VOLUI\/IE 1.

Frans Elsen

Jazz l{arrnony
at the piano

PracticaI h a r m o n ym e t h o d for the jazz m u s t c t a n

 i. I

COLOPHON
Jazz Harmony at the piano (JazzHAP) is conceived,produced and real-
ized by Frans Elsen, professor at the jazz department of the Royal
Conservatory,TheHague, Holland.

With gratitude to: Carel Nieuwenhuis for too much to ment¡on, Karin
Bek and Joy Misa for their help with the english translation, to
Boudewijn Leeuwenberg and Eric Gieben for reading the manuscript
and providing invaluable suggestions, James Aust¡n for the final lan-
guage check,and to Dr. Barry Harris,who, with his unimaginable inspi-
ration kept me going.

lnformation about this book can be obtained via internet:

franselsen@ish,nlor by contacting the author:
Frans Elsen,WeimarStr.25, 2562 GNThe Hague, Holland.
Telephone: 0031-(0170-346871 4

n/-1oorl
 CONTENTS

Pnerncr I
l r u r n o o u c n o N T o r H E E N G L T STHR A N S L A T T o N TV
S u m u R R v o F T H ET N T E R V A L S v
i , R o u n r u N U M E R A cLH o R Ds Y M B o L s VI
r--\ CHAPTER 1 lrurnooucr¡oNTo rHE KEvBoARD
ANDTo rHETHEoRV
oF HARMoNy
\-./
Lesson I Namesof the keys 1
Lesson 2 The triad in root position 3
Lesson 3 Inversionsof the triad 5
í ) 4 Thetriadsin minor
Lesson 6
Lesson 5 The seventhchordson the white keys 7
Lesson 6 The blackkeys,harmonicfunctionsand the circleof fifths 11
(.', Lesson 7 The minor scales 14

(",) CHAPTER 2 Tne FrRsrcHoRDpRocREssroNs

Lesson 8 Primarydegreesin traditionalharmony 19
() Lesson I Primarydegreesin iazz 21
dominant-_+ tonic (Vz+I) in jazz 21
\..;l
subdominant--+tonic (IV--+I) in jazz 22
l) Lesson10 A few voice-leadingrules 24
Lesson11 Sus-4 -- Dominant seventh chord -' Tonic 25
Lesson12 Dominant-r Tonic,with some chromatics 27
Lesson13 Subdominant-+ Dominant,the Il-V-progression 28
Lesson14 Su bdom i nant --+Dom i nant--+Tonic, the tr-V-I-prog ression 32
('r CHAPTER 3 Srcon¡oeRyDEGREES ANDsEcoNDARy(nppueo) DoM¡NANTS
( ) Lesson 15 VIth degreein major (submediant) 39
Lesson 16 Itrrd degreein major (mediant) 40
(.,) LessOn 17 MIth degreein major(leadingtone chord) 43
Lesson 18 Secondary dominants(1) 45
('.,) Porrursro REMEMBER 50
(' r', CHAPTER 4 MrruonANDMINoR-MAJoR
Lesson 19 Scaledegreesin minorand minor-major 51
Lesson 20 Voiceleadingand chordextensionsin minor 54
(,"i Lesson 21 Voiceleadingin minor-major 56
Lesson 22 The dim chordon VII and its role as secondarydominant 59
,:t Lesson 23 Thickenedlineandthe sixthdiminishedscale 62
CHAPTER 5 secoruoRRY DoM¡NANrs(2)
Lesson 24 V7 with flat five (-5),and the tritonerelated(TR)dominant7th chord 69
Lesson 25 Thedominantchainand anotherTR dominant7th chord 71
Lesson 26 Tritonerelated(TR)secondarydominants 74
CHAPTER6 Er¿eeLLrsHrNG
cHoRDs
Lesson27 Dissonants,
suspending
tonesandsuspending
chords 81
oF pREVtously
SHonrBEcAprruLATroN usEDTERMtNoLocy 87
 Lesson28 Passingtones and passingchords 90
Lesson29 Passingdiminished7th chordswith subdominantfunction 95
Lesson30 Alternatingchords 100
Lesson31 Approach chords 103
Lesson32 Leadingchords 105
Trpsron cHoRDvotclNcs 110

CHAPTER7 AlrennrloNsANDALTERED
cHoRDs
Lesson33 Alterationsin general 111
Lesson34 Neapolitan6th, bIIT, and VII7bbs 113
Lesson35 Diminished7th chordsand octotonícs 115
Lesson36 Alterations of the 7th chord on fV 119
Lesson37 Alterations of the dominant 7th chords 123
Lesson38 The augmentedtriad 126

INDEX
REFERENCE lnd.1-6

( )

ln volume2 the followingsubjectsare discussed:

Dev¡rnluc REsoLUTtoNs oFTHE DoMINANT SEvENTH cHoRD
Deceptive cadence V7 - VI
Dominant seventh chord - half diminished seventh chord of ÍfV
Dominant seventh chord of lowored VII
T h e ' d o u b l ee n d i n g '
The added dominant seventh chord
Dominant seventh chords with minor and major third relation
Secondarydominant of V- Il and ¡ts reharmon¡zation

BAss
Prnruovolclucs wtrH S¡LENT
'Thickened
l i n e ' a n d p a r a l l e lh a r m o n y
'thickened
Special line' and moving tones in the middle voices
Static chords
Dominant seventh chords
Minor seventh and half diminished chords
r l
D o m i n a n tc h a i n s

T¡reTunruAnouruo(TA)eruosoMErHtNG
ABourFoRM
TA to the tonic
TA to the IInd degree
)
TA to the IVth degree and theTA from major to m¡nor v'v.
OtherTA's.
i l
Reunoru MELoDYSHARMoNY
Chord diagrams and the vertical aspectsof harmony
Hor¡zontalaspects of harmony
Transitionto VI and III
Transit¡onto V and W
Substitutefor the tr-V progression and the tritone tr-V

we readabout:
Furthermore
'mystic
The practice of comping. Scalesand modes.The piano intro. Stress and harmony. Overtones,superimposed triads and the
chord,.The circle offifths, the'Axis cross'and octotonics. Practicaltips. Resolutionsofthe augmented tr¡ads'

@
 I
PREFACE
{ IAZZ HARMONYATTHE PIANO (JazzHAP)

( i
During my work in the jazz departmentsof variousconservatories and musicschools
I recognizeda need amongnonpianistsfor a practicaltextbook on the basicprinci-
t\ ples of harmony,intended specificallyfor the jazz musician.By nonpianistsI mean
all musicians,both professionaland amateur,who feel handicappedby their short-
1.,\
comingsat the keyboard.SpecificallyI have in mind vocalists- for them the piano is
(', indispensablefor many reasons- and wind-instrumentalistsand bassplayers,who
-', may wish to accompanytheir students,demonstratethe harmonicaspectsof jazzmu-
(.
sic in their lessons,or deepentheir own insight by meansof the piano.Drummers,
( ) who in many casesdo not show a very profound knowledge of music beyond its
rhythmicalaspects, will alsofind it usefulto widen their musicalperspectivesby prac-
t-\ ticing harmonyat the piano.Even guitarists,althoughplayinga chord instrument,can
at times not escapethe necessityto play.morethan six tonessimultaneously;arrang-
f,\
ing for a larger orchestra using an instrument with only six strings is no easyjob.
[]
Learningto know your way around the keyboardis alsoa greathelp for ear training
and for an understandingof musicin general,besides,it's fun! It's alsoconceivable,
r'1
that people who are familiar with traditional harmony might be interestedto learn
how chordsare appliedin the realm of jazz.
This book doesnot pretend to be a piano method.The technicalside of playing the
( l
piano,exceptthe most elementary,falls outsideits scope(neverthelesswe can here
1,.. l
and there still encounterthe fingering of a scaleor meet an arpeggio).Neither will
improvisation,and everythingassociatedwith it be treated.We will discussthe keys
r ! ) and tones of the keyboard,intervals,chord symbols,harmonic functions,and the
voiceleadingof chord progressions. Further,we will learn about decorating(embell-
\,j ishing)chords,the relation betweenmelody and harmony,and much more.Thebook,
f i however,is meant primarily to be a practicalguide to playing and practicingharmo-
ny on the piano.
{.'
Jazzís,for the most part, tonal music.For this reasonthe material discussedin Jazz
í l HAP predominantlyfollows the traditional conceptsof harmony and voice leading.
In my opinion,thesehaveproven their valuefor centuries.Someof the subjectselab-
\') orated upon in textbookson traditional harmony are not emphasizedin this book.
( . Little attention,for instance,is paid - with a few exceptions- to alteredtriads and to
four-part choral-styleharmony.In JazzHAP we will almost immediatelydeal with
(_) seventhchords and chromaticism,both essentialelementsof jazz harmony.Of
course,jazz harmony does not really exist,it is simply traditional harmony,some-
i '
times supplementedwith somepracticalsimplificationsand additionsadaptedto the
specificdemandsof.jazz music.
Prospectivejazz pianistsmay be disappointedwhen they encounterthe "classical-
\ - i
sounding"four-,or at the most five-part chord progressionsin the examples. To them
I wish to point out that a chord that soundsnice will merely form a good chord pro-
 gressiononly if it properly connectsto the precedingand following nice chords.This
-
connectionof chords- i.e.,the melodic progressionof the individual parts is an es-
sential element of the correct application of harmony,the foundation of which is
"dirty
found in the voice leading of bare triads and seventhchords.From there the
chords", so greatly relishedin jazz music,will follow. Sonority is not alwaysbetter,
when it's bigger or thicker.A transparentand clearvoice leadingis more effectivein
" ",
most casesthan an impressiveseriesof Scandinavianseventeens especiallywhen
applied in an arrangementfor wind instrumentsor strings.In the final analysis,the
-áiot triad is the only chord that actually qualifies as genuine.Al1 other sonorities
that we tend to call chords,eventhe minor triad, are basicallycolouredmajor triads,
triads supplementedwith moving tones, or merely moving tones simultaneously
sounding.
The sectionson intervalsand roman symbolnotation on pagesV-VII can be regard-
ed as a supplementaryaid.Thesepagescould have been placedin the appendixjust
as well, and therefore,can be skipped until required.The first chaptet of JazzHAP is
primarily intended for those unhamperedby any schoolingin music theory and for
*tro* the piano is a completemystery.Withoutmissinga greatdeal,more advanced
readerscan passover these lessons,though, I would recommendglancingat them íli',

anyway.You never know!

The thought that a textbook on harmony will ever be completeis an illusion.Always
matterswill be missingor insufficientlyillustrated.Besides,time doesn'tstand still.
The masterswill constantlycome-upwith new things to which new rules apply.And
that'show it's supposedto be!
In jazz HAP, specialattention is paid to the relevanceof embellishingchords.These
are,to my opinion,slightlyunder-exposed in most harmonybooks.Iniazz music,har-
monic decorationsare commonly used to enliven the harmoniesunder a melody.
They presentan opportunity to constantlyvary the harmonizationof a melody,with-
out interfering with the global harmonic functions of the chords.
One problem in writing about a subject as extensiveas jazz hatmony is tealizing
where to stop.The moment comeswhen the reader must be on his own. For those
who think it is enoughto be ableto read and play chordsfrom a'fake book', the first
volume will probably suffice.Chaptersone to sevenare dedicatedprimarily to the
practicalaspectsof playing chord progressionsat the keyboard.The secondvolume,
which also dealswith the harmonizationof a melody itself,is meant for more ambi-
tious students.By providing a certainunderstandingof harmonicpatternsand of the
relation betweenharmony and melody,I hope to enablethe latter categoryof read-
ers to bring more variety into their harmonies,even without the help of adroit
colleagues. The secondvolume also givespiano voicingsfor the somewhatmore ad-
vancedplayers.Chordsof which the basstone (not necessarilythe root) is absentare
discussed, and alsomore attentionis paid to moving tonesin the middle voicesof the
chords.By letting theoreticaljustificationkeep pacewith practicality,I attemptedfor
both categoriesof readers- beginningand more advanced- to avoid theory as an
end in itself.

u
 Those who want to study JazzHAP without the help of a teacher should rcalize
though,that the book is no bedtimereading,but a textbook on a fairly complexsub-
ject. Understandingthe subjectmatter requiresconcentrationand patience.Students
shouldnot be dismayedby the terminologyand symbolnotation,which are unavoid-
able in any discipline.Besides,they will quickly becomefamiliar with thesespecifics.
For carrying out the exercisessuccessfully,the accompanyingtext and the analysisóf
the examplesare a little more advancedthan strictly necessary. Studentsshouldnot
be discouragedwhen they do not immediatelygrasp something.In such casesit is
best to read on and trust that things will becomeclearer on secondreading.Espe-
cially in the beginning,a solid understandingof the examplesis more important than
brooding upon the accompanyinganalysis.In reading chord symbols,don't neglect
the voice-leadingrules,but do not let them get in your way.Usually it's better to de-
velop somefluency and lustily play on, than to strugglewith the best connectionof
the chords.
Finally,one last- not unimportant- advice:Whileplaying the examplesand exercis-
es,NEVER DISCARDANWHING!Always listen closely to the sound of the chords and
chord progressions. A slip,a 'wrong note', or an error might turn out to be an unex-
pecteddiscovery.
FransElsen
The Hague
Januarv2001

[ ]

f, :l

t '\
¡ r

\."j

f \

l-t l

t ;

III
 INrnouucrloN To rHE ENcnsn/ApmnlcAN TRANSLATIoN

JazzHarmonyat the Piano is based on traditional harmony as it is taught in the

Netherlands.The English/Americanmethod of teachingtraditional harmony differs
in many aspectsfrom the Dutch/Germanconcept.As a result many namesand de-
scriptions are difficult to translate to the English language.In some casesunder-'
standingsin Dutch/Germanhaveno appropriateequivalentsin English and vice ver-
sa;or they do not existat all.
To bridge the gap betweenthe two concepts,Itook the freedom to introducesome
terminologythat I think that it will contributeto a better understandingof the trans-
lation of JazzHarmony at the Piano.
One of the guidelinesI usedfor the American approachto traditional harmonyis the
book on haimony and voice leading of Aldweil and Schachter*.I more than agree
with the tenor of their excellentbook. Nevertheless, for my purpose,I had to deviate
in somerespectsfrom their views.Insteadof adoptingtheir conceptof tonicisation,I
prefer to usethe conceptsadjacenttonic andsecondarydominant.Insteadof usingthe
name modulationfor a short, unconfirmedexcursionto another key,I use the name \ ;
tonal excursion.
To indicatea secondarydominantof a chord with dominantfunction I literally trans-
lated its german name <Doppeldominant> into doubledominant.
To designatechordson scaledegreesby meansof roman numerals,Iusethe German
practice.For example,V or Vth degreeidentifiesthe scaledegreeaswell asthe scale-
tone triad on that scaledegree.
I use the name primnry degreefor I, fV, and V, and secondarydegreefor the remain-
ing scaledegreesand their triads.
For JazzHarmony At The Piano I found the traditional English scaledegreenames
like <supertonic>>,.,subtonicn, etc.rather superfluousand therefore omitted them al-
together.
I use the name embellishingchordsfor harmonically non-essentialchords (decora-
tions), to which belong chords such aspassíngchordsand approachchords.

* Harmony and Voice Leading by Edward Aldwell and Carl Schachter,2ndedition 1989,ISBN 0.15.531519-6.

IV
 SUMMARY OFTHE THE INTERVALS
í r

( \ The distancebetweentwo tones is called an intervaLAn interval of which the two

tones soundsimultaneouslyis calleda harmonicor verticalinterval.Twotonessound-
f-, ing in succession,ascendingor descending,form a melodicor horizontalintervalWe
(-: distinguishperfect,major,minot augmentedand diminishedínfervals.
Betweenthe first tone (I) and the remainingtones of the ascendingmajor scaleall
(l intervals are either perfect or major intervals.Between the first tone and the re-
o mainingtonesof the descendingmajor scalethe intervalsare perfector minor inter-
vals.
()
AscnNprNGC MAJoRscALE: DnscnNprNc C MAJoRscALE:
(r c +c = perfectprime (unison) c+c = perfectprime
crd = majorsecond ctb = minor second
O cre = ma j o rth i rd c\a = minor thir d
IJ c ¿,f = perfect fourth c\g = perfectfourth
cr g = perfectfifth c r,f = perfect fifth
o cra = majorsixth c\e = minor sixth
crb = ma j o rse ve n th ctd = minor seventh
\.,i
crc = perfectoctave c\c = perfectoctave
c_) A tone can be namedafter an interval with referenceto a particularscaleor chord.
(', In that case,the name of the tone refersto the interval which is formed betweenthe
tone in questionand the tonic of the scale(I) or the ro,otof the chord.For example,
g is called "the 5th" of the C scale,"the 3rd" of the EP Íiad, and "the 4th" or "the
l'l 1 l t h " o f D m7 .
Octaves,fifths and fourths and their compoundintervals(seebelow) canonly be per-
l')
fect, augmentedand diminished.By lowering its higher tone or raising its lower, a
perfectinterval becomesdiminished.By raisingits higher tone or loweringits lower,
\.,9
a perfect interval becomesaugmented.
As there is no higher and lower tone in a perfectprime (unison),this interval can on-
ly be perfect or augmented.
Seconds,thirds,sixthsand seventhsand their compoundintervalscan be major, mi-
nor, diminishedand augmented.*
CoupouttD INTERvALS:
Octa ve +se co n d=9 th
Octa ve +th i rd =L 0 th
Octa ve +fo u rth =L L th
Octave+fifth =L2th
Octa ve +si xth =l -3 th
By loweringits high tone or raisingits low tone,a major interval becomesminor, and
a minor interval becomesdiminished.
(*)
By raisingits high tone or loweringits low tone,a minor interval becomesmajor,and
(_-,' a major interval becomesaugmented.

( ) *Secondand seventh,third and sixth and fourth and fifth are called complementary
intervals.If superimposed,theseintervals
form an octave.

