anding of those Naturally, any study of music inust begin with an under: ents simple clements which go tomake up music. ‘The first of these ele to be discussed is Pitch, which is designated by the location of ona musical stave. This is probably best explained by the accompany- ing illustration which shows the location of each note in the ‘treble? and “bass” clefs, Some definitions relating to pitch: SEMI-TONE.>. . . The smallest distance between two notes. WHOLE-TONE . . The equivalent of two semi-tones. INTERVAL .... The distance between two different pitches. Palin 7 DEGREE ...... Each note ina scale is called a degree of . 2 Scale. TETRACHORD .. A four-note scate consi ing intervals: ng of the follow- Whole-tone, whole tone, semi-tone plication we will make of pitch is to the ales. A scale may best be d d notes moving in a constantly asi i or descending direction, Fie ae moce| CaanSON f- = A. MAJOR SCALE CONSTRUCTION ‘The major scale is made up of seven different notes, one on cach suc~ cessive line and space of the stave and exch having a different letter name, The eighth note, or octave, is added since this note gives a feeling of resolution and completion when the scale is played. Ce eet) a y 1 Upon analyzing the intervals of the major scale built on C, you will find that the structure of the major scale is as follows: . (two tetrachords connected by a whole tone) ‘To Whole tone, whole tone, semi-tone. (Tetrachord) ‘Whole tone. Whole tone, whole tone, semi-tone. -(Tetrachord) = a Le be bat ‘These intervals between the degrees of the major scale never vary, hence, major scales may be built on any note using the structure of the scale built on C as a guide. A major scale \ built on the root tone Ab would have the following appearance: = rr == Note that the fourth degree of this scale must be called Db rather than Cif, since the third degree hadthe letter name C, and the definition of a major scale stipulates that each of the scale degrees must fall on the next successive line or space and receive the next successive letter name. Just to be certain that the foregoing is perfectly clear, here is one more example of a major scale, this time built on the note E. Page 2 See =Although major scales may be constructed as described above, amore organized method for finding all of the major scales and key signatures is based on the application of the tetrachord. AS may be seen in the following example, the major scale is di- visible into two equal parts, each part forming a tetrachord. These tetrachords are identical in construction and are con- nected by the interval of a whole tone. op b a rer ee — = = ws ee ia Se i ae, meens| rouse rove rove \creve)|_rowe rove Brews 3 Ex 5 By using the upper tetrachordas the lower tetrachord in our new. scale, it is possible to arrive at all of the key signatures con— taining sharps. tore vepen, rerescnone oF «Le eOlodS RES CE. SF ——— e = ‘ ‘ z a ig / Ex. 6 In the previous example it is evident that the F must be sharped, since each tetrachord must be composed of whole tone, whole fone, half tone. By following the same procedure it is obvious that the next sharp key would begin with the tetrachord built on the note D, i.e., the upper tetrachord of the G seale. PageAgain, notice that the note C mustbe shaped in order to conform to the whole tone, whole tone, half tone structure of the tetra- chord. : Beginning again with our C scale and this time using the lower tetrachordas the upper tetrachord of our new scale, it is possible to arrive at all of the key signatures containing flats. cowlee Tergsghose gi PREYS SMe EES Notice that in this case the B was flatted in order to conform to the tetrachord structure. Once again by using the lower tetrachord as the upper tetrachord of the new Scale, it is evident that the next flat scale would have an upper tetrachord built on the note F and a new lower tetrachord constructed below it. caw TeTpsctone, OF RSIS ) Gth 7” » on: C, Db, D, Eb, B, F, Fé, Gb, G Ab, Ay Bb, B. inversions of the major 6th ehord 15, ‘The following problem is designed to familia TCR chord structures. In composing the origina! melodies this time, use only chord notesof the major chord indicated above each bar. —— 2 you Page 16Compose original melodies on the following progressions using choré notes only. in — F ae ~ As —e == — fe —? = == y] a oo e 35 ——— = SS a a | a oF F i ee res i Got yYrrr - 4 a 4 & == SS Ee EC rte yr et ' él y+ ee 2 === ESS eH ‘ * { 4A ¢ | Le Go Saas =— = b a S a : ae SSS a 2 4 <4 LO KK = SS ae ¥ it 7 1 oe 2 f &£ SSS a vr (a asemen LESSON NO. 2 CHORD CONSTRUCTION (Cont'd) -_ ee. ==. 