, V, and I at cadences) A. Rhythm: As above. B. Harmony: As above. Phrygian (optional V, v, V, I) A. Rhythm: As above. B. Harmony: As above. Baroque Minor A. Rhythm: As in Baroque Major B. Harmony: As in Baroque Major

“Tonality Types for Solo Guitar” — Ted Greene, 1975-03-25

p. 3

5)

Romantic Minor A. Rhythm: As in Early Romantic, Late Romantic [listed above] B. Harmony: As in Early Romantic, Late Romantic [listed above]

6)

Impressionistic Minor #1 A. Rhythm: See 4) [listed above] B. Harmony: minor 6, minor 6/9 Pentatonic, (and whole m6 family)

7)

Impressionistic Minor #2 A. Rhythm: As above B. Harmony: Minor 6/9 Pentatonic

8)

20th Century Minor A. Rhythm: As in 5) [listed above] B. Harmony: a) minor 6 family as tonic b) minor 7 family as tonic In either situation, using all available resources including diatonic (of all scales and modes), Triads, Extensions, Color chords, Extended Color chords, Secondary chords, Extended Secondary chords.

9)

Gypsy Minor (offshoot of Romantic Minor) A. Rhythm: As above B. Harmony: Lots of free use of Harmonic and Hungarian Minors

Organum (strict and free) also sus, 2’s Parallelism Fanfares, Quartal Harmony 4-Note Arpeggio of 7, 6, /9 7/11 Pentatonic Scale Tri-tonic Scale Gospel

All Tonality Types (where applicable) in: 1) Streams 2) Chord Scales (diatonic, altered, mixed, broken in various ways) 3) Pedals 4) Vamps (chains, reverses) 5) Chord Progressions 6) Modulation (not only changing keys, but also, or instead, changing tonality type) 7) Contrary Motion Sounds and Pyramids

Triads in 1st Inversion Ted Greene, 1973-09-15 Triads with the 3rd in the bass are used to create a melodic bass line. Due to the expected resolution of the bass lines they help create, they give added forward motion or momentum to chord progressions and they also have a sound all their own, different from root in the bass triads. Practice the progressions on this page and concentrate especially on the bass line and the unique type of sound that 1st inversions create; also compare the 1st group of progressions with their root in the bass counterparts on the other page (“Triads in Root Position”). Faithful study of these progressions will speed up your musicianship quite a bit.

Do all of these progressions in F#m using C# (V) where appropriate to replace C#m (v). Do in A, F#m, D, Bm, etc. (circle of 4ths)

Triads in 2nd Inversion and Figured Bass Ted Greene, 1973-09-15 Figured bass is a system of musical shorthand where chords are indicated by the relationship in close voicing of all the notes to the bass note. Example: a closed triad in 1st inversion has (from the bass up) the following intervals  a 3rd, and a 6th. (Whether or not the 3rd’s and 6th’s are major or minor depends on the type of triad.) A 2nd inversion closed triad has the intervals of a 4th, and a 6th (from the bass up). In musical shorthand, any 1st inversion voicing is referred to as a 63 or more commonly, just 6. Example: C in 1st inversion is written as C 6 (notice that the 6 is under the chord). Similarly, any 2nd inversion is referred to as a 64. Example: C in 2nd inversion is written as C64. This system of notation will prove to be valuable for the serious musician. A 64 chord is a very potent chord and should be treated with care and skill. Here are some guidelines: 1) The I 64 or (i in minor) is used to “announce” cadences, that is, it sets up the V chord in authentic (and 1/2 cadences sometimes).

Figured bass symbols can be omitted at the discretion of the individual when labeling chords. They are very useful and effective when one wishes to indicate a precise bass line. 2) Although it is found most often in cadences as above, the 64 may be used effectively elsewhere in a phrase also: Key of E:

Triads in 2nd Inversion and Figured Bass – Ted Greene, 1973-09-15

page 2

Another common use is that of connecting a chord and its 1st inversion via the 64 :

These are called passing 64’s. Here is another example in F#m. Ending on a major chord in a minor key is common (this device is called the Picardy 3rd.)