V
 ROMAN NUMERAL CHORD SYMBOLS

One designatesscale-tonechordson scaledegreesby meansof roman numerals.For

example,VI identifiesthe sixth scaledegreeaswell asthe root position of any scale-
tone chord on that degree.To indicate a seventhchord,one normally addsa7 to the
roman numeral,e.g.VP.
The notation of chords in roman numeralsoriginatesfrom the figured bassor con-
tinuo practicefrom the Baroqueperiod.A similar practiceis usedin jazz by using chord
symbols,usually letter symbols,under a melody,or as a guidelinefor improvisation.
Romannumeralsín jazz are appliedwhena more overallharmonicanalyses,independent
of a key,is required.Theycanslightly deviatefrom their traditionalform. Extendedchords
appliedin jazz cannotalwaysproperlybe expressedin romannumerals.It is essentialto
maintaina consistentnotationfor chord symbols,making surethey can be clearly under-
stood.
Sinceroman chord symbolsmake use of scaletones,there is a subtle differencebe-
tween the 7 in roman symbolsand the 7 in letter symbols,suchas C7, Am7 and G7.
In the roman numeralsthe 7 can representa major,minor or diminishedseventh,de- t .i

pendingon the scaleand scaledegree.Consequently, the 7 in 17from major indicates

a major 7th and the 7 in VIIT from harmonic minor a diminished 7th, while in a let-
ter-chordsymbolthe 7 in thesecasesnormally indicatesa minor 7th and a diminished
7th respectively.Inroman chord symbolsIP in the key of C major indicatesa minor
7th chord on tr (Dm7) insteadof the non-scale-tonechord D7, the 3rd of which (l)
being a non-scaletone in C major.
When anotherchord tone than the root of the chord is in the bass,one speaksof an
inversionof the chord. Only chord tones,i.e. 3rd,5th and 7th, can be applied as bass
' i

tone of an inversion.In traditional harmony,chord extensionsand added tones do

not occur in the bass.
IrwrnsroNs oF TRIADS!
D Tliad with 3rd in the bass= sixchord..Thechord symbol consistsof a 6 added
to the roman numeral of the scaledegree:
For example:16 or 116; in C respectively:C7, or Dmi7t.
) Tiiad with 5th in the bass= six-fourchord.Thechord symbol consistsof 3 ad-
ded to the roman numeral of the scaledegree:
\ )
For example:I8 or IV8; in C respectively: C¡o or F7a.
IxvpnsroNs or 7THcHoRDs:
D Seventhchord with 3rd in the bass= six-fivechord.Thechord symbolconsists
of I addedto the roman numeral of the scaledegree:
V8 ;
For example: in C: G77r.
) Seventhchord with 5th in the loass= four-threechord.Thechord symbol con-
sistsof á addedto the roman numeral of the scaledegree:
Itrá ;
For example: in C : Em7¡r.
) Seventhchord with 7th in the bass= two chord.Thechord symbol consistsof
2 addedto the roman numeral of the scaledegree:

VI
 For example:V2 or VI2 ; in C , Glr or Am7¡o.
To graspthe logic of the roman namesfor the inversionsof chords,we have to look
at the intervals(not compounded)betweeneachof the chord tones- i.e.the root, the
( third, the fifth, and the seventh- and the bass(not the root) of the chord.Thesein-
tervalsare representedby figures,following the roman numeral.It is commonprac-
tice to write the higher figure abovethe lower one.
('') Normally,the namesof the inversionsare shortened.For example,the full name of
t\ the six-five (8) chord would be six-five-threechord. Four-three(á) is sr.r-four-three,
and a two chord ('), in which the 7th is in the bass,in reality is a six-four-twochord.
(l All this may seemrather complicated,but in time one easilybecomesfamiliar with
the system.
When a scaledegreeis raised,a sharp(f,),and when,it is lowered,a flat (r) is placed
in front of the roman numeral.For example,ffV or btr.
\ )
An augmentedinterval over the bassis indicatedby a sharpand a diminishedinter-
val by a flat in front of the figure in question.For example,üfVfg meansaugmented
f\ six-fivechordon the raisedIV. This chord originates from harmonic minor, of which
f'\ the 4th tone hasbeenraised.The sixth over the bassis ausmentedand the root of the
\,r.r,)t
chord on fV is raised.
r-\ The notation in roman numeralsrequires that the key and mode, i.e. the scale,is
known.Whenthe melody is given,the key and mode can usuallybe determinedfrom
[ )
the signsat the clef.Without given melody,or when the key and mode are ambigu-
ous,or at the point of a modulation or tonal excursíon*, it is required to indicatethe
key and mode.In traditional harmony,a major key is indicatedby a capitalletter and
(.)
a minor key by a small letter.For example:
'Vt
( ) A: If/ ¡lt ll means: Bm7 E7 lAa ll and
(_j c: I W 1tr7 VIIT I 17 ll means:Cm Ab¡ | D@ Bo I Cma ¡¡

r-\ At a modulation or tonal excursionthe key or mode changes,and consequentlythe

letter indicatingthe key or mode will changewith it.
(-, The harmonic minor scaleis normally used as standardreferencefor minor. When
the chord originatesfrom anotherscalethan harmonicminor,aflat,sharp, or natur-
al sign may precedesthe roman numeral or the interval figure as illustrated in fol-
,ri r
\..,
lowing examples.
( ) Using harmonic minor as reference,M from melodic minor can,dependingon the
signsat the clef,be indicatedby IVI or by fiVI;in C qelodic minor:As. Likewise,the
\ - .r
major 7th chord on the lowered VII is indicated with hVIIhTor with hVUfz.This chord
originatesfrop the the lesscommon mixolydian or dorian scale;in C dorian or C
mixolydian:BPa.
Secondarydominantsare usually placed between square brackets,e.g.[V(z)l or
lvtr(7)].A secondarytr(z)-\/(7)progressionis indicatedby [tr(7)-V(7)]
and a tritone re-
f , l
lated secondarydominant by [TRV7].As in jazz one appliespredominantly7th
t ,
chords,the 7th can usually assumedto be presentand therefore is often omitted in
roman-numeralnotation.
* Short. unconfirmedmodulation.

VU
VIII
i CHAPTER 1
INrnonucrloN To rrrE KEyBoARDAND THE THEoRy oF HARMoNy

In order to acquiresomeskill in playing harmonieson the piano,it is necessarynot

only to have a fairly good ear,but also to be familiar with the keyboard and to dé-
velop a certaindegreeof understandingof the laws of traditional harmony.To get to
this stage,it is first essentialto becomeacquaintedwith the order and the namesof
the keys of the keyboardof the piano and from there on with the basicelementsof
the theory of harmony:intervals,triads and scales.

LeSSOn 1 N"*", of the kevs

@ @ l e r " l

(-n)

() CDE FGABc de f g ab;'O'"'f'g'a'b'c"d"e"f"g"a"b"c"'d"'e"'

1.1 The figure above showsa keyboard.From now on we will call a picture like
this a keyboarddiagram.Thekeyboardin this diagramhas a rangeof four oc-
tavesplus a major third (seebelow).The upright piano hasa biggerrangeand
a grand piano still bigger.The rangeof the keyboardin the abovediagramis,
{i) for the time being,sufficientfor our purpose.
1..2 Underneaththe white keys of the keyboard are letters.Theseare the names
of the toneswe hear when the white keysare struck.Within the spaceof eight
üi successive white keysa fixed pattern of sevenlettersis repeated.The tonesof
( l this basicseriesof seventones,namedafter the first sevenlettersof the alpha-
bet startingwith c, will be calledprime tones.Weseefour groupsof sevenlet-
ters plus a small group of three letters on the right. In order to identify the
groups,the letter namesare uniquelymarked;from left to right: capitalletters,
(_i
smalllettersand smallletterswith accentmarks (smallverticallines);oneline,
{ l two lines,and - in the last small group - three lines respectively.
L.3 Likewise,the groupsof tonesasindicatedin the keyboarddiagramare named
greatoctave(capitalletters),smalloctave(small letters)* one-line,two line and
three-Iineoctaveetc. One-line c (c' above the arrow) is also called middleor
central.c,asits position is roughly in the middle of the keyboard,near the key-
hole.** The distancebetweentonesis an interval.named.afterthe number of
(., letter namesthe tones are apart,countingthe startingtone as 'one'.For exam-
ple,an octavespansthe distanceof eightletternames;theintervalc"'-e"'spans

* The octavesbelow the great octave (not indicated in the diagram)

i ' are called contra (e.g.Cr) and sub-contraoctave(e.g.
o).
**This marking of letter nameswill only be usedwhere necessary,
e.g.to indicate a specificpitch or key location.Marking is
omitted when not ¡elevant.
 three letter namesand is therefore called a third. Normally,the first letter of
an interval is the lower pitch.As we have seenin 1.1-,the keyboardin the dia-
gram coversa rangefrom C (-greatoctave)to e"'(= three-linee),i.e.a range
of four octavesplus a (major) third.
t.4 Besideswhite keysthe keyboardhasblack keysdividedin groupsof two's and
three's.After everyc there is a group of two, and after everyf, a group of three
black keys.This division of black keys makes it possibleto orientate on the
keyboard.Their musicalsignificancewill becomeclear after we learn about
chromaticsand keys- other than C major.A black key takesits namefrom ei-
ther adjacentkeys.It raisesthe one
to the left by a half step (sharpf;),or
lowers the,one to the right by a half
step (flat b¡. Fot example:the.,first
black key ,after c is called cf, (c-
sharp),or il (d-flat); the seconpone
d o, eb,thethird onefr ot g',etc.
Adjacent white keys may also bor;
row each other's namessuch as cP
and b*.

Exercises:
r' Find all the c's on the piano.Make good use of your ears.They all sound the
sameexceptone octavehigher or lower.
r' Slide with the nail of your right middle finger over the white keys from low C
all the way up and,with the nail of your right thumb,from c"' down.You will
hear the C major scale.
i l

r' Find all/s on the piano.Now play anf afterevery c.Whenyou play anlto the
right of a c, you'll hear an interval of a fourth (4 prime tones,i.e. four letter
names).When you play an/to the left of a c,you'll hear an interval of a fifth
(5 prime tones,i.e. five letter names).Make good use of your ears again and
try to recognizethe interval.

C D E F G A B c d e f g a bc' f ' g ' a ' b , C , , d ,g, , , f , , g , , a , , b , , C , u d , u e ' u

o

t/ NoW do the sameexercisewith e andb.You will hear the sameintervals,on-

ly the other way around:e-bis a fifth and b-eis a fourth.

* 'Key' in this sensemeanssomethinglike 'tonal center'.Not to be confusedwith the key of a keyboard. (Seealso lesson6)

2
 Play c-e-f-b-ctp over the whole range of the keyboard.Make it a habit to do
exercisesin tempo.Not fast but fluently.If you get stuck,play more stowly.If
necessaryuse a metronomeand give every tone 2 or 3 beats.Thke your time.

l l

r-'-\
l-\

t/ Make up similar exercisesyourself.Play them and saytheir namesout loud in

order to learn your way around the white keysfluently.After that you can in-
cludetheblackkeys.
| | | | |
First play the flats ascending:c-il-e?-f-gv-av-b2 and after that the sharpsde-
. scending: b-o\-7f,-f-e-dfr-cfi-b.In
the end, mix them up.

LeSSOn 2 The triad in root position

Now that we've learnedour way around the keyboard,we can,very carefully,start
with some simple chords.In 1,.3we saw the major third, and in the exercisesthe
fourth and the fifth.In this lessonwe will learn what is meant by a triad.
2.I A triad is not the soundof just any three tones.A specificorder of the tones
makesthem a triad.A chord,consistingof three toneswhich are a third apart,
is called the closepositionof a triad in rootposition.Theroot of this triad is at
the bottom, in the bass.It is the smallesttriad possible.The tonesof the triad
can also be in a different order.We still have a triad, but in positionswe will
discussin section3.1.
2.2 The triads on the white keys all look alike at first sight,but when we listen to
them closely,we observethat some sound different from o{hers.That is be-
causethe triads on c,f and g are major triads and the ones on d, e and a are
minor triads.A major triad is composedof a minor third on top of a major
third. The constructionof a minor triad is the other way around:it consistsof
a major third on top of a minor third. Notice the difference!The triad on b is
an outsider.It is constructedfrom 2 minor thirds.We will seelater about that
one in section3.2

Exercises:
t/ Play 2 keysat the sametime with your right hand thumb (fst finger) and mid-
dle finger (3tdfinger),on respectivelyc' and ¿'.Do not cramp.I know it's eas-
ier saidthan done.Keep the fingersyou don't usenear the keysand don't pull
them up like the legsof an excitedspider!Relax and drop them.Practiceun-
til it feels comfortable.The most important thing is that the arm is relaxed.

3
 Just let it hang down and lean on the two fingers.Now put your little finger
(the 5tttfinger) on g'. Rememberthe form the hand took. Next, put your hand
in the same position, but one tone higher. The
thumb goes to the root of the next triad on d'.
Repeat that movement a few times back and,
forth and let your hand danglea bit when the fin-
gers leave the keys,but remember the position
the hand was in when you heard the chord.You
successively played the triads of C major and D
minor. The chord svmbolsare C and Dm.

When you've becomeat easedoing the exercises, you can play a triad on any
other white key.Start with moving triads stepwiseup and down the keyboard.
'in time' and think along with your fingers.Don't for-
Do it again slowly but
get your left hand.Occasionallya piano player usestwo hands.
¡ . 1
Next, practicemaking little leapswith the hand playingthe triad. For example
in this order:put the Lst finger (thumb) on c and after that onJ on the next c
and so on (seediagram).Play the triads this way over the entire keyboard.

Play the triad with the Lstfinger onJ on c,on I and on c (seediagram).Repeat
the samepattern,one octavehigher.Tiy to play in tempo.

We hear all the tonesof the scaleof C in thirds (NB!).

2.3 There's one part of the piano that we haven't dealt with yet. That part is the
pedal.The piano player can use two pedals:the right and left one.The right
one lifts the mutesfrom the stringsso their vibration sustainsafter they have
been struck by the hammers.Lifting the mutes,also allowsother stringsto vi-
brate concurrently.The one on the left brings the hammers closer to the
strings,so they havelessspeedwhen the stringsare hit. This softensthe sound

4
 a bit.This last pedalfunctionssomewhatdifferentlyon a grandpiano,in which
the whole mechanismmoves to one side,so that the hammer touchesone
a-' string lessof a chord of strings.This systembringsdown the volume,but it al-
so altersthe colour of the tone.Becauseboth pedals,if not handledwith care,
can do more wrong than right,I advisethe reader to usethem with care.

LeSSOn 3 Invertingthe triad

l-\

\ j
In lesson2 we were introducedto the root position of triads.In this lessonthe other
positionsof the triad are discussed.
For the time beingthe right hand is our main con-
t-\ cern,althoughthe part of the left hand is not without meaning.It will becomeclear,
( ,
however,that learningto use the right hand alone is difficult enough.So take your
time and try not to cramp!
(.r 3.L To invert a triad, the order of the tones has to be changed.In the first inver-
(l sion,the root - which wasat the bottom (in the bass)- goesto the top, i.e.one
octaveup. In the secondinversion,the bottom tone of the first inversiongoes
(')
to the top. Becausea triad consistsof three tones,it hasthree positions:
f\ 1. root position
\,".r' c'-e'-gt
2. the first inversion e'-g'-ctt
(-)
3. the secondinversion g'-ctt -ett

t l
Each inversionof the triad hasits own name,but for the time being,this is not
of real importanceto us.In the abovetable the triads are mainly in the one-
line octave.Of coursethis could have been any octavehigher or lower. The
¡ , choice for this particular octave has been made becausethis piano register
soundsgood for this purposeand becausethe middle c is a comfortableplace
( ;
to start.
q",J
trl\ Exercises:
\,,j
r' Placethe Lstfinger (thumb) on the middle c (arrow,seediagram) and play a
(:-)
triad in root position,like you did in lesson2.The 3rdfinger is on ¿' and the
(.,., 5thon g'. Then put the 1stfinger on e',the 2ndon g' and the 5thon c" and play
the chord. You'll hear the first inversion of the triad of C major. Now you
(") place the 1stfinger ofl g', the 3rd on c" and the 5th on e" and play the chord
( )

o
IllI tltl ItlI Il tl
o o o o o
o o o o a o
o o o o o o
{ . t
c
5
 again.Thisis the secondinversionof the C triad. Rememberthe advicein les-
son 2: relax your hand and arm.Also rememberthe position of the hand with
each inversion.This fingering has proven to be the most comfortable one.
Apply this as much as possible.
r' When the previous exercisegoesreasonablywell, put the little finger (5) of
the left hand on c great or small octave (in the bass)and play the inversions
with the right hand.Increasethe tempo steadily,but don't forget to relax the
hand and the arm and rememberthe position of the hand with eachinversion.

r' In the next exerciseyou start at d' and invert the triad of Dm. Then the triad
i )
of Em, F and so on, until you reach C again.With your left hand in the bass
play the root of the chord you are playing with your right hand.Vary the ex-
ercisea bit by playing the inversionsas arpeggios(playingthe tonesone after
the other), one arpeggioup and the next one down. Do theseexercisesdaily,
with all the triads you know.Eventually you will do it more or lessautomati-
cally.
3.2 There is one triad we have not dealt with yet. In section2.2 ít was called an
outsider.That is the triad on the á.This triad is calleda diminishedtriad. When
you play it on the keyboard,it becomesclear that there is quite a difference
betweenthis one and the other triads.This is a dynamicchordwhich is not real-
ly suitableas a final chord of a piece of music.It is enclosedby a diminished
fifth and is part of an important dynamic chord, to which we will come in sec-
tion 5.2.Tiy alsoto invert this triad in the sameway as you did the others.

Lesson 4 Triadsin minor

4.L To understandminor keys really well, we have to go back to the exercisein

lesson2.There we played successively the major triads of F, C and G. If we
turn the triads of F major and C major from this exerciseinto two minor tri-
ads,we seethe tonesof the completescaleof C harmonicminor. Not stepwise,
like a scalenormally ip being played,but in thirds.With the triad of F mino1,
the third finger is on aDand with the triad of C minor, the third finger is on eP
(seediagram).
r,-.1

r l

F minor C minor G major

6
'',

a. Exercises:
r' Play the triads from the abovekeyboarddiagramover the entire rangeof the
a,
keyboard.After the triad of G major you play F minor, C minor and G major
(' '
and so on. Keep your fingersin line with the keys!
f , r' Invert the triads of F mi-
nor and C minor and play
them up and down the
keyboard.In the diagram
you see the fingering of
the triad of F minor. The
o
I Lll I ol
ol- g
fingering of C minor is
identical.
o-l- q
\-'
4.2 Becausethere are two black keys in C harmonicminor, the triads are a little
harder to play than the onesin C major.Thepositionof the hand changescon-
stantly.Ip harmonicminor are two diminishedtriads:one on b and one on d.
t"-j
On the "Dwe find a triad which we have not met before.This is calledan aug-
\. ..,, mentedtriad.It consistsof two major thirds and is enclosedby an augmented
fifth. Below you find the triads on the tones of the C harmonic minor scale
r-\ with their chord symbols:
OncisCminor = Cm(i)
OndisDdir,ninished = Dm/-5
On ¿ flat is Eh augmented = Eb+or tbt+S
(' ) On/isFminor = Fm(i)
OngisGmajor = G,
l-l On aflatis Ab major = 4b
On á i sB d i mi n i sh ed = Bm/- 5
\. iY

(-i LeSSOn 5 The seventhchords

t ,r In the following exercisesa triad is inverted with the right hand,while the left hand
,t , playsa tone that is a third (or a third plus one octave= a tenth) lower than the root .
of the triad. Four different tonesare played.The triad hasbeen extendedinto a four-
Li part chord.The lower tone is a third (or a tenth) away from the root of the triad. A
r. , four-part chord like that is called a seventhchordin rootposition.On the white keys:
i! '.¡ A major triad plus the extra tone at the bottom givesa minorseventhchord,and a mi-
ij nor triad (except D minor) gives a major seventhchord.

r,.I Exercises:
r' Phy: c with the left hand in the bassand right the inversionsof Em.
/in the bassand right the inversionsof Am.
(-; d infhe basswith the inversionsof E
i-; orBdiminished
iiT'',?::Hüi1,,'|i
Finish $:il:T

7
 Tiy to make musicout of this exerciseby giving it a beat,and making up some
rhythmic variations.
r' Play (with the right hand) a Cm triad in root position and,(withthe left) aPin
the bass.It is not important in which octaveyourplaythe a?,aslong asit is un-
derneaththe triad. We hear an AP¡ chord (= Ap major 7). The major 7 (a) is
the interval betweenroot and top tone (lead).
5.1 With the white keys we can constructthe following seventhchordsby com-
bining a triad with an additionalbass:
Em with c in the bass= C major 7 (Ca)
Am with/in the bass= F major 7 (Fa)
C with a in the bass = A minor 7 (Am7)
F with d in the bass = D minor 7 (Dm7l
G with ¿ in the bass = E minor 7 (Em7l

5.2 The diminished triad on b with g in the bass,played in the exerciseabove, \ . 1

showsthe important seventhchord implied ín3.2.It is calleddominantseventh

chordwith the symbol G7.It's a chord we would like to resolveto a major or
minor C chord.It is not a chord you really would use as a final chord,except
maybe in bluesy endings.Therefore,also it is called a dynamicchord.Dyna-
mic chordsusuallygenerateharmonicmotion.