1 Continve ot several more of the standard chord structures, The first of these is 2 Minor Triad. To construct the minor triad, simply refer to the major triad and wer the third degree one-half step. Bx. 1 D Major b Minor oe a > ; & 55 ap 1 naming the lowered third degree, rem ember that if the original major third was harped, the lowered third will be nacural; if the major third was a natural, the lowered lird will become a fiat; and in the event that the major third was preceded by a flat, ie lowered third will become a double flat (bb). , s explained in Lesson No. 1 the simple triad is rarely used in modern chord voicing, Some again, we move on to the more commonly used minor chord vith the added oon etinor sixth chord may be found by referring to the major sixth and simply wering the third degree one-half step. Ex. 2 1c Major 6h © Mins 6th Se ance again in order to properly construct and learn all of the minor, Sith chords, it isadvisable to make use of the “chord block” technique as described in Lesson No. L Here is a sample problem in constructing minor sixth chord blocks. E Major 6th LE PROBLEM Fill in the open blocks w Pe / 6 + b © woo 1s, hence the degrees -- one, lowered threq {The above exercise deals with minor cho ive and six are called for) Page?‘To continue with our study of the ir@ structures, we shall next cousider the Dominant Seventh Chord, a four-part chord which is derived from the fivst, third, fifihand lowered seventh degrees of the major scaie. ‘The si ever, is to refer to the major seventh chord and lower the seventh degree one-half step. Ex. 10 Asin the case of the lowered third, if the original major seventh was a sharped note, welower it by making it natural; if the original major seventh was a natural the low- ered seventh will become a flat; and in the event that the major seventh was already a flatted note, the lowered seventh would be double fiatted (bb). As we have already done with the major and minor chords, the chord block technique may once again be employed in constructing and learning all of the dominant seventh chords.” SAMPLE PROBLEM a x BEEBGDHEREES SoS, |b] © Fill in the open blocks Or 1 1O| fq F ae a Since this exercise deals-with dominant seventh chords the degrees one, three, five —| and lowered seventh are called for. w 1% m Ex 1 hea ni SOLUTION: in letter names without accidentals using a. Cas the root b. Cas the third c. Cas the fifth d. Cas the lowered seventh 4] 7| ele] z10) zl@l4 alzlOl4]- a |@la4|el2 a ew @ Page 42. Next we check the dominant seventh chord structures for neces sharps or flats. ‘OF necessary a. WithCas the root we refer to the C major scale. All of the notes are correctas they stand with the exception of the *seventh degree “B*, which must be lowered to conform to the chord structure (dominant seventh). EE ei | s|G a) b. WithCasthe third, the appropriate scale would be Ab, with asignatureof four flats. In addition to flatting the A and ure E to conform to the scale, the G must also be lowered to conform to the chord structure. fal 7 5G $|G| 24° be — 3|4|O| . 7 |@| 44 ei ©) c. With C as the fifth degree of the F scale the only alteration necessary would be to lower the seventh degree from E to Eb. Xt Ex. 15 sTe [so d. Here we base our figuring on the fact that the note C is al- ready the lowered seventh of some scale - in this case, the scale of D. We know that in the scale of D major the C is Page ®sharped. Her: 2 natural is correct as the low ered seventh srate of D. The third degree is F#, ae © @ (Before going on, it would be advinabie to com; plete Problems No. 4 & 5 of the assignment.) NOTE: The fol wing chord symbols are used in reference to the chord structures discussed in Lessons No. 1 and 2. Cee C Major (6) : cm... € Minor (6) € Major Seventh + ++44++,.C Dominant Seventh CMaj?. . cr. ® HARMONIC CONTINUITY . The first actual arranging technique which we will discuss is the princi- ple of Harmonic Continuity, a method of producing smooth voice_lead ~ ing in & given chord progression. Once you are completely familiar RAB [his lechnique itis a relatively simple matter to write interesting, effective backgrounds for any instrumental or vocal combination - In these continuities any chord may appear in any inversion, but no miatter what the inversion, we shall name the notes in terms of volcog ratherthandegrees. In other words, we shall consider the top flote or the chord to be the first voice, the next note below it to be the second voice, and so forth. Wire the position of the ti determined, to produce smooth Voice leading to the following chord simply apply the basic principle gf harmonic continuity, i.e., KEEP COMMON TONE (OR TONES) IN ee SAME VOICE (OR VOICES). To clarify this rule, let us assume that we are moving from a C chord to AbT chord. We know that the notes of the C chord are C, E, G, A, and that the notes of the Ab7 chord would be Ab, C, Eb, Gb. in this ee Page 6, . : [VEY 9 ere be va Upetcn Cue a Eww EEE Dea ee DU-zcase, theonly common tene would he the note C, J.