Another common use of the 64 is as a stationary bass note embellishment of a chord of which the 64 is the IV (or iv). Key of F#:

Understanding Chord Progressions Ted Greene – 1973-11-11

Part 1 – “Baroque” A thorough grasp of Baroque (“time of Bach”) harmony will form a rock-solid foundation upon which to add the more modern devices in harmony. There actually is not that much to contend with in this field since the harmonic vocabulary associated with this type of sound is limited to triads, 7ths, and occasional 9ths. The main principles are: 1) An emphasis on the “outer voices” with a special emphasis on the bass line. 2) The recurrence of certain root progressions (numerical formulas) that must be memorized. All examples will be given in the key of A only, but should be learned in all keys as soon as possible; also in all minor keys. Also experiment and make up variations of the given examples using the same devices but in different voicings. Watch the flow of the outer voices. Try and grasp the significance of each exercise as there is at least one main harmonic device in each. The root progressions (like I IV V I) should be memorized in the first 8 examples, at least. Play these exercises backwards also. [Blue = editorial additions]

Understanding Chord Progressions — Ted Greene, 1973-11-11

page 2


page 3

SEQUENCES

A sequence is the repetition of an idea at a different pitch level. By far, the most popular sequences in classical harmony (and modern as well) involve root progressions of 4ths (5ths). Notice the numerical formulas.

Finish these sequences:


A sequence need not start on I:

Delaying and/or sustaining chordal tones adds to the richness of chord progressions:

page 4


page 5

Try to impart motion in all exercises if possible. Compare the next two examples to appreciate the extra beauty of moving lines.


page 6


page 7

Go back and convert all sequences into a form of triple rhythm now (like 3/4, 6/8, 9/8, etc.) Here is one in 9/8. White notes are numbered in terms of their chronological appearance. Some notes are part of a chord and then hit again later, which accounts for the symbol :…[These numbers and symbols have been changed to Ted’s standard “playing order” symbols. – Editor’s note.]

Try sequences with little triads too. Here is another type of sequence:

Sequence of 5ths

Sequence of 2nds

Also elision ascending sequence of 5ths: in scherzo rhythm G# D Bm F#m D A etc.

Understanding Chord Progressions Ted Greene – 1973-11-11

Part 2 – Contemporary, Pop, Rock, Country, Folk, etc. Just as a study of Bach will provide the necessary insight into the harmonic language of the Baroque period, the study of the songs of the Beatles will open up the door to the abovementioned categories, because the Beatles fused many different elements into their music. The progressions given should be learned in all keys. Look for patterns that constantly reappear; also notice unusual features when they appear. Compare with Baroque harmony. 1)

All My Loving ii | V | I | vi | IV | ii | VII | V | ii | V | I | vi | ii or IV | V | I | I :|| vi | III(+) | I | vi | III(+) | I :| |

2)

And I Love Her ii | vi | ii | vi | ii | vi | IV | V | I | I :| | vi | V | vi | iii | vi | iii | IV or V | V :| |

3)

Can’t Buy Me Love I7 | I7 | I7 | I7 | IV7 | IV7 | I7 | I7 | V7 | IV7 | V7 IV7 | I7 :| | iii | vi | IV7 V7 | I | iii | vi | ii or IV | V :| |

4)

Eight Days a Week I | II | IV | I | I | II | IV | I | vi | ii or IV | vi | II | I | II | IV | I :| | V | V | vi | vi | II | II | IV | V :| |

5)

Fool on the Hill I | ii | I | ii | ii V | I vi | ii V | i VI i | iv | VII | i iv i | I :||

Beats:

/

/

//

/ / //

6)

┌─ 1 ─┐ Hard Day’s Night I IV7 | I | VII | I | I IV7 | I | VII | I | IV | V | I IV7 | I V :|| I | iii | vi | iii | iii | I | vi | II | V :| |

7)

( break for riff) Help I | I | iii | iii | vi | vi | IV VII | I :|| ii | ii | ii | ii | VII | VII | VII | VII | V | V | V | V | I | | I | I :||

8)

Here, There and Everywhere Intro - rubato (no tempo): I iii III ii V

┌─ 1 ─┐

// / /

||: I ii | iii IV | I ii | iii IV | vii III | vii III | vi II | i V :| | ii ii V | I vi | ii (or vii 7) III | vi | ii (or vii 7) V :|| of III - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

9)

In My Life I V | I7 | IV iv | I | I V | I7 | IV iv | I | vi | IV | VII | IV I | vi | II | iv | I :||

10)

Let It Be I | V | vi | IV | I | V | IV iii ii | I :| | vi | iii or V | IV | I | I | V | IV iii ii | I :|| //

11)

/ /

Norwegian Wood I | I | I VII | I :|| i | i | IV | IV | i | i | ii | V :| |

//

/ /

Understanding Chord Progressions (part 2) — Ted Greene, 1973-11-11

12)

page 2

┌─ 1 ─┐ Penny Lane I vi | ii V | I vi | i7 | vi 7 | VI 7 | ii V | ii V :| | ii V | I | iii | IV | IV | I | iii | IV | V

:||

of VII - - - - - - - - - - - - - - - - - - - - - - of original I

13)

Eleanor Rigby VI | VI | i | i :|| ||: i | i | i | VI | VI i :|| i7 | im6 | VI | i | i7 | im6 | VI | i |