Exercises:

r' Play Ca and Fa, as mentionedin 5.1,,with your right hand and practicethem
in all octaves.

Play the minor 7th chordsmentionedin 5.1 and practicethem over the entire
rangeof the keyboard.

Am7 Dm7 Em7

 r' Play the G7 chord men-
ll
tioned in5.2 and practice
cl it over the whole range
of the keyboard.
l-'t

5.3 In the above exercisesthe seventh chords are in the closeposition,which

meansthat in betweenthe tonesof the chord no spaceis left for other chord
\.,;i
tones.This chani¡eswhen the root is put one (or more) octave(s)down,allow-
f,\ ing the other chord tonesto be positionedmore spreadout. A chord position
with room for other chord tonesbetweensomeof the tones,is called a mixed
(r (e.9.drop-twoor drop-three)position.The chord is in open (or wide) position
er when there is spacefor another chord tone in betweenall chord tones.The
keyboard diagramsbelow show examplesof the above-mentionedseventh
(.t chordsin mixed position.It's obviousthat there is still spacefor chord tones
(*) betweensome tones,whereby the area betweenroot and next higher chord
tone is not taken into account.Also the term voicingis used to indicate the
s positioningof chord tonesother than that of the bass.

s
o
f-.'r
b c' d' e' f' g'a' b' a b c' d' e' f' g'a' b' a b c' d' e' f' g'a' b'
( r o o o

(-.)
Exercises:
(.)
t/ Play the chords in the above diagramson the piano and determinewhat
($ chordsthey make up.Tiy to memorizethem.

(} r' Notice which tones allow room to insert one or more chord tones and which
chord tonesthey are.Try to add them while playing.
(.)
r' Slowly invert the seventhchordsin closeposition and practicethem over the
-j
(. whole keyboard.
(.j ./ The keyboarddiagramsbelow showthe fingeringof the inversionsof G7 and
Dm7. The inversionsof Am7 and Em7 havethe samefingering.If the root po-
r.i sition of the chord and the upward octaveshift of the root are projectedon
() the keyboard,then, after some practice,the inversionswill show automatic-
ally.Make good useof the fact that the piano is a visualinstrument,but above
i l
all: don't forget to listen!

i \

Í r

t )

l l
I
 G7

t|lLLII I II ffi
o
o
@
o
o
o
o o

t|Jil J I il
Dm7

5.4
o
il @
@
o
o
o
@
o
@ o

The Dm triad with b at the bottom is the only chord in the seriesof seventh
¡ l

chordson the white keysthat hasn'tbeen discussedyet. It is calledB half dim-

inished.Thechord symbolis Bo.In the diagrambelow you will find it in close i l
and mixed position.

ga

5.5 We've now met all seventhchordson the white keys,i.e.usingthe tonesof the
scaleof C. They are calledthe seventhchordson the scaledegrees of C major.
The degreesare a numerical name for the scale tones.They relate to the
chordswhich are made up of the tones of the scale.The chords we've been
talking about in this chapter are the seventhchordson the degreesof the scaleof
C major.The scaledegreesare noted in Roman numerals.The chord on the i i !

first tone of the scalesetsthe number I. on the secondtone II. etc.Seebelow:

I - C A= C major seven
t r = D m 7 = D minor seven
n = E m 7 = E minor seven
t V = F ¡ = F major seven
V = G 7 = G (dominant) seven
VI = Am7 = A minor seven
U \ 4 I = g ñ = B half diminished
5.6 Although the seventhin traditional harmony is a tone that createsmotion,
this extensionof the triad is often usedas a colouring of statícchords(seebe-
low) in jazz.Tltis colouring is a matter of taste,like pepper in soup,and is in
fact not alwaysappropriate.The colouring of the triad - both major and mi-
nor - especiallyby the major seventh,is, in many cases,redundantand often

10
t
a rather irritating automatism.To avoid the conflict,which the major seventh
canbring about,and still give a bit of a 'glow' to the harmonyof a staticchord,
r'' adding the sixth (or the ninth, which we will encounterlater) to the triad, is
often a more tastefuloption.

5.7 By staticchordswe mean the chordsof the Ist and the [Vth degree.If we add
the sixth to these chords,we get, on the white keys,C6 and F6.There is no
needto practicethesechordson the piano.They are identicalwith the first in-
versionof respectively Am7 and Dm7 (NB!).

LgSSOn 6 The black keys,harmonic functions and the circle of fifths

Until now we have been looking at all the white and two of the black piano keys in
respectivelythe scales(keys) of C major and C harmonicminor. But even in C ma-
jor - the 'white-keyskey' - the black piano keys are indispensable,
if we don't want
to fall into a rather colourlessharmony.
6.1, The useof black piano keysin the key of C major is calledchromaticism.Itcan
occur in any other major key. It can be taken to mean 'colouring',which
shouldnot be confusedwith the meaningit takeson when we are referring to
the colouringof chords(as in section5.6).
6.2 The black keys are often erroneouslycalled half stepsor half tones.In fact
there are also two half steps(half tones) in the scaleof C major without any
black keysbeing used.Betweene andf andbetweenb andc it is impossibleto
insert a tone,consequentlythere are no black keys.
In lesson1..2wehaveread that the tonesof the C major scaleare calledprime
tones.The namesof the black keys are derived from the namesof the prime
tones.A stepwisesuccessionof two or more prime tones,i.e. tones with dif-
ferent letter names,or of toneswhich namesare dprivedfrom different prime
tones,is called a diatonicsuccession,e.g.:c-d,c-b,eD-f,f-g,etc.If it's not possi-
ble to inEertanothertone in betweentwo tones of a diatonic succession, e.g.:
b-c,f-e,bv-a etc.,the interval betweenthe tonesis a diatonichalf step.
A successionof two (or more) tones derived from ¡he sape prime tone, i.e.
with the same letter name, for example c-c*,b-bb,f-f-f , etc.,is called a
chromaticsuccession, and the interval betweenthe successive tonesa chromatic
halfstep.Inthe major scaleof any key there is a diatonichalf stepbetweenthe
third and the fourth, and betweenthe seventhand the eighth tone.The black
keys are usedin scalesother than C major, to keep the intervalsbetweenthe
tonesin the sameorder as in the C major scale.

11
 6.3 Everything falls into place if one proceedsfrom the superimposedtriads of
the primary degreesI, fV and V. In lesson2 you find an exercisein which you
are askedto play the triads of F, C and G successivelyover the entire key-
board.The exerciseshowsthe tonesof the scaleof C major,not in successive
stepsbut in intervals of thirds. The tones of the superimposedtriads of IV-I-
V form the tone material of a key. Each of these triads has a so-calledhar-
monicfunction, and these three functions rule the harmony of all tonal music.
The one in the middle - the C triad (I) in the exercise- is calledTONIC (tonal
centre).Theone at the top - the G triad (V) - is calledDOMINANT, and the
one at the bottom - the F triad (IV) - is called SUBDOMINANT. In tonal
music thescaleis nothingmorethan thestepwiseorganizationof the tonematerial
of a key.Maybe now it's becomingclear where this apparentlycoincidental
but, in our ears,logicalorder of tonesin a scaleoriginatesfrom.
6.4 In minor, things are essentiallythe same,with the following difference:the
í.\
middle triad (tonic) is alwaysa minor triad, the one at the bottom (subdomi- ( . r
nant) is usually,but certainly not always,a minor triad. The one at the top a i .
(dominant) occasionallycan be a minor triad too. Seelesson7.

6.5 In the círcleoffi.rths(seediagrambelow) the keys are organizedin ascending

fifths,in which the number of sharpsin the key signature*increaseswhen go-
ing clockwise.After 12 keys we end up at C again,now called Bf;.SinceB# is
a key with the quite impractical number of twelve sharps,an enharmonic
changeis made at Fil,which has 6 sharps.It is renamed Gh with 6 flats.From
there on the sharp keys turn into flat keys.Note that the number of signsde-
creasesagain.Going aroundthe circle counterclockwise, you seethe opposite
happening:a seriesof ascendingfourths (or descendingfifths) in which,after

THECIRCLEOF FIFTHS

':l ,
i.:.r

* Theseare the sharpsand flats appearingat the beginningof the staff.

12
 12 keys,we come back to the startingpoint, C, which is called¡bb 1n double
flat). With its L2 flats Dbb is as impractical,as the,1,2sharpsin B#. Halfway
around,or at the bottom of the circle are F# and Gh.Theseare the antipodes
( t
of C and divide the number of.lZ signs(flats or sharps)by two.It is easyto de-
rive dominantsand subdominantsfrom the circle of fifths: clockwisethe dom-
inant is one position after, and the subdominantone before the tonic.
/-\
\ . i
Assignment:
f i \
\ l t/ Learn the circleof fifths by heart,and be able to reciteit fluently,without hav-
ing to think.
\ i

l-r 6.6 In the scale,the new sharpis alwaysa fifth abovethe previoussharp.It is the
seventhtone in the scale.The new flat is the fourth tone in the scale:a fourth
f-r above(fifth below) the previousflat (NB!).
Although piano techniqueis not our main goal, knowledgeof the scalesis a
great help to get to know your way around the keyboardin all keys.We cer-
\.) tainly will make use - though not in the customarytechnicalsense- of this
d\
practicalstepwisearrangementof the tone materialof a key.
\,v

r-\ Exercises:
r' Look at the diagramsbelow in which you seethe fingeringof the scalesof C
and of F (major) in the right hand.Tiy to play them yith the given fingering.
Rememberthat the fourth tone of the scaleof F is b? and not b; a black key
l ' r and not a white one.There is a half step,as we know,betweenthe third and
the fourth tone. While playing the scales,remember to keep your fingers
(-\
aligned with the keys as much as possible,especiallywhen shifting to the
thumb in an ascendingscale,and shifting to the 3.d and 4th finger over the
()
thumb in a descendingscale.*If you don't align your fingerswith the keys,the
q. i) hand will be in a too awkwardposition to play the scaleproperly.

(-;
III ItilI Itl ILilItlI tltl
o @o o @ o
o ooo@
o
i, o
( )

\ ..'
First play the triads on the keyboard,and after that the seventhchordson the
degreesof the scaleof F, aswe did in the key of C. Pay attentionto the b? you
i want to hear in the triads on II, fV and VII, and in the seventhchordsW,W,
( ;
V7 and MI7. Don't just look at your hands,but alwayslisten closelyto what
they are doing.
[*-_,'
* Moving the thumb under, has more or lessthe feeling of moving the other fingers over the thumb; moving the third or
í :
fourth fingersover the thumb feels like moving the thumb under the fingers.

( l
13
 r' Look at the diagram opposite,
which showsthe scaleof G ma-
jor, and play it on the piano with
the given fingering.Discover the
minor seconds(half steps) be-
I Itl
LIJ o o @o
il
tween the third and the fourth,
and between the seventh and
eighth tone.Keep in mind ttr"ft

r' Play the triad in root position and its inversionson the degreesof the above
scales.
r' Also play root position and inversionsof the seventhchordson the degreesin
the key of G major.
6.7 A generalrule for the fingering of the scales:the l-stand 5thfinger (thumb and
little finger) should avoid touching aqy black keys.For the right hand in 'flat
keys',the 4thfinger alwaysis on the bv and starts- with the exceptionof the
F scale- with the2nd finger. In the 'sharp keys', the 4th finger is on the new
sharp.The new sharpin the 'sharpkeys' is alwaysthe seventhtone of the ma- i \
jor scale.Thisrule for the fingeringof the right hand goesfor all 'flat keys' and
for the 'sharpkeys' up,to and including the scaleof B major. Rememberthat r ' ,

the scalesof F# and Gb are one and the same,and therefore have the same
fingering. Scalefingering for the left hand is the same as the one for C (4 on
d and3 on a) usedaslong aspossible.When this iq no,longerpossible,beqause
the scalestartson a black key,like the scalesof Bp,F.2,¡v and DP (for GP see
below),the 3rdfinger is on the first tone and the 4thfinger on the new flat.The
new flat is alwaysthe fourth tone in the 'flat key' scale.If in t\e left hand the
thumb is going to be on a black key,asin the scalesof p and Ch 1f'f;¡,the scale
starts with the 4th finger and the 4thfinger comeson gD1ff¡.
i', )
Assignment(long-term):
\1;r,

r' Become a natural in playing the major scales,and triads and seventh chords
on the degrees,in all keys.
r l
Lesson 7 Theminorscales
7.1 When we comparethe minor scalesto the major ones,it strikesus that the ma-
jor key has one scalewhere the minor key hasthree scales. The superimposed
triads of a major key all are major triads.In the minor key,however,there are
. i
three possiblecombinationsof triads:
1. Only the middle triad is a minor triad;this forms melodic minor. )
2. The middle and bottom are both minor triads;this is harmonicminor. 1 J

3. All three triads are minor triads:this is callednatural minor or aeolic.

14
 Diagrams 1,2 and 3 show the tone material of the three different C minor
scalesas superimposedtriads.

( ,

(-,

(-: <+>+-r><- -t
€.e.F> <d><-+-<_>

c) Diagram 4 showsthe complete

stepwisetone material of C mi-
f') nor. We see respectively the
melodic, harmonic and aeolic
fl scale of C minor. which is
called the parallel minor of C C minor harm. ll C n a t .m i n o r
major. It has the samefnalis as
\=.r the major scale.
\,,',J 7.2 The relative minor scale starts on the sixth tone (Vlttt degree) of the major
() scale.The major and its relativeminor key have the samekey signatureat the
beginning,ofthe staff.The scalein the examplesis C minor; the keys gf C mi-
nor and EPmajor both have three flats.The relative minor scaleof EDmajor
is thereforeC minor.Also the reverseis true: the relative major scaleof a mi-
( r
nor scalestartson the third tone (Itrrd degree)of the aeolicminor scale.Con-
( ) sequentlyC major is the relative major scaleof A minor, which has no signs
at the beginningof the staff.
( )
7.3 For lovers of practicingscales(!) it might be nice to know that the fingering
t-] for the C, G and F minor scalesand their parallel major is identical.
L..d 7.4 It is customaryin somelanguages, to write a minor key with a small letter: c
minor. Sincethe third of the minor triad, contrary to that of the major one,is
t r ,
a minor third, the minor key is sometimescalled 'minor-third key'.
7.5 The diagramsbelow showthe seventhchordsand their chord symbolson the
degreesof the C harmonicminor scale.

LJ
()

( ;
III = E2¡l+5
!.-,.,
( '

{ ,

f , r

l i

i ;
15
 Next follow the chordson the degreesof the three different C minor scales,
with their
namesand symbols.

Harmonic minor:

rl Cma C minor major seven

uz ga D half diminished
IIIT EP¡/+5 EPmajor sevenaugmentedfive
TW Fm7 F minor seven
w G7 G seven
w Rba Ah major seven
VIIT go B diminished7 (sevenis usuallyomitted)
i l

Melodic minor (differenceswith harmonic minor are bold-faced):

tr Cma C minor major seven
ll7 Dm7 D minor seven t)
IIIT EVN+5 EPmajor sevenaugmentedfive ( )
lv7 F7 F seven
w G7 G seven ( )
vr7 ¡o A half diminished
,'- j
vn7 go B hatf diminished

Aeolic or Natural minor (differenceswith harmonicminor are bold-faced):

17 Cm7 C minor seven

trl ga D half diminished
ilr7 EPa EPmajor seven
JV7 Fm7 F minor seven
V7 Gm7 G minor seven
w Rb¡ A,Pmajor seven
vII7 ebz BPseven

In traditional harmonythe figure 7 addedto a roman-typedegreenumber,e.g.IP,in-

dicatesa four-part seventhchord.Dependingon scale,mode and degreenumber the
seventhwill be a major,minor or diminishedseventh.It shouldnot be confusedwith
the figure 7 used in letter-type chord symbols,e.g.Dm7 and G7, customaryin jazz
music.Here it indicatesexclusivelya minor seventh.
When usingroman degreenumbers,one often omits the 7, when the reader will un-
derstandthe meaning,i.e.scaletone,triad or four-part chord. i-_ )

16
 Exercises:
r' Slowly play the three scalesof C minor with the correctfingering.Keep your
fingersnear the keys and relax the hand.

r' Play the seventhchordson the degreesof the scaleof C minor harmonicwith
comfortable fingering and call them by name.
r' Play the seventhchordson the degreesof the scaleof C minor melodic and
natural minor (aeolic) with comfortable fingering, and call them by name.
r' Invert the seventhchords on the degreesof the scaleof C minor harmonic
with comfortable fingering.
r' Play the following chordsin closeposition with the root in the bass(root po-
C) sition) and with the 7thas top note (in the lead):
rl
\,./ Abl.,Ba, Eha,Bo, Fm7,F7,B¡, Ffm7.

\J r' Play the samechordsin mixed root position with the 5thin the lead.

ffi r' Play as many major 7th chordsin closeposition as you can find. Pay careful
attentionto their correct sound.Tiy to memorizethem.
o r' Do the samewith the dominant 7th and the minor 7th chords.
(-)

(.)

C)
(J
r\
\,.,,)

(,,i
( ;

il
C,:
(;

(,_r
ril

(,,

(i
(l
í r
17
 LEARN THE OVERVIEW BELOW By HEARTAND PRACTTCE
IT ON THE KEYBOARD IN ALL KEYS!

Primary degrees:
I = Tonit
fV = Subdominant
V = Dominant
IV

Inversionsof the triads on the degreesof the C major scale

fnversions of the triads on the degreesof the C harmonic minor scale

The seventhchords on the degreesof the C major scale

Ifz IIIT IV7 y7 VI7 VIIT

The seventhchords on the degreesof the C major scale

organizedaccordingto the superimposedtriads

|suu¿o-ilrantl

18
t-
f:
( :

l=.,

(-)

('r

CI I

f,') F G A B d f & cl dl el f g ' a ' b t c t t d u e uf u g u

(_]

ll 2 THn FrRsrcHoRDpRocRrssroNs
CHAPTER
(. i

In the previouschapterwe were introducedto the piano and to someof the elements
of traditional harmony.We also got to know the most commonchord symbolsand a
C) number of termsfrom the jargon of traditional harmony.The subjectof this chapter
s) will be the progressionsof the primary degrees:tonic --+dominant -r tonic, and ton-
ic --+subdominant--+tonic.Furthermore,we will be introducedto the preparationof
(:)
the dominantby the subdominant.