¢., the only similar note found in both chords. In the following example, Cappearsas the first voice of the C chord, therefore, the C must remain as the first voice of the Ab7 chord, with the rest of the chord notes of the Ab7 being filled in below the'C: Ex. Were the C chord in the following position with the C as the second voice, then the C would become the second voice of the Ab7 chord and the following position would result. Ex. 19 In the event that the C chord were voiced so that the C was in the third or fourth voice, the Ab7 would appear as follows: x. 20 ‘To go on let us assume that the Ab7 chord was followed by an Fm chord. Now, a common tone relationship must be established between the Ab7 chord and the Fm chord. The notes of the Ab? chord are Ab, C, Eb, Gh, the notes of the Fm chord are F, Ab, C, D. In this éase ‘there would be tvo common tones -- Ab and they appear in both chords), and to produce smooth voice leading they must be kept in the same voices. se ail sindthe voice leading of these three chords would appear as follows: Ex. 22 3 i Here is a longer example of a harmonic continuity with the common tones indicated. The position of the starting chord was arbitrary. Occasionally there will occur a situation where there are no common tones between adjacent chords. In this case observe the following principle: Yrw Oy a - Me wot WHERE THERE ARE NO COMMON TONES BETWEEN sy Sek ADJACENT CHORDS: MOVE THE FIRST VOICE TO THE Q qo] NEAREST CHORD TONE OF THE NEXT CHORD (EITHER pe x rey ABOVE OR BELOW) AND CONSIDER THiS TO BE THE Vag e FIRST VOICE OF THE NEW CHORD. 5 a tt ee : Sy fm the case of C to Abm (no common tone}, either of the following would be correct. BUR REBo e- i Here is a continuity incorporating this principle as well as the one previously discussed. As you work out these harmonic continuities you will notice that the progression has a tendency tomovedownward on the staff. This is a resultof thenatural downward tendency of mostharmonic resolutions one of the points that will be covered later in the course when we dea with the probicms of setting up our own chord progressions or rehar- monizing those that we are working with. ‘The following simple principle allows us to control the range of the continuity, a necessary device when we apply these chord patterns to orchestral writing. AS LONG AS THE CHORD REMAINS THE SAME; POSI- TION MAY BE FREELY CHANGED WITHOUT REGARD TO VOICE LEADIN AS SOON AS THE CHCRD CIANGES HOWEVER, THE COMMON TONE PRINCIPLE MUST BE OBSERVED. Bx. 26 c if Now, to make sure that all of the foregoing is perfectly clear, here is a’continuity containing al! three of the principles appiying to har~ monic continsity. ail ns sind pene iedSSIGNMENT . Work out all minor sixth chord blocks indicated on the enclosed sheet. . Netate minor sixth chords in all four inversions on each of the following notes: C, Db, D, Eb, E, F, F#, Gb, G, Ab, A,'Bb, B. Gena renter ah er =p PeSei| ; 1 | Notate in all inversions, all major seventh chords. (same list as in Problem No. 2) = Cm oe ah Ex, 29 inversions of the Major Seventh chord C Maj 7 Work out dominant seventh chord blocks as indicated on the enclosed sheet, * Page 105. Notate inversions of the Dominant Seventh chord, again referring to the list of root tones given in Problem No. 2. Ex. 30 inversions of th 6. ‘Write harmonic continuities on the following chord progressions. In working out these continuities be sure to consider all of the principles covered in this lesson. (See Ex. 27) (i thicu ) fF? Be & wi Lr 2 “ogee igbegite Tate 7. Set up a harm progressions continuity plus an original melody on each of the following chord a three stave score as in the example below: Page 11 — . =eer @ pp ig ray af I! i LESSON NO. A. CHORD CONSTRUCTION (Cont'd) ‘To continue with our study of the asic chords which are used in dance band work, we ] will next consider the Minor Seventh Chord. The minor seventh is a four-part chord based on the root, lowered third, fifth, and lowered seventh of the major scale. A simple method which may be used to find the minor seventh chord would be to refer to the dominant seventh and lower the third degree one-half step. ee o Once again in order to be certain that all of the minor seventh chords will be learned and constructed properly, we make use of the “chord block” technique as described in Lessons No. 1 and 2. SAMPLE PROBLEM Fill in the open blocks. © way we) fe) (ad Since we are dealing with the minor seventh chord, the degrees one, lowered three, five and lowered seven are indicated. SOLUTION: 1, Determine letter name: a. with C as the root b. with C as the lowered third ‘al 78 e c. with C as the fifth d. with C as the lowered seventh S\GIE Ex. 3 |3|4|© 1@\4 raged2. Add whatever sharps or flats may be needed to produce the minor seventh chord structure. a. with C as the root, we refer to the C major scale (no sharps or flats) and lower the third and seventh degrees, Le., E and B to conform to the chord structure. "ee 4 We find that C is the lowered third of the scale of A. (C# would be the regular third). We must also lower the scale seventh G# to G. a] 7ele| . Bes SIG\E = SONAL IO] * 11©O\|A4 @ ® With Cas the fifth degree, we must refer to the scale of F. Again, to canform to ihe minor seventh chord construction, we lower both the third and the seventh degrees. is v|atla|e et slelz|O Sle lolol Ole @ © d. With C as the lowered seventh degree, the proper scale would be D major (regular seventh degree, C#). In addition to the lowered seventh degree the scale third, F#, must also be lowered to become ¥ natural.