14)

Michelle I | iv | VII | VI7 | V II7 | V :|| i | i | III7 | VI | V i | iv V | i im 7 | i7 im6 | VI or iv | V :||

┌─ 1 ─┐ ┌───── 1 ─────┐ ┌──── 2 ───┐ Something 15) I | I 7 | I7 | IV | II | V | vi vim 7 |vi7 II | IV III V | I :|| ||: VI | I I 7 | vi I | IV VII IV | I :|| IV VII | I :| |

//

/

/

of VI - - - - - - - - - -

//

/

/

16)

She’s Leaving Home (6/8 time) I v | ii | vi | II | ii | V | ii | V :| | I | I | I | I | I | VII | vi | II7 | vi | II7 :||

17)

┌─ 1 ─┐ With a Little Help from My Friends I V | ii | IV V | I | | ||: VII IV | I :|| V :|| vi | II | I VII | IV :||

-- repeat twice ---

18)

Yesterday I |vii III7 | vi | IV V | IV I | vi II | IV I :|| ||: vii III7 | vi IV | ii V | I :| | to beginning

original I Repeat to beginning

to beginning

Warm Harmonization of Diatonic Major Scale Melodies or Approach Chord Studies. (Written underneath the grids – from left to right across the page- for those who may have trouble reading from the grid page) Key of D1. Diatonic Harmonization: Ascending step-wise bass heading for IV 2. Expanded diatonicism via bVII 3. Chromatic line passing through II9 to V sus Dominant 4. Heavy Chromaticism heading for bluesy warm IV dom. 5. Softer Chromaticism with warm #iv half-diminished 7 – iv7 6. Again, towards the very soft iii7 Key of Eb 7. Airy, non-angular (due to diat. notes) 4th chords 8. Same, but more restful ending due to tonic feel. Key of F 9 - 12. Expanded diatonic again – for the next four examples 13. Close harmony diatonic flowing into the warm primary colors of IV I (through the avoidance of certain tones in the bass) 14.I for iii7 ascending to the “darker” warmth of vi From the bottom of the page - Ted’s beautiful notes: Generally, the page has3 or 4 large areas of harmonization: 1) Diatonic 2) Diatonic 4th chords 3) Expanded Diatonic 4) Warm Chromatic colors at least at the end of the passages. Try with all your heart & soul to absorb the various subtle colors of music so that you can draw on them when the right opportunities present themselves. There are many ways to study all this, let’s discuss it. The “Approach Chord” view is a whole other angle on things. It was actually used to derive many of the above sounds. Any questions? From Barbara: Please feel free to post questions in the Forums .

Whole Tone Ted Greene, 1974-11-27

Permutations of Whole Tone Scale:

1 2 3 b5 (#4) #5 b7 1 1 1 1 1

2 3 b5 #5 b7

1 1 1 1

2 2 2 2

3 b5 #5 b7

1 3 b5 1 3 #5 1 3 b7

1 b5 #5 1 b5 b7

1 #5 b7

__________________________________________________________________ 1 2 3 b5 1 2 3 #5 1 2 3 b7

1 3 b5 #5 1 3 b5 b7 1 3 #5 b7

Key of C 1) 1 2 3 #4 2) 1 2 3 #5 1) 1 2 3 b7 3) 1 3 #4 #5 2) 1 3 #4 b7 1) 1 3 #5 b7 2) 1 2 #4 #5 3) 1 2 #4 b7 2) 1 2 #5 b7 1) 1 #5 #5 b7

Conclusion:

1 2 b5 #5 1 2 b5 b7 1 2 #5 b7

1 b5 #5 b7

D9no5th, C/9#11 E7+, C9+11, D9#11no3rd, Bb9#11noR C9no5th D7b5#11, (Ab7b5#11), C/9#11+no3 D7+, C9#11no3rd, Ab9#11noR Bb9no5th, (C9+no3rd) Ab7+, D9#11noR, F#9#11no3 C7#11, F#7#11 C7+ Ab9no5th, (C7#11+no3rd)

There are only three different whole tone structures using 4 notes with no doubling: 7+, 7#11, 9no5th (each has other names however).

______________________________________________________________________

1 1 1 1 2 1

2 2 3 2 3 2

3 b5 #5 3 b5 b7 b5 #5 b7 b5 #5 b7 b5 #5 b7 3 #5 b7

1 1 1 1

2 2 3 2

3 #4 #5 3 #4 b7 #4 #5 b7 #4 #5 b7

1 2 3 #5 b7

— C/9#11+. (E9+, D9#11) — C9#11 — C7#5b5 — C9#11+no3 (Bb9+, Ab9#11) — C9+

ted greene harmony and theory.pdf

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