LgSSOn I P.i-uty degreesin tradifional harmony

( r
8.1 The principle function of the dominant is steeringthe harmony to the tonic.
( ;
When the primary degreeof the dominant (V) movesto the primary degree
{,)
of the tonic (I), both in root position,the bassfalls a fifth (Latil: cadere,to
fall). This kind of chord progressionis called an authenticcadence(example
f 1\
\.J 1a).The chordshaveafifth relation.*
(J Usually the subdominantpreparesthe dominant or steersthe harmony away
from the tonic.The progressionfrom the subdominant(IV) to the tonic,how-
(,r ever,is all but unusual.It is calledplagal (derived) cadence(example1b).The
( :
bassleapsa fifth (falls a fourth).In a sense,the relation subdominant-tonic is
the oppositeof the relation dominant-tonic.
(i In a closurewe hear the plagal cadencelessfrequent than the authenticca-
dencedominant --+tonic. The dynamicsof the cadential fifth (fall of the fifth)
(,r in the latter progressionis considerablystrongerthan the raisingfifth in the
(_,; subdominant-+ tonic progression.

\ j 8.2 The examples1a and Lb show the elementaryfour-part progressionsof the

primary degreesin C major:I -r V -r I, tonic --+dominant--+tonic (C--+G-rC)
and I -+ l[ -r I, tonic --+subdominant-+ tonic (C-rF--rC).All the triads are in
(; root position and all triads are complete,i.e. all chord tones are present.The
root of the triads (c, g andfl is doubled an octaveup.
t...,
* In order to achievesomefluency in playing harmony on the piano,it is of coursenot absolutelynecessaryto be familiar with
(_)
the completejargon of traditional harmon¡ but it is a lot more comfortable when one understandsthe terminology and not
every concepthas to be explainedelaborately.
i : t
19
 Authenticcadence

Plagalcadence

I r y I etc.

The seventhtone of the major scalehas the tendencyto resolveupwardsto

the root tone.For this reasonthe tone is calledleadingtone.Theleadingtone
is the third of the dominant primary degree.In the plagal cadencethe root of
the subdominantfunctions as a descendingleadingtoneto the third of the ton- l--'r
ic:/ r. e.Seeexample1b.It is mainly this quality which causesthe dynamicsof
the plagal cadence.
t 1
In sections14.4and2l.6we will learn that in the traditional plagal progressionoften the 6 is added (srxte
ajoutée)to the triad of the primary degreeof the subdominant (IV). Becausethe chords resolve differ-
ently,this chord shouldn't be confusedwith the first inversion (8) of IP.

8.3 The progressionin example2 differs from the one in examplel-a.In the upper
staff we seea descendingpassingtone (fl betweenthe root tone of the G tri-
ad (S) and the 3rdof the C triad (e).On the third beat of the first bar this (pass-
ing) tone changesthe G triad into a dominant seventhchord on I. To get a
completeC chord,the leadingtone (b) drops to the fifth of C (S).
Examples2a,2b and2c show the progressionG--+G7-+C.

( , l

t i

8.4 In example3 we seethe most elementaryresolutionof the incompletedomi-

nant seventhchord on g (G7), into an incompletetriad of C. In both chords
the 5this absent(d andg). In the upper staff of example3a we seethe interval
of an augmente¿4tn(f-b)- also
called tritone- of G7, resolving 3
outward to the interval of a mi-
nor 6th(e-cl of.C.The opposite
happensin example 3b where
rhe diminished 5th (b_f) re_
intervalsusually
solvesinward to the major 3ra@-e)of the C triad.* Augmented
resolveoutward, diminished intenals resolveínward.
*Tlitone and diminished fifth are complementaryintervals.Superimposedthey form an octave.

20
 i
in jazz
Lesson 9 Pri-"ry degrees

The soundof the chordsusedin the progressionsof traditional harmony deviatesin

quite a few ways,due to differencesin style and character,from the sound (colour-
ing) of the chordsin jazz In this lessonwe will meet someof thesedifferences.
r',
Dominant --+Tonic (V2..+I) in jazz
c] 9.1. In example1 the 6 of C6 (a) is suspendedby the major 7tn (a) of C¡ (á). The
C"\ latter tone is calleda suspending
tone oÍ in short a suspension.It 1
(--,
is a tone which suspendsmove-
i'i ment by which it createsten-
sion.The third of G7 (b) keeps
(r its place and becomesthe ma- C¿ c6 G7 C¡ c6
jor 7th of Ca.
A number of the toneswhich in traditional harmony were originally suspendingtones,have partially lost their dy-
$ . J namic characterin jazz.These tones have become part of the superimposed-thirdsstructure of the chord.
Colouring the chord is the most important reasonfor their existence.We call them chordextensions and they are
$ indicated with a number or with a delta.The numbers are derived from the interval they create with the root of
the chord.The nine (9) is the major ninth, that is,the major secondplus an octave.Thirteen(13) is the major sixth
plus an
{'} ,octave(tredecime).Eleven (11) standsfor a fourth plus an octave (undecime),etc.By adding a minus (-)
or flat (b) the extensionis lowered and by a plus (+) or a sharp (fi) raised.Besidesthe colouring characterof chord
l'r extensions,the most important difference between an extensionand a chord tone is that a chord tone can be in
the bass,whereaschord extensionsonly under certain conditionsare found in the bass.The major seventh(delta,
a) is an exceptionto this.This tone can be both a chord tone and a (colouring) extension.

() 9.2 In example2atheroot tone of

G7 (S) is suspendedby the g
() (a). In example 2b the root
tone of C¡/9 (c) is also sus-
\-j pendedby the I (d).
G7t9G7 C¡ c6 G7 ca/g c6
Lrr 9.3 In example3 we see the com-
() plete five-part G719 chord of
which the 9 resolvesto the 5 of
t) CA9 (s). The 5 of G7l9 (d) be-
(o,J comesthe 9 of CA/g which re-
solvesto the root tone.
(_r G7t9 cA/g c6 G7t9 Ca/gC6

(r 9.4 In example 4, the 5 of G7 (d) is internally

(within the chord itself) suspendedby e. This
(.,
tone is the 13 of the G7l9l13 chord.The re-
t l mainder of the voicesmove as in example3a.

i, G7t9/13
The 13 can also stay in the lead of G7 and re-
solveexternallyto the 9 of Calg 1¿¡.

\,j

(=";

(r
21
 9.5 Examples5a and 5b show the voicing in which the secondvoice - from the
top - is positionedan octavelower. In jazz music a mixedpositionlike this is
called a drop-twoposítion(seealso section5.3).This more open position gives
the chordsa different colour.Furthermore,the possibilityis createdto divide
the spacebetweenthe voicesmore evenly,which makesit easierto insert the
colouringtonesin the middle voices(example5c).In 5a we seethe samepro-
gressionas in 3b, with the difference that in 5a the 7 (fl and root of G7, and
the 3 of Ca (e) are one octavelower.

G7l9l13C6/9
i - )

9.6 Example 5c showsthe external resolutionof the 9 (a) and 13 (e) of G7 into
respectivelythe 5 (g) and the 9 (d) ot C6/9.Becauseof the drop-two position
the colouring tones 13 (e),I (d), and 6 (a) can be more evenly placedin-be-
tween the middle voices(compareexample5a).
Subdominant --+Tonic (IV+I) in jazz
9.7 In jazz a subdominantprimary degreecan resolveto a root-positionedtonic
as well as to a tonic with the third in the bass(I0).We will see,however,that
in jazzlV+Itr or fV+I6 is more common than fV+I.
9.8 In the examples 6 and 7 the
chordsin the plagal progression
are in root position. Again, we ;' ,J
see the major 7 (A) suspending
the 6, and the 9 suspendingthe I ]

octavedoubling of the root.

9.9 In example 8 the root of the
subdominantmovesto the third
(e) of the tonic. Tladitionally, if
this latter tone is in the bass,it is
not doubled in the upper part of
the chord.
The two suspensions(D and d)
for the doubled root of the ton-
ic in example 8b create the 7th
chord on III (Em7), followed
by 16(C¡r). 69/e FA Em7 C¡,

22
 Exercises:
Play all the examples
from lessons8 and 9.

Play sequencesLa and

1b, and continue over
one octave.

f{¡\ Play sequences1a and

lb, beginning on C7
f-r and continuing to C7
one octavedown.
f'¡
Play sequences2a and
l-l
2\,up,to and including
fl\ GP¡ GP6.
Play the sequences2a
\.,','i
and 2b, starting at a
\,tJ random three-part ma-
jor 7th chord with the
f.-.\
fifth omitted.
( ;
While playing the se-
quences, name the
chordsand try to recall
i.j their piano voicing. c^ Co Fa Fo eb¿ gbo Eb¿Eb6etc.
( ) Play exercisesL and2 while the left hand playsthe root of the chordsindicat-
("¡
ed. only the upper structureof the chord moves.The basskeepsits place.

o Tiansposethe exercisesa half stepup: Ffl6or D#m7;G6 or Em7,etc.F#mGor

Düaor 87/g,etc.Tiy to get somefluency,which is not the sameasspeed!Take
(i vour time!
(.'' The exercisescan be
varied in different
LJ ways:F6 going up, Ff6
( , down, G6 up, etc. Start
on a different chord. F6or Dm7
( j LJsea different rhythm.
[anspose py thirds:F6,
AP6,BO(CP6),etc.Use
your imagination and Fm6or D@or BbZlgwith root omitted
don't make it too easv
for yourself.
f ¡

t l I
I

23
 Lesson 10 ¡. few rules for voice leading

The techniqueof voice leadinghasits origin in the practiceof traditional vocal four-
part harmony.The rules of voice leadingserveto give a melodicalsenseto the sepa-
rate voicesof the chords.This lessonis about some of theserules.In the following
lessonsthey will be extendedand provided with additionsand exceptions.
{
L0.1 The seventhof a chord descendsstepwise.
This rule is valid for the resolution of the seventh within the same chord or
the followine chord.We call this the internal and the externalresolution:
A \ 6 internalresolation

L0.2 The seventh descendsto the third of the following chord, if the two chords
have afifths relation.
We have seenthis consistentlywhere G7 is followed by C.The/moves to ¿
(NB!):
7 \ 3 externalresolution

10.3 The third becomesthe seventhof thefollowing chord, if the two chords have
afifths relation:
3+7 or3 r 7 externalresolution
When there is a progressionof G7 to Ca, the third of G7 staysin place and
becomesthe a (major seven)of C (NB!)
In a progressionof two or more dominantseventhchordswith a,fifth relation,
i.e. G7 --+C7 --+F7 (dominantchain)the 3 movesto the 7: b t b? t a.
I0.4 Chord extensions descendstepwise:
internalresolution
9r ?????
r
13 5 internal resolution
and in a progressionwhere the chordshave a fifths relation as in G7 --+C: { i

9 r 5 externalresolution i )

13 ¡ 9 externalresolution
1 l

10.5 Suspensionsresolve descendingstepwise,internally as well as externally.

\ l

10.6 In a chord progression the voicesshould preferably move over the shortest
distance. \.-_
j

Application of this rule dependson a number of factors:the lead (melody),

the tone in the bass,the doubling of tones,and whether or not there are tones
'Shortest
omitted from the chord; i.e. whether or not the chord is complete.
distance',therefore,will need somespecification(seealso 8.3).

t_)

24
 (

fi Exercises:
( " r' Play the following progressionswith the correctvoice leading:

f-: x c 7 t g l F a l e FI 6 r D 7 t 9 | c a / 9 G 6 |
x C7113| F^/9 F6 | ,( D7t13l Ga/g G6 |
(-)
r' Connectthe following chordsin drop-two position:
Cr x cTts/13 cTts I Fa/g F6 | r D7/s/13 DTte I Ga/g c6 |
o
O LeSSOn 1-1- Sus¿--+Dominant seventhchord --+Tonic

(,,
In the previouslessonswe were introducedto the suspensions: a for the 6 and 9 for
(. I the root of the major chord,the 9 for the root and 13 for the fifth of the dominant
seventhchord.We learned that the suspensionscan be a part of the superimposed
(,) thirds structure of the chord, in which casethey are called chord extensions.In this
lessonwe will becomeacquaintedwith the suspensionof the third of the dominant
\,,1
seventhchord of V. This suspendingtone takesthe placeof the third, which is usual-
{} ly not presentin the chord,and is usuallynot a part of the superimposedthirds struc-
ture. In the chord symbol this kind of suspensionis abbreviatedas s¿sor sus4.The
o fourth c of G7sus4 suspendsthe third á of G7.
(')
LL.l In exampleLathe fourth (c)
( ) suspendsthe third (b) of the 1
G7 chord:G7sus4.
( i
1,1.2 In exampleLb, in addition
(l to the suspensionof the
third (D) of the G triad, the GTsusG7 I8 W
$ 6 or 13 (e) suspendsthe fifth (d). This creates,by coincidence,the secondin-
\.J versionof the C triad with the doubledbasstone g. In traditional harmony,a
six-four(El chord(tri-
tonic triad (C) appliedin this way,is called a suspending
(l ad with the fifth in the bass).It can be regardedas a suspendedV chord.
(,i
I1,.3 In the upper staff of exam-
ple 2a, on the first beat of 2
ú
the first bar, we see the F
(_; triad.This suggeststhe pres-
ence of the subdominant
O (IV) as a preparation for
t the dominant.Insteadof G7l9 (see9.2) we seeG7l9sus4- alsowritten as F/6
- as a suspensionfor G7.
t l

11.4 Example 2b showsthe samesuspensions as example1b.Becausethe seventh

L,) of G7 (fl replaces g
the doubled shown example1-b,no C triad is created.In
(,.r this example,the lead (e) could sustainas 13 in G7l13 for the whole bar,to re-

(i
( i
25
 solveinto the ninth of Cai9 (d) in the next bar.A similar thing could happen
with the lead in example2a:fhe a continuesas9, to resolveexternallyinto the
fifth of C¡ (s).

11.5 In example 3 we find the

most essentialvoices of 3 i l
the progression
GTsusG7 lca C6 |
It is recommendedto learn
examples3a and3b by heart
and practíce them in all i )

keys.
4
LL.6 Examples 4 and 5 show
the complete five-part
harmony of the progres-
sion. Example 4 in closed Dm7¡6 G7l9 Ca/g CO Ft¡6G719 C^/9 Cb
and example 5 in drop- i . . l

two position.
rl -',
l l

tt.7 In example 5b we meet 5

the 13 (e) as colouring
tone again,replacing the
fifth in the middle voices
of G7/13 (see example
5a).The C chord hasbeen colouredby the 6 (a) and I (d.).
11.8 The upperstructureof the chordsin example4a,pIayedby the right hand (up-
per staff),can be inverted,in the sameway asin exercisesL and 2 of lesson9.
This way successively bringsthe chord tonesof the upper structurein the lead
over the samebass(seeexample6).We cantry this with the drop-two position
in example 5a as well. That, however,will be considerablymore difficult. The
challengeis not to double tones.Listen - and look - carefully!In this position i l
it is tricky (at times impossible),to keep the sustainedbassin its place,with-
out usingthe right pedal.

1 r

G7t9

Exercises: l l

r' Play the examplesand follow the advicegiven in 1L.5and 11.8.

26
 Learn by heprt as many examplesas possibleand transposethem to nearby
keys (F, G, BP,etc.).
Play the sequences3a and 3b over one octave,and learn them by heart. Say
the namesof the chordswhile playing them.

I
(;

f)
GTsusG7,etc.
f-)

GTsusG7,etc

Learn to play the sequences,

startingsomewherehalfway.

LeSSOn 1-2 Dominant -+ Tonic. with some chromatics

( ) In this lessonwe will encountersomechromaticpassingtones,bothin the lead and in

the middle voices.
(-)
Lz.l In examplel,a chromaticpassingtone is in-
(r serted betweenthe ninttr of G7l9 and the
fifth of the C chord.Theav inthe lead makes
$ the G7l9 into a G7l-g chord ('G7 flat nine').
(o,.J
12.2 In example2,sus4(c) resolvesexternallyin- G7t9 C^/9 C6
( ) to a chord tone of the next chord.We seethe
suspepsionc move to the major 7 (b) of Ct.
l i
The av (-g) is a chromaticallymoving pass-
{ l
ing tone again.In this examptethe fifth (d) is
omitted from the G7 chord.This makesthe
chord incomplete.*
G7l9sus4 C¡
I2.3 In example3, we alsoseethe passingtoneab
between 9 (c) and 5 (S).The 13 substitutes
for the 5 as a colouringtone that resolvesto
the 9 of the next chord (d). In,all examples
-. we seethe 9 or -9 of G7 (a or av)resolvein-
Lr' to the 5 (g) of the C chord.
G7tgt13 ca/g c6
(-.i

(.) * In a dominant seventhchord the fifth can easilybe omitted. In somecases,e.g.where the 13, -13 or +5 are also in the chord,
it soundsbetter when the fifth is left out.
1.,)
27
 12.4 In example4, the 13 of G7 (e) moves to the 9
(d) of the Ca/g chord via -13. In the tonic chord
the middle voices also move with chromatic
passingtones.In this examplewe seethe two of
them move together.
G7t9l13 \ l

Exercises:

r' Play all the examplesand name the chord tonesby their number (1, 3, 6,7, a,
9, 13) and their flats (flat 9 and flat 13).
t/ Practicethe following progressionsuntil you can play them smoothly:
,( C7l9l13 C7l-9113| F6/9 startingwith 9 in the lead
X F7l9l13 F7/-gl-13 | BPa/gBvTl-g I Bv6 startingwith 13 in the lead
1.-\, . . r

Invert the following chordsin closeposition with the right hand,keepingthe

\

r'
bass,written after the slash,in the sameplace: {
/-:'r
i

f Fm7¡sbx Dalc ,( Bo/c x DalBb¡a Aa6 tc EbmT¡fi

i l

LgSSOn 13 S"n¿ominant --+Dominant and the II-V-I progression

The previouslessonsshowedthe dominant as a preparationfor the tonic: G7 resolv-

ing to C.In this lessonwe will seethe subdominantfunction as a preparationfor the
dominant.Somehints about this characteristicof the subdominanthavealreadybeen
given.In 11.3,1"1.6and L2.2we seetriads of F or F6 and F¡ chordsin the upper staff
of the examples,while the third of the G7 chord is omitted. The only thing that dis-
tinguishesthe suspendingG7l9sus4 in the examplesfrom the subdominant,is the (,)
absenceof a subdominantbass(d orfl. Example2inI2.2is a little different;if there
(.' ;
had been an/in the bass,the subdominantwouldn't have been a dominantprepara-
tion, but we would have seenthe plagal cadence:subdominant--+tonic (seelesson
8.2).
13.1 If there is a half step (minor second)distancebetweenthe seventhand the
eighth tone of the scale,the seventhtone is calledthe leadingtone (seelesson
8.2).In the scaleof-C,,bis the leadingtone which is also the third of G7. It is
said that this tone has a strong tendencyto resolveupward to the tonic. In
contrast to the dominant,which takes a great part of its right of existencefrom
this tendency,a subdominantchord rarely hasa ascendingleadingtone.In the
key of C we therefore very seldom find an ascendingb in a subdominant
chord.If there happensto be a b in it, for exampleas+11in E,we usuallywant
it to resolvedownwardto a or leaveit in its place.
13.2 Besidesthe primary degreefV, II has a subdominantfunction as well. In the
introduction to the seventhchords(5.1) we discoveredthat the F triad with d

28
 at the bottom (in the bass)producesDm7.It is alsoknown that F6 consistsof
the sametones as Dm7.
Dm7 is II in C major and has subdominantfunction in that key.

13.3 In the II-V progressionin C (that is, the progressionDm7--+G7)one notices

the following: the seventhof Dm7 (c) resolvesto the third of G7 (b) and the
bassdrops a fifth, as it doesin the progressionof G7 to C. Dm7 and G7 also
havethis fifths relation (see8.1).Root-positionedchordswith a fifths relation
make a strong@adential)progression.
13.4 Becauseof the similarity of Dm7--+G7with the 1
suspensionGTsus--+G7,the Dm7 chord is
called a suspending
minor seventhchord.The sev-
enth of Dm7 is suspendingthe third of G7. In
examplel it becomesclearthatDmTlll (11=g)
Dm7l11 GTID
( l is identicalto GTsus lD @ in the bass).Seebe-
low example6.In this exampleG7 is not in root position
f.,\
\.,,Y
I3.5 The tr-V progressionin minor keys functions in the same way as the one in
s major.In minor,however,the seconddegreeis,asa rule,a half diminishedsev-
enth chord with a diminishedinstead of.a perfectfifth;in minor Dm7--+G7usu-
ally becomesDa--+G7.Seealsochapter4.
13.6 In examples2a and 2bwe seethe movementof 2a
the most essentialtonesof the trt-:V progres-
sion in C major or C minor.In example2athe
( )
third of II, and in example 2b the seventhis in
(:) the lead. Neither IP nor Vt in the examples
has a perfect fifth. This tone is consideredas
(,) non-essential.It can give the chord a richer 2b
It\
sound,but usually it is a voice with no great
\J
harmonical meaning,and can therefore easily
(. --\ be omitted
Thirds and seventhsare tones that belong to
the middle voicesrather than to the lead voice.
( .\ If the third or the seventhhas'a melodicrole, we
usuallyfind it doubledin themiddlevoices.
{ i
L3.7 In examples3 and 4 the complete four-part
fi Dm7 chord is shown.Example3 showsthat re-
G7l9(no5)
taining the samenumber of voicesin the reso-
lution to the dominantresultsin an incomplete
G7l9 chord; the fifth is absent.After all, a
complete ninth chord is a five-part chord. In
U example 4 the fifth of Dm7 (a) keeps its place
,\t but is taken over by the player'sright hand as

{.1
r i

29
 ninth in the G7 chord (arrow). In the left hand the root (d) of Dm7 splits up
and completesthe G7l9 chord.
This splitting up of tones is quite a normal procedure on the piano, deviatingfrom the traditional voice-
leading rules.

13.8 In example 5, Dm7 is extended by a fifth

voice:the ninth (e).In the next chord this tone
resolvesto the fifth (d).In this examplewe see
the completeG7/9 chord.Just like in the pre-
vious examplesthe fifth of Dm7 (a) keepsits
Dm719 G7t9
place,and becomesthe ninth in G7l9.
t3.9 In example 6, Dm7 is extended with g. A
DmTlll chord is beingformed.This extension 6
of II appearsin many forms. In this case the
extension is more an anticipation of the root
tone of the chord to which it resolvesthan a i-¡;

suspension. Like the 9 and the 13, the 11 also Dm7l11 G7 l'
^ti

is considered a part of the superimposed

thirds structure of a chord.T\e d can also remain in the bassof G7. In that í','ti
\::t.j,

casethe only movementin the tr-V progressionis 7r3 (cró). Seealso exam-
ple L.
1-3.10The voice-leadingrulesbecomesomewhatredundantasthe chords,playedon
the keyboard,becomemore extensive.Inthe first place,following them cor-
rectly becomesalmost impossible,due to fingering problems.Also the in-
creasednumber of voices diminishesthe necessityof applying the rules.
Examples7 and 8 showthat we will barely hear the correctvoice leading;fol-
lowing ineffective rules seemsto be rather fruitless.
The arrow in example 7 stands for the ex-
changeof the thumbs in this progression.For
peoplewith handsthat are big enoughto play
the third of Dm7/9/11 (fl with the left hand,
this thumb exchangeis superfluous.If they
Dm719/11 G7/9113
want, they could add the fifth (a) to the
Dm7l9l11 chord with their right hand thumb
or with the 2ndfinger of the left hand, down an
octave.
G7 in example 8 belonqsto the so called ¿/-
teredchords,d becomes/, which we will get to
o
know later. Dm7l9l11 G7l-51-9113

13.L1, The II7-\Z progressionusually has the following voice leading:

7\3 5+9 11.+1
3+7 9r5 of 9+13

30
 13.12 The scaletones that can be used as extensionof the suspendingminor 7th
chord,are 9, 11, and in somecases13.The 4 ca¡ be addedand is mainly heard
t , in the lower registerof the chord (over the bass).The voicingof the chordsin
the examplesis one choiceout of many possibilities.
i

Exercises:
r' Play the examplesabove and analysethe chords.
ti
\. ..' r' Practicethe three-partchord sequences(Seq.4, 5 and 6) until you can play
them smoothly by heart.Analyse them and continue playing them over the
entire keyboard.Watch closelyto the tones which keep their position.Play
them slowly but in time.If necessary
)l
use a metronome and put several o @ o o o @
f'-
beats to every chord. Smoothnessis
("r more important than speed.The fin-
gering of the upper voice,seventhr
ü third, in sequence4 is @ \ @,all the
e) time. The middle voice can best be
played by the thumb. Dm7 G7 C$mzF$z Cm7 F7.etc.

In sequence5, the Lstand the 5thfin-

ger of the right hand play a doubling
of the third -> seventh in octaves.
{ )
The fingering of the middle voices
( ) seventh\^ third in the right hand is @
rO.
f'r
In sequence6 the right hand plays Dm7 G7 C$mzFfz Cm7F7
\r...J seventh\ major third r minor third
(,.,)
in the upper voice with O \ @ \ O.
In the middle, voice the fingering is:
O+OrO.
I Start the sequencessomewherghalf
way.For exampleon Gm7 or BPm7.
{ )
Tiansposethe drop-two position of Dm7 G7 Gm7 C7 Cm7F7
exercise1 chromatically upward in
all keys (not easy!):
EbmtI EbmT/e
nún 1
Em7 | Em7/9 A7 /9 |
f ,
Fm7...,etc. Learn them by heart.
t l Playingthe chordsin closepositionto
start with, may help. Dm7l9 G7l9
\ ,

31
 LeSSOn 14 Subdominant--+dominant --+tonic and the II7-V7-I progression

Atthough the tr-V-I progressionis a simple and much appliedharmonicalpattern in

jazz music,it will becomeclearthat it hasits restrictionswhen harmonizinga melody.
Very often a stepwisemovementin the basssoundsbetter than the quite poor fifth-
or fourth pattern that the tr-V-I progressionhasto offer us in the bass.A long series
of root positionsof chordswith fifths relationsdoesnot result in a very interesting, I

lively bassmelody.
Becausewe have alreadyseenthe voice leadingof V7-I and IP-V7, there is not very
much to add to the voice leadingof the completeII-V-I progression,exceptfor some
supplementsand exceptions.Inthis lessonwe will discoverthat chordsdo not always
have to be in root position and alsothat the root can be kept silent.Wewill meet the
neighbouringtones and again the passingtones and will get to know two other ex-
tensionsof dominant seventhchords.
l4.I In the tr-V-I progressionof example 1, all
1
voicesmove over the shortestpossibledis- ( , 1

tance.G7 is not in root position;the root (g)

/': \
is in the secondvoice and the fifth (d) is in
the bass.All chords under this melodicfinal
Dm7 G7/D C
cadence(ctbtc) are complete.
14.2 Also in example2,the root of Dm7 remains
below the G7 chord, and the root of G7
doesn'tappearin G7 at all. In caseslike this
we say that the root is silent.In the second
bar we see two neighbouringtones(b and d) Dm7 G7/9¡p Ca/9 C6 t . j

moving around the root c in the bass.

t l
1,4.3 The neighbouringtones in example3 move
in tenths (third + octave),becauseof the
drop-two position. In this example too, the
root of G7l9¡pis silent.In practiceit will be- Dm7 GV9¡D Ca/g Co
come clear that this is no rarity in harmony
at the piano.Seealsolesson17.

14.4 Example 4 showson the first beat the first

inversionof Dm7;/is in the bass.We also
could have called this chord F6.Yet we pre-
fer the symbol Dm7¡p of which the disso- Dm7¡pG7
nant, the 7(c), is the moving tone. In exam-
ple 4a the 6 (d) is the moving dissonant(see 4a
also 2L.6).In jazz this chord frequently re-
solvesto Em7 or E7. (- -)

1,4.5 In example5 we seea number of chromatic-

l i

32
 (--r

l---'r

ally descendingpassingtones.In G7 the

third is doubled an octave up. The lower
one is the harmonic and the upper one the
melodicthird.Theupper one hasa more free
voice leading and will often move in many
directions. D m 7 G7t13

14.6 Example 6 showsa progressionthat origi-

nates from C minor. Therefore the final
chord could have been Cm6/9. In G7 the
(-r lower third (á) originatesfqom C harmonic
minor and thp upper one (bP)from C aeolic
{-i minor.This DPis called-10 (someprefer to ga c7-1gt-10 c6/9
call it +9
+9*). We peetwg successive
).We suspen-
,[)
-1
sions, 0r-9 (bv anda?),for the fifth of C6/g (g). G7/-13l-1 0 is alsocalled-
fl although not entirely correct - GTalt; alt being the abbreviation for altered.
Seealsolesson14.11.
\.,t
14.7 The Dm7(s) chords of examples5 and 6
(.) have a melodic third besidesthe harmonic
one; the / appears twice in the chords.
(j
Octavedoubling of the 3 providesfreedom
(., for the upper 3 to move.Insteadof keeping
its place as the seventhof G7, it movegto- Dm7 G7l13l-9 C6/9
(,,
wards 13 (e in example 5) or -13 (eDin
(,,) example6) of G7. Example7 showsthe -g
in combinationwith the 13.
(,)
14.8 The seventhof a chord can alsohave- just
{"} like the third - a melodic function and
move more freely with respectto the voice-
C¡ leading rules. Dm7 in example 8 has a Dm7 G7l-91+11Ca/g
C6

o doubledc.The harmonicseventhbehavesas
you would expect from a seventh within the voice-leadingrules; it moves
( )
down to the third of the next chord:c \ b.The melodicseventhhowever, moves
(-l up to t#.This c#is alsopart of the superimposedthirds structureof G7 - like
9 and 13 - and getsthe number +11 (augmented eleven).Itis a non-scaletone
(,i in the kev of C.
{ ; 14.9 Playingthe right voice leadingfor the pro-
gressionC¿/9+C6 in example9 is not very
easy for a non-piano player. It is one of
those casesin which, becauseof fingering
problems,one shouldperhapsdeviatefrom
{-r Dm7l9 G7-9/+11/BCa/g Co
the correct voice leading and simply play
( : an Em triad with the right hand, instead of making the difficult movement
drc with the fourth and third finser.
f r
*Sincea[ (+9) is a not very common tone in C minor,
in this book we rather use the symbol-10 (áb)insteadof +9.

33
 14.1.0Dm7/9 in example L0 has no doubled
seventh.In this progressionthe ninth
(e) moves to the +11 (cfi).Here we see
the ninth in the lead of Ca/9 (¿) sur-
rounded by its neighbouringtones:e of
Dm7l9 and cÍ of"G7l-91+11. Dm7l9 G7l-91+11
Ca/g Co

L4.LL In example11 we.find a genuinealter-

ation of G7: the 5 (d) hasbeen lowered
to il,(see al,solesson13, example 8).
'I\e
ev and bv can be consideredas be-
ing borrowed from C minor, but dPis a
real non-scaletone in C. Often we find
this tone in the bassforming a chord we Dm7l9l 11 G7l101131-5 C6l 9l tl1¡6

will call tritone-relateddominantseventh

chord(we will cometo this subjectin the following lessons).Thefinal C chord
in this exampleis not in root position. Becauseof its low register,you will
hardly notice this.

Exercises:
r' Read the text with the examplescarefully.
r' Comparethe noteswith the chord symbolsas shown in the examples.
r/ Play all examplesa couple of times and listen carefully to how they sound.
Analysethe voiceleadingand the structureof the chords.Tiyto play asmany
examplesas possibleby heart, but don't be frustrated if you don't succeed
right away.Thke your time.
r' Tiansposeexamples3,5,6 andTto F,3b and Eb.

r' Play the tr-V-I progressionin sequence7 over the entire range of the key-
board. In this sequenceyou will find only the essentialtones;the fifth of the
chordsis omitted.The ties shown are used to emphasisethat we are dealing
with the samenote, you don't really have to sustainthe two tied notes.The
small notes (doubled) can be addedafter you have masteredthe larger ones. I .r
One should practicethesekinds of sequencesas a daily exercise,while slow-
ly increasingthe tempo.A metronomeis a useful aid, don't underestimateit!
After some practice,add the fifth to the chords.

C$mzrüz

34
 r' Practicethe sequences8 and 9 in the sameway.In sequence8 the fifths are
omitted in the m7 and a/9 chords.In the bassof the dominantseventhchords
in sequences8 and 9 the root is absent.*After somepractice,add the fifths
and roots to the chords in which they have been omitted. The added 5 in
Dm7/9 becomes9 in G7l9.

Dm7l9 G7 Ca/g C6 CilmllgFfi7 Ba/g Bo

(_r
(i
Dm7l9 G7l9 Ca/g CO Cf,m7/9 püzlg g¡¡g BO
t . i ]

r' Play sequence10, not only descendingin whole stepsas given,but also de-
C''l scendingin half steps.
("r

i l

\. ,J

(.r
("]
r' The exercisesbelow show melody fragmentson tr-V-I progressionswhich we
(') may encounterin practice.Play thesefragmentson the piano,together with
the given chords.Split-up the chordsbetweentwo handsas much as possible.
( l
Where relevantcolour the chordswith appropriateextensionsand additions.
The melody fragmentscan be turned into sequences, descendingin half- or
whole steps.

d )

Dm7

Dm7 GTsusG7 Dm7 GTsusG7 C

L,'

* In the next chapter you will learn, that the omission

of the root of a dominant seventhchord on V forms a VIIT .

35
 Dm7 G7 Gm7

Dm7 G7 Gm7 C7

t/ Slowly practicethe melody and chordsof the fragmentsbelow,which is given

in two keys.Make up the appropriatechord extensionsby yourself.
The pick-ups written in eighth notes can be played unharmonized'

Bbmzebt

Am7 D7

Dm7 G7 Cm7 F7

B m7 E 7 Am7 D7 Dm 7 G7

r' Play the progressionbelow and turn it into a sequence,descendingin whole

steps.h6 (br.a) can alsobe positionedin the lead. l r

Continuein Bb,etc.

r' Play the same progression,this time starting the sequencein G. Eventually,
this chord progressionshould be at your fingertips in all keys.

36
 f

1 . ,

Given the harmonicmaterial learnedin the precedinglessons,you should be

able to graspthe accompanimentof quite a number of standardsongsoften
played,the greater part of which are made up of simpletr-V-I progressions.
Most likely, in the beginningthe result will still sound rather primitive, and
playing the melody along with the chordswill at someplacesbe inadequate.
However,one can alwayshave a try.Who knows what you will discoveralofg
the way.Besides,you can alwayssing at placeswhere playing the melody is
awkward.
The following songsare suggested:

AUTUMN LEAVES
HOW HIGH THE MOON
PERDIDO
IA,DYBIRD
SATINDOLL
JUST FRIENDS
TANGERINE
THEREWILL NEVERBE ANOTHERYOU
and probably quite a few more!

(i
{'j
(:,)

t ,

t': i

t . . l

l i

l r
37
 LEARN THE OVERVIEW BELOW BY HEART,
AND PRACTICE IT ON THE KEYBOARD IN ALL KEYS!

Inversions of the 7th chords in closedposition

on the degreesof the C major scale

ilr7 W7

Inversions of the 7th chords in drop-two position

on the degreesof the C major scale

rn7 ¡y7 y7

Inversions of the 7th chords in drop-three position

on the degreesof the C major scale

- l r l r l
o ü é - € , q
q - l l
l r l

I ? n ? ^e? ^? e uFÉ

(
17 tt7 II17 ry7 y7 vt7 VIIT

If the e in the above examplesis altered to e?,the C major scalechangesto C (

melodic minor.

If the e as well as the a atealtered to eband ab respectively,the C major scale

changesto C harmonic minor.

lhe C majoy scalebecomesC aeolic (natural) minor if also the b is altered to

bDrthee to eD,and the a to aD.

38
 CHAPTER 3 SBCONDARY
DEGREEsAND APPLIEDDoMINANTs

In the precedingchapterswe have seenthe progressionof the primary degreeof the

dominant and subdominant to the primary degree of the tonic: I+V7+[ and I-r
IV'+I. In lesson13 we leanedthat besidesthe primary degreefV, also II has sub,
dominant function.The progressionII7+V7 was discussed, and finally the complete
trl -W -I + --t
progression:subdominant dominant tonic. Chordson the scaledegrees

discusstheir application.Furthermore, the concept of secondaryor applieddominant

will be introduced.Applying secondarydegreesor inversionsof primary degrees,
addsto harmonicmotion and to the livelinessof the melodv of the bass.

Lesson 1-5 vlt in major(Am7in C)

This lesson deals with the tonic function of VI and with the link which the chord
makeswith the subdominantin progressionslike I-M-tr-V.
15.1 In lesson5.1,we saw that adding an a below a C triad, resultedin an Am7
chord.An Em triad with c in the bassresultedin a C¡ chord.The common
tonesof C, primary degreeof the tonic, and Am and Em, secondarydegrees
of the tonic, give these chords a third (3-5) relation*as well as a functional
similarity.Consequently, in the key of C major Am, Am7, Em and Em7 main-
ly have a tonic function.
15.2 In the'\z-I progressionin lesson9 we saw a C6 chord formed by letting the
major 7th of.Ca/9 descendto the 6 and the 9 to the octave doubling of the
root. C6 and Am7 are composedof the sametones(NB!). Only the bassin the
root position differs;Am7 has an a and C6 a c in the bass.This c, in combina-
tion with the rest of the chord,causesa definite endingin the key of C.In con-
trast,with a in the bass,a dynamictonic is formed.TheVI (adjacenttonic) we
seldomhear as a conclusionof a piece of music,but frequently as a link to a
subdominantchord by which the harmoniesmove awayfrom the tonic.
( r L5.3 Am7 and the F triad,like F and Dm7, have a third relation.The VIth degree
(; (Am or Am7) can,due to this relation,under certaincircumstances alsohave
a subdominantfunction in the kev of C.In that casea chord with dominantor
(,") tonic function follows on VL
1,5.4 Examplesl,-4 showsomesimpleI-W-
tr7-:Wprogressions
in C major.The first 1
l \

four bars of I GOT RHYTHM can be

sungon thesechords(as well as many
othermelodies).
(-)
C¡ Am7 Dm7l9 G7
t.,
* E.g.thethird(3) ofAm equalsthe1 ofC,andthe 1 ofEm equalsthe3ofC.The3ofCequalsthe 5 ofAm andthe3of
( j Em the 5 of C. The 3-5 relation is normally abbreviatedand written as third relation.

'',
f
39
 15.5 With the given lead and root tone in the
bass,the voice leading in the examples
movesover the shortestpossibledistance.
Also the chordsare complete;noneof the
chord tonesare left out.
The I-VI7-tr7-W progressionis in fact no Am7 Dm7l11G7
more than an extensionof the I-Vz pro-
gression,if we keep in mind the fact that
¡z 1Om7) is nothing but a preparation i'' r
(suspension)for \Z (G7) and VP (Am7)
is a tonic with a different bass.We can
verify this by singing the first four bars of
cA/g Am7l9 Dm7l9 G7
I GOT RHYTHM on:
G7:ll aswellason:
ll' c c7oI GTsusTp
ll'C¡ Rm7 | Dm7G7:ll
The simplified chordsin the first progres- (-';
sion (I'-+Vz) also give a perfectly accept-
able harmonization. cA/g Am7 Dm7l9 G7 (,1,
l":-::'.
1.5.6 In traditional harmonyVI is often followed by IV:
C--+Am--+F--+Dm --+C/C+ G7--+C

Exercises'
r' Play the exampleson the piano and transposethem to somenearbykeys.
i,_.1
r' Play the given examplesof I GOT RFIYTHM.
r' Play the following chord progressionsin different ways with the correct voice
leading and sing the first four bars of I GOT RHYTHM to: 1..:,l
,( Fa Dm7 lGmTC7 and ' -',
r:
X Ga Em7 lAmT D7
r' Add the 9thto someof the chords.
\-...1
Lesson 16 m, in major(Em7in c)

Em7 and C have a similar third (3-5) relation asAm7 and C.We might saythat Em7 i " j

is a CAi9 chord with ¿ in the bass and a silent root. Therefore, the progression
G7--+Em7is not unusualin the key of C major. Em7 is,like Am7, a dynamictonic.
In the key of C major we will hardly ever hear it as a conclusionof a pieceof music.
L6.l The relation betweenG and Em7 is analogousto the one betweenC and Am7
(NB!).That's why we would expectEm7 alsoto have dominantfunction in C.
Although, basicallythis is correct (Em7¡6),in jazz musicthis function of III is

40
 overshadowedby the strongerdominantquality of the G7113chord.In minor
(harmonicand ¡nelodiq),however,the dominantfunction of III, aswe will see,
has survived:Et+76 (Et augmentedwith g in the bass)is a frequently used
dominantin C minor. Seealsolesson38.12.
1.6.2 Examples 1-4 show some IIp-VI7-tr7-V7
progressionsthat could end up on I (tonic). 1
There are three strong progressions;all
chordshave a fifth relation.
i] 16.3 Although the voice leading of IIIT-VI7 in
l-, the examplesis not very strict,theT prefer- Em7 Am7 Dm7l11G7
( ably descendsstepwise.Inexample1 we see
a doubledc;both d and á move to the 3 (c) 2
t,.,, of Am7. Of courseon the piano this dou-
bling of the c is impossible to observe.If
f i l
thesevoiceswould be playedby two instru-
fl'\ ments (e.g.two saxophones),both would
play the c (comparethe movementof b and Em7 Am7 Dm7l11G7
Áf'\
\,..1.Í d at the samespot in example2).
To give the chord a different colouring, the 3
ri" j
lower 3 of Em7 and of Dm7 in example3 is
substitutedby the 4 (a and g respectively).
1,6.4 The lead of G7 in example4 falls a 7th to
the 3. The entire voice leading seemsto be Em7 Am7/9Dm7l9G7
confusedat this point. In order to keep the
voicesbelow the lead,the resolutionof the 4
7 (c) of Dm7 in the third voiceis taken over
tii',J by the lead in this case,and the other voic-
(] eswill haveto move alongwith it. Necessity
knowsno law!
Em7 Am7 Dm7l9G7
{:i
16.5 In examples5-8, Em7 takesthe placeof the
tonic (I). Instead of resolvingto C¡ or C6, 5
G7 resolvesto Em7. In all theseexamples
il we see an exceptionto the customaryde-
í'¡ scendingresolutionof the 7. Notice:/r g.

( ) In theW-+IIIz progressionthe basstakesover Dm7 G7 Em7 Am7

the normally descendingresolutionof the 7,
( . j
wherebythe 7 isfree to ascend.
6
1,6.6 In all examplesthe 3 (b) of G7 leapsto the
(-i
7 (d) of Em7 or keeps its position, and
changesinto the 5 (b) of Em7.
(,.
Dm7 G7/13Em7 Am7
(.)

41
 1,6.7 It is preferablenot to double the root and
the 5 of III7, unless one of them is in the
lead. In five-part harmony,the 3 of IIP is
preferably doubled and occasionallythe 4
is added over the bass*14'^7see exam-
ple.3). Dm7 G7l9 Em7 Am7l9
16.8 In example8 the 13 (r) of G7 descendsin
the usual way to d (herc the 7 of f m7) by
meansof the passingtone -13 (r'), while
the 9 of G7 (a) movesstepwisedown to the
3 of Em7, asit is supposedto.
1,6.9 For those who are interestedin a summary G7l9 Em7
Dm7G7l9
Dm7 Am7
Em7 Am7
of the possibititiesfor voiceleadingin the root-positioned\|/-IIp progression:
7 (f) of G7 , 3 (s) of Em7
9 (a) of.G7 \ 3 (g) of.Em7 or , 5 (b) of Em7 t ;

5 (d) ot G7 * 7 (d) of Em7

13 (e) of G7 ¡ 7 (d) of Em7
3 (b) ot GT + 5 (b) of Em7 or v 7 (d) of Em7 f r

We obviously have a wide choice of resolutions.For the appropriate voice

leadingour choicewill have to dependmainly on the melody of the lead and
on the rule of the shortestdistance.The completenessof the chordsand the
doubling of certainvoicesalsoplay a role in the voice leading.In the next les-
son we will seethat the voice leading for VIP.rIIP has more restrictions,but
as a consequencegivesa little more hold.

Exercises:
r' Play examplesL-4 and closethem, with an acceptablevoice leading,in a C
chord. l l

( Play examples5-8 and finish them with a IP-V/-I progressionin the samekey
(Dm7 G7 lC ll). Observeproper voiceleading.
(
r' Play the following chord progréssionswith different voicings and lead:
A m 7D m 7l G m TC 7l F , l l I I

Cm7Gm7lCmTF7lBv ll
D m 7G 7l E m TA m 7l D m TG 7| C I l i i

Ca Am7lDmTG7lEmTAm7lDmTG7| C ll
Don't forget the voice leading,but don't let it bog you down.

r' Tiansposethe above progressionsinto as many keys as possibleand try to

memorizethem.

* One should be cautiousto indiscriminatelyextend the III with a major 9th, sincethis tone is a non-scaletone (NB!).

42
 (

t- Lesson L7 vn, in major1Buin c¡

MP in major is, as can be seenin the exercisesin lesson14 of chapter2,the upper
structureof a Ws chord,i.e.Ba is G7l9 with a silent root.
1 .

{- ,.
17.L To simplify things,in examples2 and 3 of lesson14,we can read G7l9¡gwhile
in fact we are dealingwith the first inversionof Y[t:Bo¡¡ (NB!).
To figure out the root position of a seventhchord,we have to bring it back to
superimposedthirds,i.e closeposition.To do this,we should rememberthat
f !
the interval of a whole step (second)is the inversionof a seventh- the inter-
vals are complementary- and a seventhgivesroom to three thirds.If the top
note of the second,which is the root tone of the chord,is dropped an octave,
( ) the remainingchord tonescanbe placedbetweenthe tonesof the thusformed
seventh;theroot position of the chord comesout.
l-i
17.2 The root position of MP in major doesnot frequentlymove to the root posi-
TJ tion of I.The most commonprogressionis MP-+IIP (in C: Bo--+Em7).Weare
\'.. _/ usedto interpret a chord progressionlike this as:G7l9 CA/gor asDm719G719
I Ca/g C6 | with a silent bass,usuallywith theT A of G7 at the bottom.This
d'\
is exactlyone of the characteristicsof VIIT: Bl resemblesG7l9 with a silent
d.} root (seebelow).*

( l

C)
BaE Em7 BaE Em7 BaE Em7
(_)

(:] 17.3 We have alreadyencountereda number of the examplesin this lessonin pre-
cedinglessons. The essentialdifference,however,concernsthe bass.Compare
$ example1-abovewith example5a in lesson9, example4 below with example
5b in lesson9 and example3 in lesson14.With the exceptionof the bassand
(;
the neighbouringtonesin the melody,they are pretty much the same.
( r The examplesmake it clear that in a VIP-+IIP
progression(Bz--+Em7)the root position is
(.)
seldomheardin both chordsat the sametime.
/', One of the two hasthe root in the bass(exam-
ple 4). Frequently we hear between the 7 (a)
t t
of Bo and fhe 3 (g) of Em7 a chromaticpass-
Ft¡g Bs Em7¡gAm7l9
ing tone (av).Try itl
Notice the doubled g in example 3 as a result
i - of the leap in the lead.
L7.4 The voice leadingin Bl--+Em7is basicallythe sameas in G7l9-rCa/9, but in
the former progressionthe bass(g and c) is silent in both chords.In example
(,j
5 we see:
(; * The 7 of G7 is the 5 of B@.When the 5 of a ?th chord is in the bass,the chord is said to be in áposition;
áis added to the
Roman numeral.
(. .)
43
 ;ofBo(fl \ 1ofEm7(e)
7 of Ba (a) \ 3 of Em7 (s)
1 of Bo (b) '+ 5 of Em7 (b)
So t Aa @) + 7 o f E m7 (d)
Compare the movement of the voices with
Dm7 galf Em7 Am7/9
thosein G7l9-rCa/9.
17.5 The voice leadingfor doubled voices,e.g.the
leadd on the 3rd beat of the first bar in exam-
ple7,allows more freedom of movement.The
lower d becomesthe 7 of Em7, comparable
with the 9 of C¡/9, and the higher one in the
lead moves (leaps)to whereverwe want it to G7l9 Ba¡p Em7 Am7
move (seealsoexample3). A similar progres-
sion, but now in minor, is found in example 9
of lesson20.6.
L7.6 The voice leading of the Glt9"+BalF pro-
gressionis simple:
1(s)ofG7 \ 5(flof.Bo Balf Em7 Am7
7 (fl of.G7 \ 3 (d) of.Bs
and the 9 (o), the 3 (b) and the 5 (d) usually
keep their places(example6 andT).
17.7 The number of voicesand the voice leadingin
example8 are again adaptedto the lead.The
leapsin the lead result in the doubling of the
3 (c) of Am7 (compareexample6). The pro- Dm7 BatF EmTlAm7
gressionof three four-part chordsendsup in a
five-part Am7 chord.
{...,}
17.8 Becauseof the stepwiseascendingmelody,the
voiceleadingin the progressionW"+VIIá (5 in \ l

the bass) in example 9 is also a little differ-

ent. G7 Ba¡p Em7
i )
L7.9 One hearsthe root position of VIIz move to a root-posi¡ionedIIP only in a
trt-V7 progressionin aeolic(natural) minor, e.g.Fm7--+B?7 in c minor, or in a
traditional diatonic sequencein major, in which the key is established.See
example10 below.In jazz music,however,one more likely expectsto hear a
dominant 7th chord on III following MP. In that casea more common har-
monic minor tr|-.W transition to VI is formed. In C: Ba-+E7--+Am.We will
come to the minor progressionsin chapter4.
In example10 we see a simple diatonic sequence,with falling fifths (raising
fourths) in the bass,in C major.The secondchord of every bar has a doubled
third and the 5 is left out. This is the result of the appropriate descending

44
 voice leadingof the Tths
of the first chord of each 10
bar. The sequencecan
also be in three-part
harmony in which case
the lead will be left out ga Em7 (A)
and the secondvoicebe-
(i comes the lead. When
the progression starts
O and finisheson Ami, the
Ii sequenceis in the key of
A aeolic minor. The se-
f i
quencecan alsocloseon an A major triad on the first beat of the third bar. In
/-i
\ r
that casewe hear a surprise.

{t 17.I0 As mentionedin t7.2,not too often we hear VIP 11

in root position move to a root-positioned,Iin
major. Usually a chromatic passingtone (aP) is
d-\ heard betweentheT (a) of VIP and the 5 (g) of I
forming a diminished7th insteadof a half dimin-
C) ished7th chord of MI (seeexample11).The former originatingfrom minor-
major, on which we elaboratein chapter4.
(. 1

( ) Exercises:
(., r' Play and practicethe exampleson the piano.
(,j r' Comparethe analysesof the voice leadingwith the examples4-9.
(.J r' Closethe examples,exceptexample9, with: I Dm7 G7 | C ll
The examplesare all in the key of C.
(.)
r' Closeexample9 with the sametr-V-I progressionin C, but add an A7 chord
(')
betweenEm7 and the tr.
(:,
r' Tiansposetfre exanlples5 and 6, includingthe abovementionedending,to the
(.,) keys of F, BP and EP.Tryto memorisethem.

(-j r' Learn the sequenceinL7.9 (example10) by heart and transposeit to all keys.

(i ./ Start the sequencesomewherein the middle.

LeSSOn L8 Secondary (1).

dominants
The chord progressionswe have encounteredso far, have all a fifth relation, except
(-.¡ It+W and V7'+II[/ (in C: Ca---r¡.7 and G7-+Em7).Suchfifth relation is called a
dominantrelation.Inmany aspectsit is comparablewith the progressionQ/--+Qa;the
\-.,; bassdrops a 5th and the voice leading with 7 to 3 and 3 to 7 is identical.For this

(
45
 reason we can call Dm7 in the tr7-V7-Iprogressiona figuratívedominantof G7.
Likewise the Em7--+Am7--+Dm7 progressioncan be called a figurative dominants
progression.Afigurativedominant,however,lacksa very important ingredientof the
real dominant; it doesn't possessa leading tone. By raising the minor 3td of a m7
chord by a half step,we give the chord a leadingtone and increaseits harmonicaldy-,
namics.This makesa dominant seventhfrom a minor seventhchord: Dm7 becomes
D7, Am7 becomesA7, etc.Thus the minor chord on the scaledegree,composedof
scaletones,changesinto a secondary dominant.Ittakes the key of the adjacenttonic
to which it resolves. l--:
.,

18.1 Like W, the dominant seventhchord in its role of secondarydominantcan be

precededby a suspendingm7 or suschord.The chord on the scaledegreefor
which the secondarydominant is applied as dominant,is calledan adjacentor
secondarytonic.
18.2 The secondarydominant in combination with a preceding suspending m7
chord is calledsecondaryÍ-Yprogression.This combination,togetherwith the
adjacenttonic, temporarily causesa new key. Such a short departure from the
main key we will call a tonal excursion.Thisshort detour is not to be confused
with a modulationin which the tonal centre changestotally.
18.3 Without extensionsthe dominant seventhchord in major is identicalwith the
one in minor. Sincethe 9 and 13 in major are different tonesfrom thosein mi-
nor, the extended dominant seventhchord in major also differs from the one
in minor. As IP,IIP and VP in a major key are minor chords,one shouldtake
this considerationinto accountwhen a secondarydominant precedesone of
thesechords(seealsolesson20 and24).
18.4 Frequentlywe hear a diminishedseventhchord used as secondarydominant i.
-.)

for IP,IIP and VTz.Read more about this in lesson22.

18.5 Besidesthe tonic (I), the primary degrees[V and V are the one and only ma- ,'¡r r\
jor chords in a major key.The secondarydominantsor secondaryII-V pro-
gressionsfor these major chords function similarly as the V7-I and trt-W-I
progressionswith the original major tonic.To be able to play excursionsto fV
and V, the only new progressionswe have to learn are thosefrom I to the sec-
ondary dominant or secondarytr-V for fV and V. This implies the voice lead- i l
ing for following progressions*:
C--+C7(--f) or C-+Gm7 (--+Q'l--+F)and for:
C-+D7(-G) or (C--+Am7--+D7--+G).
We have met the progressionC--+Am7(I-VI) (lesson15) and we are alsosup-
posedto be familiar with the tr-V-I progressionsin the new keys G and F,

18.6 The new chord progressionswe have to learn are:

C--+C7; C--+G
m7; C--rD7.
The examples1 and2 are straightforwardand don't require elaborateexpla-

* The progressionsof which the voice leading is previously

discussed,are placedinbetweenparenthesis.

46
 nation. CG could have been left out and in-
stead of the 3 (r) of Ca/9 any other chord
tone could have been in the lead.
t8.7 Somewhat more complicated is the pro-
gressionC--+D7.To avoid undesiredparallel c6 c7t9
motionbetweenthe voices*,most vóiceshave
(,; to move in contrarymotionto the bass,or will
have to keep théir position.In example3 and
{,: 4 we see:
í'l 5(g)l.3(f)
3(e)+9¡'¡
I
9(d)t7 (c) CA/g C6 Gm7 C7l-9lB
8(c)+7 (c)ort13(b)
6(a)+5(a)orz13(b)
^(D)\5(a)or+13(b)

L8.8 One has to realize that C--+D7in facf is simi-

lar to a fV+V7 progressionin G major. For a
frl
\\:,r fV+V7 progression,contrary motion be- ca/g c6
f-'-1 tween bassand upper voicesalwaysgivesthe
bestvoiceleading.Theoctavedoublingof the
('.
root, the 3, and the a or 6 of the C chord can
keep their position;the 5 preferablydescends
stepwise. Compare7r3 in Am7-rD7.
r'l
18.9 In example5,D7 is precededby a suspension
f r (D7lsus4) which is the consequenceof the
good soundingparallel, stepwisedescending
A: 1 b
\..I intervalsof a L0thin the drop-two position.In
this example we see the octave doubling of
t,) the root of CGdescendto the 13 of D7sus4.
In this progressionthe voice leadingdeviates
somewhat from the one in the preceding ca/g c6 DTsusD7l9
(G: IV V? )
examples.
t; 18.10 In examples3-5, D7 is called the doubledominantin the key of C. This is the
(' -) specific name for the secondarydominant for W. D7 functions as V7 in the
key of G which is called the dominantl<cyof C.
t;
18.11 Also a secondaryMI can function as double dominant.In example6 we see
7*Qprecedingthe suspendeddominant
G7(9/13)sus.Ff,l beingVIIz in the key of
d I I G majoranddoubledominantIVItr]in C
{ , e ñ major.Both chordsare in root position.
Seealsolesson36.6.
GTsusG7l-9113
* Like parallel fifths and octaves.
i )

47
 Exercises:
r' Play the exampleson the piano and practicethem.

r' Closethe examplesL and 2 in F and the examples3-5 in G.

r' Play the progressionbelow in 3-partharmony.Begin with the a in the lead and
havethe two upper partsmove the shortestdistancepossible.Do the sameex-
ercise,this time beginningwith the 3ra(e) in the lead.
, ( c ¡ l G m Tc 7 l F a l c m T F 7l B b al F m Tg \ . . . , e t c . l l

Continuethe progressionasa sequencefrom Eb going to Gb and A.When the l l

registergetstoo high, drop one octave.

Play the chord progressionsbelow in 4- or 5-partharmony.Pay someattention
to the melody in the lead.Don't start in too low a register.

,( F^/9 F6 | Dm7l9 G7/9 | Ca/g C6 | Am7t9 D7/9 I : l

cA/gcG lEmT A7l9 lDm7t9G7/eI C ll

X ¡ ebals
Fm7l9 8.2719/13 ebo¡abm7eúp ¡nba,Rbo I !r:'.1
Fm71982719/13I Gm7 Cm7 | Fm7t9Bv7t9I E26 ll
Play exercise1,.In placeswhere they are not given,try to find the chord ex-
tensionsyourself.

Em7 A7 Em719A7lgl13

D7l9susD7l9l13 Dm7 G7113 Ca/g

t,)
Play the melody of exercise 2.

T u r na r o u n d . . . . . . . . . . . .

Find the harmonieswithout the extensionsand link up the last chord with the
first one (turn around).
Add a few extensionsto the chords,without losingsight of correctvoice lead-
ing.

48
i

The exercises3 and 4 alsoput into practicesomeof the subjectswe dealt with
in lessonst5,L6 and 17.Play them on the piano,and try to transposethem to
t as many keys as possible.

Am7 D7 Bm7 Em7 Gm7 Cm7 F7

Dm7 Em7 Am7 Gm7 Cm7 F7

Dm7 Gm7 C7

Cm7 Aaleb Dm7 Gm7 Gm7 C7

The following exercisesshowtwo short melodicfragmentssuchaswe can en-

counter in practice.Harmonize the fragmentswith W-rVIIá+IIP progres-
sions(underlined).Tiansposethesealso to nearby (easy)keys.First play the
\".,)
melody in the new key,then add the bassand finally try to find the appropriate
{ harmoniesto the melody.Don't forget to distribute the voicesof the chords
over both handsas much aspossible.
fi

Gm7 Cm7F7 Aaleb Dm7

Daleb

49
 Por¡,Irs ro REMEMBER
a The concept of.harmonicfunctionis one of the main elementsof the theory of harmony.It un-
derlies the logic of the progressionof the harmoniesand definesthe activity and interrelation
of the three so-calledharmonicfunctions:tonic, dominant and subdominant.
The three functions are representedby three triads of which the root tones are a perfect fifth
apart. It is customaryto name these triads after the function they represent.Superimposing
thesetriads showsthe.tonictriad in the middle, the subdominanttriadat the bottomandthe
dominanttriad at the top (seealso lesson6.3).Thesetriads are called the primary degrees.
The stepwisearrangementof the tones of the superimposedtriads structure forms the scale
of the key which bearsthe letter name and mode of the tonic.

a The tonic triad is positioned on the first tone (degree) of the scale.A chord in root position
on that tone is called Ist degree.
In a tonic chord the harmonic activity usually comesto a rest.That rest can be of temporary
nature or it can, after a ca.dence,generate a final closure.In the latter casethe chords in the
progressiondominant--+tonic or subdominant--+tonic are in root position.
All inversionsof I, as well asthe root-positioned chords on the 6th and 3rd tone of the major í-)
scale(VI and ltr) and their inversionscan have tonic function.They form dynamicfonics.These
chords alwayshave a temporary characterand generateno final closure. i 1

In principle the Ist degreecan be followed by any chord.

) The root tone of the dominant triad is positioned on the fifth tone of the scale.Thistone is al-
so the fifth of the tonic. A root-positioned scale-tonechord on that tone is called the Vth de-
gree (V); the primary degreeof the dominant.
The main activity of a chord with dominant function is leading the harmoniesto a chord with
tonic function; in a closure or in a progression.The leading tone (seventhtone of the major
scale),as a rule, is a componentpart of a chord with dominant function.
Chords on the 7th and 3rd tone of the major scale(MI and Itr) can also have dominant func-
tion - in jazz III rarely has.A chord with dominant function can, besidesby a tonic or tonic
substitute (VI and Itr), be followed by any arbitrary secondarydominant and in somecasesby
a subdominant.

a The root tone of the subdominanttriad is positioned a fifth below the root of the tonic. The i '.1

primary degreeof the tonic, therefore,is the dominant of the subdominant.A scale-tonechord .: i\

in root position on the 4th tone of the scaleis called the fVth degree;the primary degree of t. .,1
the subdominant.
Chords on the 2nd and 6th tone of the major scale (II and VI) can also have subdominant
function - in jazz VI only has in some cases.In a chord with subdominantfunction the lead-
ing tone usually is absentand, as a rule, the root tone of I is part of a chord with subdominant
function.
Like a dominant chord, a chord with subdominant function can directly resolve to the tonic.
In that casewe speakof a plagal progression.Thisprogressionusually has a weaker character
than the authenticprogression dominant--+tonic.
A chord with subdominantfunction, besidesresolving directly to the tonic, can also steer the
harmoniesawayfrom the tonic.In major the VIth degreeis the foremost scale-tonechord con-
necting the tonic with the subdominants[V and tr.The tonic itself (I) can also directly precede
IV (dominant relation), and in some casesII.
Furthermore, preparing the dominant is an important quality of a subdominant;in iazzfl
specificallypossesses this quality.

For the deviating harmonic functions of the chordsin minor, the reader is refer¡ed to chapter 4.

50
 I

í l

CHAPTER 4 MrNonANDMrNoR-MAroR

In chapter l,lesson 7 we have becomeacquaintedwith the chordson the scalede-

greesof the three minor scales.Sincetheir application,voice leading and even their
harmonicfunction differ to some extent from those in major, this chapterwill treat
them separately.Also the secondarydominantsin minor are a little different from
Clr thosein major.
f,] The exercisesin this chapterincorporatea few of the topics treated in the previous
chaptersas well.
Ct
{"r LgSSOn 19 Scaledegreesin minor and minor-major

19.1' ExamplesL-3showthe superimposedtriads of the three primary degrees,and

their resultingscalesin C minor for the three different minor modes:
\,...1
L = melodic
fl\
2 = harmonic
(:.} 3 = natural (aeolic)
19.2 In the superimposedtriads of example1,
{}
only the triad in the middle (tonic) is a
( ; minor triad. This forms the melodic C
minor scale.
l. l
In exampleZ,not only the middle but al-
'i
í'
so the bottom triad (subdominant)is mi-
f)
nor. This givesC harmonicminor. t
In example3, all the triads are minor.
They form the aeolic minor scale.This
scaleis alsocallednatural minor.
Note that the differencesbetweenthe three minor scalemodesoccur in their
higher part. The combinationof the 6th and 7th tone differ in eachscale.
19.3 The three examplesbelow showthe seventhchordson the scaledegreesof the
three minor scales.The secondarydegrees(II, IIL VI and MI) are found on ei-
ther sideof the primary degrees(I,IV and V), the letter symbolsof which are
printed in bold under the chords.

IV

M e l o d i cm i n o

Superimp. Dm7 F7 ¡a Cm¡ Ebo/*5

I
triads

( ,
51
 L9.4 Becauseof their similarity with the major mode,tr (subdominant)and MI
(dominant) occur lessfrequent in melodic minor. We usually hear the tonic
(Cma), its substituteVI (A\,and fV (F7), which is mainly used in the blues
in (C) major,'borrowed'from melodicminor.
19.5 When one speaksof minor, as a rule the harmonicminor mode is meant.All
degreesof harmonic minor occur with the samefrequency.
IV

H a r m o n im
c inor

Superimp. ga Fm7 Ab¡ Cma Eta+s G7 Bo

triads

19.6 In aeolicminor Í7,W7,W and VIP differ from the seventhchordson the same
degreesin harmonicminor. Of these,VIIT aeolicis usedfrequentlyin j'azzand ( ' ,
P occasionally. In major we hear of coursethe minor 7th chordson II,III and
{ l
VI often functioning as adjacenttonic of a secondarydominant. For example:
C-rA7--+Dm7in the key of C.
Contrary to the customary dominant function of MI in major, the dominant
seventhchord on VII in aeolicminor, Bb7in C minor, hasmainly subdominant
function. It is often ¡rsedinstead of or in combinationwith IVz (Fm7). The
minor 7th of I, the bv of.Cm7, usually is a passingtone betweenthe major 7
(a) and the 6, aswe have seenalsoin major in example5 of lessonl-4*.It can
alsofunction as a passiqgtone in the bassbetwe,enthe roots of I and M. In C
minor this would be a bv descendingfrom c to av:
Cm6--+Cm 7¡sb-+Abf*.Alro see19J. t.,
( i
Aeolic minor t

r ' ,]
\-!

Superimp. gu AP¡ Cm7 Eb¡ Gm7 ebt

triads

Lg.1 In jazz the VIth degreeof harmonic or aeolic minor (Aba¡ usually has sub-
dominantfunctionand precedesW (G7) or occasionally I (plagalprogres-
sion).Sometimes VP is followedby IVryandIP in a descending progression:
Cm Cm77gb ¡ nba Cm/c I Fm7 Fm7¡¿bI Dñ G7 |
In thisprogressionVI canbe regardedasa passingtonicsubstitute. Oncein a i J

while we hear the triad of VI with the third in the bass.Often this chord is
erroneously identifiedas m/+5: Cm Cm/+s (?)l Cm6 Cm/+S,etc.In such
* Unlessthe m7 chord is a deliberatecolouring of the tonic, or the m7 chord is the tonal center of a Dorian, Phrygianor Aeolian
mode,should one hear a m7 chord in root position on the IsI degree,one can in most casesassumethat it is a habit of the play-
er who confusesa minor chord (Cm, Cm6, Cma, etc.) with that of a m7.
** In such a progressionthe bassmovesstepwise,by which some of the chordswill be in another position than the root posi-
52 tion-
 f-': casesthe apparent(enharmonized)+5 (a?)is a passingtone between5 and 6
('JamesBond fifth'). Shouldwe hear a I-VI-tr-V progressionin minor, we can
l\, usuallyassumethat the VI is derivedfrom melodic minor.In C minor:
Cm(6 or a) N ¡ oa c7F9l (I GoT RHvTHM in minor)

( r 19.8 Although the so-calledminor-major mode is not a true minor scale,it pos-
sessesso many characteristicsof minor that it is appropriateto include it in
e,r this lesson.The triad of I in the superimposedprimary-degreetriads in minor-
major is a major triad, as it is in the major scale,but the triad on the fVth de-
( )
gree (subdominant)is a minor triad. Hence,in order to form, a minor-major
(-.) scale,the 6th tone of the major scale,the a in C, is loweredto a?.ln minor-ma-
jor the 7th tone of the scale,the b, can alsobe lowered.
(r
The lowered MIth degree,B27in C major-minor,has subdominantfunction;
(r the 7th chord of MI on the leadingtone, Bo, usuallyhas dominantfunction.

(_) t r I V V I I t r V , V I I
b
d\ Minor-Major

()
s u p e n m p . ga Fma Ab¡*s Ca Em7 G7 aolehz¡
triads
(r
( r 19.9 The precedingsectionshowsthat the minor-majorscalealsohasa few differ-
ent faces.On the dominant (G7 and Bo) the harmonicmajor scaleis applied:
O oply the 6th tone is lowered,while on the subdominant(Da, Fma, Bb7 and
f'\ APal+s) the 6th and 7th tone of the scaleis lowered.We see the aeolicmajor
scale,being the samescaleas the melodic minor scaleof F beginningon c.
{3 The minor-major mode does not apply to the tonic functions I,III and VI.*
(,1
Exercises:
f-t
r' Play the chords of the first four bars of I GOT RHYTHM in minor (seesec-
(-r tion I9.7).

\J r' Play the descendingprogressionof L9.7ina few minor keys.

e) r' Play the root position of the chordson the degreesof the three minor modes
of C minor in the mixed position (root-seventh-third-fifth).
(.¡
r' Do the samewith the three minor modesof: A, D, G and F minor.
(,r
r' And eventually with the scalesof all minor keys.
(*r
r' Play the descendingprogressionof I9.7 in a few different keys.
U
/--:r

* One perceivesthe I of a minor-major m¡lody with lowered 6th and 7th tones as a secondarydominant for the minor-major
C; or the minor IV.TheVI in minor-major (AP¿/+5in Cmm) normally hassubdominantfunction or appearsaspassingtone in the
bassbetweenAm and Cl (g in the bass).
i )
53
 LeSSOn 20 voi"" leadingand chordextensionsin minor

The voice leadingof the chord progressions, and the extensionsof the chordsin mi-
nor are,in principle,the sameasin major.However,in somecasesthere are smalldif-
ferences.Specifically,one must remember that in minor the 6, 9 and 13 are pre-'
ferably derived from the samescale- minor or major - as the chords.The extension
of a m7 or half diminishedchord with the 9 can be an exceptionto this (seebelow).
20.7 Examples L and 2 show that the voice
leading of the tr-V-I progressionis the
samefor both major and minor. Whereas
we do not often hear the m-tr-V sequence
in major, in aeolic minor the Itr followed
by a tr-V-I progression,is quite common.
This progressionis identigal with the tran-
sition from the tonic (EP) to its relative
minor key (C minor), by way of a sec-
ondary tr-V. This is a secondarydominant
(G7) precededby its suspendingminor
7th chord or half diminishedchord (D\,
which meansa tr-V progressionin the key
of the adjacenttonic (Cm6). The voice EDt Do G7l-9 cm6
leadingis accordingto the rules.
20.2 The minor 9th as an extensionof the IP
in minor (DoFq should be used with
care,especiallyif the extensionoccursin
the middle voicesas shown in example3.
This friction in the half diminished 7th
chord is lessjarring when the -9 is in the
DaLgG7t-g cma/9 cm6
lead,as in example4. Although the major
9th in II does not belong to the minor tDr".;i"l
scale,as a rule, one should choosefor it
when it occurs in a middle voice. By re-
solving to the -13 in tfre subsequent
dominant7th chord (e \ evin example5),
the minor quality of the chord pro-
gressionis maintained.The harmonicten- Dol-g c7/-g Cma/9Cm6
sion of the -9 in the lead of IP, however,
can in fact produce an attractive dramatic
effect (example4).
20.3 The voice leading in example 5 deviates
from that in major. This is becausethe 3
A in the Da chord is missing (NB!). In
eba Úa oapncv-sr1s

54
 example6 we see the 5 @\ of Da de-
scendingto the lower 7 of,G7, which as-
cendsin its turn to the 5 of Cm6/9 (NB!).
The higher octavedouble of the 7 of G7
l r
descendsto the 3 in accordancewith the
/: rules.Here also: Themorevoices,thefreer DotrcDa c7
the voiceleading.
( {
20.4 The 9 in the lead of VI of the melodicmi-
Ci nor scale (the U in AaB in example 7)
c) usually resolves upward rather than
downward,the customaryresolution of a
cl ninth.In contrastto major,in melodicmi-
nor this tone soundsmore like an asc,end- cmNg N/9 Da G7L9t-13
Cr ing leading tone (bzc insteadof btr,h¡.
ü 20.5 In, aeolic minor, the progressionof MI
F:.\ (B'7) to I (Cm/9),is like in major; see
example8.The 7 (oo)resolvesto the 5 (g)
C} a4d the 3 (d) normally ascendsto the 3
(eD)of.Ior keepsits placeas a 9.The voic-
e-) es move from Cm6 to Fm7l9 taking the
-',
{ shortestpossibledistance.Itis not unusu-
al that such a minor progressionends in
major. ('Picardíanthird).
20.6 In example9 we see\Zsus-rMIá (Fo is o
v
t) Bo with 6 in th" bpss)of harmonicminor
resolve to IIIT (EP¿/+S). This last men-
(¡ tioned choqdis a suspensionfor Cm with
c .:1
the third (ev)ín the bass.Thisthird should
not be doubled.Chprdswith an augment- G7l-9sus4Fo ÚN+s Cm¡Eb
Vtsus MIá m
(': ed 5th (the +5 is ev-b) are unstable,and
normally function as dominants or em-
(..r
bellishingchordq and in somecasesas subdominants. Seealsolesson38.The
arrow from the/in the upper staff to the din the lower staff indicatesthe voice
U
leadingaswell as the changeof thumbs.
20.7 Examplest0-72 showthe VI-V-I progressionof harmonicminor.As a rule,the
[,r voicesin this progressionmove the shortestpossibledistance.In the exam-
( ,
ples,APa has subdominantfunction and
Pflvesthe way for the dominant. 10
(-; Ab7-G7 would also be appropriate.We
shall encounterthis kind of progressions
U in lesson 26 on the tritone related sec-
(-j ondary dominantsand in lesson36 on aI-
teredchords. At¡ G7f13 cm6/9
L)
í')
55
1,
 20.8 The use of the fi A as extensionin the 11
closing chord Cm6/9 in example 12, oc-
curs exclusively in minor. In a major
chord the 4 or the 11 causea hard disso-
nant, which is seldom heard in a closing
chord. The +11, on the contrary,is cus- Ao^19G7l-91-13Cm6/9

tomary in a closingchord.Seealso lesson

27.12. 12 i

Exercises:
( r

r' Reread the precedingsectionpaying AbNg|+T G7t-g/:13t-s cm6/9/11

closeattention to the examples.
r' Play all the given examples,and mind the 3 key signs @b,eb and ob¡.

r' Tiansposeexamples1,2 and L0 to as many keys as you can.

r' Tiansposeexample4 to D minor and Bb minor.
r' tanspose example8 to D minor.
t/ Play the following progressionson the piano until you play them with ease:
| cma/9 Cm6| rmvs Bb7|
C.m^/9ao ¡ nbus c7l-.gl-13
Ebt/gebaI oa G7 | cma/9cm6 | Da cv-sl]1
,( F lEa A7h9| Dm6 Dm7i6lBa E7l-9|
Am6 pila¡ga ETLTlAmT D7-9| Gm7C7:ll
Deviate a little from the customaryvoice leading if the chordsthreaten to come in a too low registerby
doubling the 3 or the 7 one octave up. Change,if necessaryfrom four to five part harmony (v.v.).If a
chord extension doesn't sound right, leave it out, but try to understand why a certain tone does not
sound right. Always listen with a critical ear.

( )
LgSSon 21- voice leadingin minor-major

With the exceptionof all the subdominants([V, tr, bVtr and bVI¡, the diminished7th
on VII, and the dominantseventhchord extendedwith a (minor) 9thon V, the minor-
major mode (mm mode) is identical with major. Minor-major is rather a variant of 1 )

major than an independentmode.

21,.1, One doesn't speakof a piece of music in suchand sucha 'minor-majorkey',
only of a melody,a chord or chord progressionderived from minor-major.If
mm is mentioned,it will alwaysbe in connectionwith chordsin which the low-
pred 6th fone of the scaleis prominently present;i.e.in subdominants([V, II,
DVII and PVI¡,in diminished 7th chords on VII or in dominant 7th chords ex-
tended with the -9. One also speaks,in a wider sense,of a mixtur¿of minor
and major, or of borrowedfrom minor,but now including chordswith the mi-
nqr 3rd of the minor mode, used in major. Compare G7l-13--rC¡: The -13
(ev) of.G7l-13 is the (minor) 3'd of C minor applied in C major. However,

56
 ( r when we hear D@GTFT lca C6 | we may say that Du (subdominant)and
G7l-g (dominant) are derived from minor-major,or that the progressionis a
('" mm progression;the a,6th tone of the major scale,is lowered to a?.

{ 2I.2 In minor-majorone should take in considerationthe descendir¡g tendencyof

the lowered 6th tone of the scaleto the 5 of the tonic triad (aPr.gin Cmm).
This aspectof the voice leading is specificallyrelevant for the subdominant
functionsand to a smallerextent for the diminished7th chord on VII resolv-
ing to I or III. Seealsolesson22.
l1\
I i r
21.3 The 7thof fVmm is, contrary to the 7th of fVminor, a major 7tn (a). The minor
7th mainly functions¿s a passingtone betweena and 6 in minor-major:
F(m)a-+p1m)7--+Fm6'", or as a suspension for the 6: Fm7-+Fm6(NB!).
2L.4 Characteristicof minor-majoris the progressionin which IV major is followed
by IV minor (1) or by VII aeolicminor or minor-major(2). Bold faceindicates
() the mm enclave:
f.\ ( 1 )c l G m T c T l F l F 1 r n o F m
l Eom 7 . . .o. .r
(2) C I Gm7 C7 I F lBvll+ll I I C.....(Bp7is alsoMI7 in aeolicminor)
(.'',)
or the progressionin which a diminished7th chord of VII or a II-V progres-
sion from minor resolvesto I or Itr of major :
C]
c I B o l c l c 7 t 9r o l e m z A m lTD a c T F el c A m TI D m 7G 7 : l l
(,,
In the secondbar we seeMI7 in root position (Bo), and in measurefour with
( l 5 in the bass(Fo), both derivedfrom minor-major.
2I.5 In example L Fa (IV) is followed by Fm6
--+Fo--+Em7. We see mm subdominant--+
{) mm dominant (substitute)+ tonic (substi-
(-) tute). The dim chord of VII (Fo= Bo/r)
could have been omitted. In that casewe
ü would have seen the plagal progression F¡ Fm6 FO Em7 Am7
subdominant-+ tonic (Fm6--+Em7).
(.)
21,.6 Example2 showsthe sameprogression,but
i.: with a different lead. The four-part harmo-
(; ny changesto five-part (Am7). One easily
identifies the mm subdominant in both
examplesas Fm6, although in truth the
,lt I harmonyis a II (Oo) wittr 3 (fl in the bassof FA Fm6 FO Em7 Am7
which the dissonant(the 7 c) resolvesto the
( l leadingtone (b);by analogywith 7r3 in the
tr-V-progressionDg-+G7. In actual sound
l l
Fm6 and Do¡parc of coursesimilar.Seeal-
(..i so sixte ajoutée (added sixth) in section
t4.4.
(.j
* The first two chordsof this progressioncan be major or minor.
c-i
l_r 57
 21.7 Example 3 showsthe plagal progression
mm subdominant(Fm6) --+tonic (substi-
tute Em7). In this, and the following
examples,the dominant (Fo) is absent.

21.8 The lead voice in examplesL and 4 are Fa/g Fm6 Em7 Am7
identical.Example 4, however,shoqs the
plagal progression:subdominant(Bv7l9)
+ tqnic (Em7). Fm6 is substitutedhere
by B?7.
21,.g Fm¡/9 in example 5 could havg a Ubin
the bass.In that casewe see a BP7chord Em7 Am7
of which 5 (fl and 3 (d) are suspendedby
respectivelythe 13 (S) and the +11 (e).
Moreover, between the 111 and the 3
could be the passingtone evand between
the 9 (s) apd the 5 (fl in the lead the pass-
ing tone gP (seealsosection2l'.3).Tiyit!
FAi9 F6 Fmtl9 B?719 /--1,
In the abovetext the word 'tonic' always
refers to a chord with tonic function. I ]

Exercises:
t/ Play alt the given examplesof this lesson,and transposethem to asmany keys
aspossible.
Nota Bene!: All examplesare in the key of C and start with the IV.

e/ Closethe examplesL-4 with a tr-V-I progressionin the key in which they are
\..,:.r
practiced.
(.ln
r' Close example 5 with a Itr-VI-tr-V-I progressionin C major.
NB!: In mm the tonic substituteVI also is an Am7-chord insteadof APA/+S.See also section 19.9

t/ in R Bb,andEb.
Playexample5, concludedby the m-VI-tr-V-Iprogression,
Remember:All examplesare in the key of C, and start with the fV. In casethe progressionsare too long
to remember,write them down first.

r' Always try as much as possible,to memorize the examples.

58
 I

( '

Lgsson 22 rn üm chordof vrr and its role assecondarvdominant

\
Becauseof its versatilityin minor aswell as in major, we shallin this lessonpay fur-
ther attention to the diminishedseventh(dim) chord on VII, specificallyto its appli-
cation as secondarydominant for II, m and [V.
22.1 The elementaryposition of a diminishedseventhchord (".g. Bo, MIz in C mm
(-l or minor) consistsof three superimposedminor thirds.It is composedof a mi-
nor 3rd (b-dl, a diminished5th (b-fl and a diminished7th (U-aV¡on the root
f.'i
(b). It forms the upper structureof G7l-9.
22.2 Outside the harmonic context"the ear is Inversionsof Bo
( . , not able to identify the specificinversion
of the diminished7th chord. for within the
systemof the equaltemperamenf*a minor
t,l
third (f-a?)and an augmentedsecond(av-b)
(aD. soundjust alike. only the nota-
tion clearly showsthe differencebetween such intervals.This gives the dim
chord an apparentsymmetricalform;a characteristicwhich,after enharmon-
ru \. , ic changes,is very useful in modulationsand short tonal excursionsto other
keys.Seealso lessonI8.2, andlesson35 on dim chord and octotonics.
f"'r
22.3 As result of this apparentsyrnmetricalconstruction,it is customaryin jazz (but
( . , a little sloppy)to name the diminished7th chord after its basstone insteadof
its root. We cameacrossthis customin the sections21,.4and2l.5.in which Fo
turned out to be a Bo with/in the bass(Bolr).
f ,
22.4 When the dim chord of VII re-
{ ) solvesto a major triad, it possess-
es three,and when it resolvesto a
tr-\
0. :¡
minor triad two leading tones;in
some casesthree.It usuallv does-
(,:
n't have a common tone with the subsequentchord to which it resolves.As a
("; consequence, the voicesalwaysmove.Thesecharacteristics,plus the apparent
symmetricalconstruction,make the diminished7th chord of MI a dynamic
(''
and versatiledominantchord.
225 In spite of all its sublime characteristics,
the diminished7th chord also pre-
{ r sentsus with someproblems.One should,for instanceon the piano,be cau-
tious with the doubling of tones,i.e. the dim chord soundsa greatdeal better
f'' without than with doubling of the basstone in a higher register.
l ;
As the examplesbelow will show,in a progressionone often hasto choosebe-
tween the colouring of the chord and the correct voice leading.Especially
where the dim chord is applied as secondarydominantfor a m7 chord.

t". 22.6 The examples1-3 show the voice leadingof the progressionof the root posi-
( tion of secondarydominant Cf,oto Dm(7), tr in C major,alsoin root position.
In examples1 and 2 we seethe triad of D minor.In jazz music,however,we
*The systemof equal temperamentdevidesthe octavein 12 equal
halve steps.In the 17th century it was brought into practi-
cal use by J.S.B ach'sWohltemperiertes
Klavier.

59
 would prefer to colour this chord with the 7 (example3). To achievethis,one
of its leadingtoneshasto be sacrificedand hasto fall to the 7 (c), or the 7 @b
) of C#ohasto ascend,resultingin the omissionof the 5 (a) of Dm7.

C¡ C#o Dm C^ cilo Dm Ca C#o Dm7

22.7 The 7 of C#o in example4 is ascending@baQ while the 7 of D#o descends

(crrb),asis customaryfor the seven.Thereasonfor,the $ifferent movementof 1 . 1

the seventhsis becausethe resolutionof the 7 of Cilo (bt) is,ta$enover by the

t t
lead voice (a).The parallelTth motion in this progression(cfr-bvt d-c) is,how-
ever,not accordingto the rules of traditional harmony. r i

The 3 d) ot D#o can also fall to the 7 (d) ( ,

of Em7, like we seehappenwith the 3 of 4
C$o in example3. In that case,we would í')
missthe pretty ascendingchromaticpass-
ing tones in the secondvoice (ettfrfrg),
althoughthis motion is lessobviouson the
ca cilo Dm7 Düo Em(7)
piano, as the lepd (g) takes over the reso-
lution of the d."
In examples5 and 6 the resolutionof the 7 is in all casestaken over by anoth-
er voice.Sincethe order of the voicesof root-7th-3rdis the best soundingpo-
sition,and becausewe rather hear a 7 in the subsequentm7 chord,we should-
n't worry too much about the ultimate voice leading,and be content with the
fact, although not accordingto the traditional rules, that the 7 of a diminished
7th chordascends,whenit is a 7th over the boss**. (, )

I .l

C¡ gfo g¡17 gfo Em7 Ca Cfo Dm7 Dfio Em7

22.8 Somevoicesof the diminished7th chord can be suspended.These suspensions

can resolve internally or, in some cases,externally.Although it could be done,
it's not commonpracticeto indicatesuspensions in the chord symbol.The6 (a
in Cfo) substitutesthe 5 (example5) or suspendsit as in example6.
If C#ofunctionsassecondarydominantfor Do (example7), the matter is a lit-
tle more complicated. In this progression C$o actually is an enharmonically

* In arrangementsfor wind instrumentsor stringsthe parallel motion in tenth is clearly audible.

** In lesson29 we will discoverthat the diminished7th chord betweenII and III can resolvein both upward and downward
directions.
60
 chaqgedinversionof Eo, of which the
7 (d?)is in the bass.This dim chord is 7
l..'\
VII (dominant)in F minor (NB!). Du
is Fm6 with 6 (d) i+ the bass.Thesus-
pensionbecomesaP(from C minor or
Ii mm) and in fact is a suspensionfor
Dbo D@t9t11 G7l-1gt-10
c^tg
ttre itrir¿ (g) of Eo*.
r")
22.9 In C#o (example8),the c in the lead is an intprnally r,esolvingsuspension(cr
í¡\
\ / bv)for the doublingof 7 (b?).'t\e bP,in its turn, resolvesde-
o scendingto the 5 (a) of the subsequent chord, as is custom-
f) ó --¡--{_-a-
tffi '-¡^
ary for a7.It givesthe lower Z of C$] a legitimateexcuse
(--) to move ascendingto the 7 of Dm7 (b?trc).
The c in C*o could have been called the -8 (or bA¡.
C'r However, in that casewe would have formulated a new
C} cf,oDmz/g chord symbol;Cfio/-Ais a useful,but unfortunatelyuncom-
d-\
mon chord symbol ín jazz music.
\,../
22.10 The g$ and,b in Df,oin example9 are ascendingsuspensions g
s which internally resolveto the 5 (a) and theT (c) of D*o res-
ff pectively.
The gil and b could have been called the 4 and 6 of the dim
(,,
chord, but also Ofio/qtíis an unfamiliar notation.
Dilo Em7l9
(;
Exercises:
(-)
r' Again, the sequencebelow looks considerablymore difficult on paper then it
ü is in reality.First read the largerprinted notes,and play them on the piano.The
() fingeringfor the right hand is always:the half notes(beginningwith e) with O,
and the quarter notes(bta) @ O. The fingeringfor the left hand is not impol-
f,l tant. The keys we meet in t\is sequencelast for two bars;they are C and EP.
Continuethe sequencein GPand A.
(";

(:l

l"r
\.J

C)
(r'
Now play the small printed notes (octave doubling of the upper two larger
(..; ones),and the upper large one with the right hand.The half notes are always
played in octaveswith o and 6, and the quarter notesin betweenare played
f.' with @.^@.The quarter notes in the left hand are played with O\O and the
(-¡ bassalwayswith 6.

(i Continuethe sequencein this manner,over the entire keyboard.**

* Seealsochapter 5 on secondarydominants(2).
(; ** Playing the exercisesand sequences'over the entire keyboard',you will notice that in the
higher and specificallyin the low-
er registersthe sound of the chordsbecomesdubious.(Play on all the same,it's just an exercise!Seealso page 110.)
(- .)
61
 r' Play and practice sequenceL3 in the sameway.Double the first and second
voice an octaveup and play them with the right hand (seeSeq.L2).The keys
in this sequenceare: C-E-AP.

r \
i )

r' Play all the examplesof this lessonand try to memorisethem.

r' Tiansposeexamples4,5 and 6 to as many keys as possible.
Remember,the diminished 7th chords are secondarydominants for II and III.
( r
r' Practicethe examplein22.2 (Bo) on the entire keyboard.Do the samewith
Co and C$o.
r' Learn the inversionsof the drop-two position of Do, Ebo and Eo (below) by
heart, and practicethem over the entire keyboard,until they run reasonably
fluent.* If this provesto be a little too hard in the beginning,try first to mas-
ter the closeposition. f l

r' Play the exerciseabovealso in drop-threeposition.

LeSSOn 23 Thickenedüne and the 6th diminishedscale { )

In this lessonwe will becomeacquaintedwith the thickenedline.In jazzmusicthis is

a traditional way of harmonizíng a melody. Usually the chords in this way of har-
monizing are in close or drop-two position and move in similar motion with the
melody,which consistsof chord tonesand non-chordtones.Thechord tonesare har- ..,")
monized with the chord symbolsas written under the melody,the non-chord tones
are usually harmonized (amongstothers) with the dominant diminished chords of
the symbols under the melody.When the tonic (I) is written under the melody, this
wilt be a VIIT (dim), and when a chord other than the tonic is under the melody,a sec-
ondary VItr (dim) for that chord.The scale,formed by the tones of the chord under
the melody together with the tones of the diminishedchord,is called fhe 6th dimin-
ishedscale(Dr. Barry Harris). This is a major or melodic minor scale,in which be-
tween the 5th and the 6th tone, a chromatictone is inserted.This tone is the (dimin-
ished) 7 of the dirn chord which alternatesthe chord under the melody.

* The upper three tones of the chordsare usually played with the right hand.The lead tone can alsobe doubled an octavelow-
er, and piayed by the left hand. In volume 2 we will discover,that no sta4dardmethod can be given to devide the chord tones
over both hands.Find yourself what is easiest.

62
 23.1 In the examples1 and 2 we seethe major 6th diminishedscalesharmonized
with C6 (I) and Bo (Vnz¡ in close and drop-two position. C6 is under the
melody and harmonizesthe chord tones.Bo harmonizesthe non-chordtones.
In these examples,C6 is the tonic. As a result of the similar motion of the
chords,the voice leading showssome deviationsfrom the rules:with the as-
cgndingscalein the exampleswe seethe descendingleadingtonesin Bo,/and
a2,resolveupwardinsteadof downward.Thisis typicalwith the thickened-line
\ r harmonization.-
\"..J

r i l

lt-',

l-j

l"-r

\,..j

f;i
t''\ c6.
\i

(-l 23.2 By changingthe major 3rd (e) of CGto a minor 3rd (e?),the scalebecomesa
minor 6th diminishedscale:C6 becomes Cm6.
\,,
23.3 When the ab is enharmonicallychangedto gil, Bo,altersto G#o and becomes
secondarydominant dim for VI (Am7). Since ab and gfi in practice sound
alike. the difference between Bo and Gf;o is
(,)
not evident.Besides,C6 and Am7 are com-
3
tr,.$ posedof the sametones;thetone in the bass
is the only difference between the two
(J chords.Sincethe bassis absentin the har-
monies of the thickened line and only ap-
pears in the chord symbols written under
f l
the melody,one doesn'thear the difference
between the harmonization with C6 or 4
Am7. This is specifically true when the
chordsare in closeposition (examples3 and
a).By analogy,harmonizationsof the thick-
ened line with F6 and Dm7 are identical. Am7.

23.4 For A@and for Cm6 the same6th diminishedscaleis applied,as well as for
D@and Fm6. N andD@ are being alternatedby G*o and Cio respectively.
Thesedim chords are similar - enharmonicinversions- with the secondary
dominants[VII] Bo and Eo for Cm6 and Fm6 respectively(see22.8).]Iere we
notice the advantageof the symmetricalbuild of the diminished7th chords.

63
 23.5 In example5 we seethe normal C qrajor scalein the lead,harmonizedas the
6th dim scaleup to the 5 (S); the a? is absent.From the a onwards,the 6th
diminishedscalecontinues.The scalecan be used as long as it's appropriate
for harmonízíngthe melody, if not, one has to find other solutions.In the
examplebelow (example5) we therefore seeunder the a an inversionof the
precedingC6 chord (arrow). I
+

c6.
23.6 Example6 showsthe major 6th dim scaleof Dm7 or F6.Up to the a, the scale
tonesof C major are in the lead;the 6th dim scalecan be appliedstraightfor-
ward. Cilo and it's inversionEo a¡e IVIIJ for DmJ (tr) and F (IV) respectively.
From the tonesfollowing a, i.e. bb¿'c¿'c*¿'d,thebb andr# ate lesscommon on
Dm7 or F6 in a melody in C major.

Dm7. .

23.7 The chordswe use for harmonizinga melody are determinedby that melody i. ,
in the first place,not by the 6th diminishedscale.If the melody coincideswith
the 6th diminishedscale,we can use the chordsapplicableto that part of the
scale. i,,)
23.8 A melody on III (in C: Em7), can only partly be harmonizedwith Dffo.For the i ,¡
time being it can best be dealt with as if it were a melody on I.
23.g The non-chordtonesof a thickenedline on V7 can for the time being be part-
ly harmonizedwith the secondarydominant dim chord for V7 (in C: F*o).* ..
23.10 It is mainly the duration of the non-chordtones
which decideswhetherthe secondarydominant
is mentioned in the chord symbols under the
melody.The eighth-notepassagesin the exam-
ples 7 and 8 are harmonizedwith the complete Dm7(or F6)
tone material of the 6th diminished scaleof
Dm7 or F6, being the only chord symbolswrit-
ten under the melody.The duration of the sec-
ondary VII (Cilo or Eo) is too short,and there-
fore impractical to be mentioned under the
melody. Dm7(or FO)
* In volume 2 we will come back to the subiectof the thickened line and the 6th diminishedscale.

64
 l

t'-,

Exercises:
r' Play all the examplesin this lesson.

r' Play the inversionsof the diminishedchordsBo, Co and C#oin closeposition

over the entire keyboard.Do the samewith the drop-two and drop-threeir¡
versions.
r' Learn the examples1 and 2by heart Tiy eventuallyto masterthe harmoniza-
tion of the 6th diminishedscaleof all major keys;in closeas well as in drop-
two position.
t/ Do the samewith all minor scaleson the m6 chords.
It's impoltaqt to malter one key, before transposingto other keys.Begin with the major 6th dim. scale
of C, F, BP,EPand A2; then A, D, G, C and F minor. Bit by bit, one can try playing the remaining scales.

y', Play the following melody and chords.Apply the diminished chords (sec-
ondary VII) of the 6th diminishedscaleunder the non-chordtones.Play with
the left hand the melody and with the right hand the chordsin closeposition
with the melodv in the lead.

D7l-13GmG

Play the melody plus the chordsbelow.Again apply the diminishedchordsof

the 6th diminishedscaleunder the non-chordtoneswhere possible.

Gm7 C7 Gm7C7

If you are familiar with both the songs,try to finish them.

65
 r' Play the chordsof the rather well known songbelow (Cole Porter) on the pi-
ano,and try to recognizeit.
60 lc7-9lFT" Fm7lFm6lDo lc7-st-13 lc¡lg c7t-elc6 ,ll
e h 6| A r y / B l r l G 7 t 1 3 l DG
c m 7| F 7 / s l B b ¡llB o 7 - el l
co lc7-e I FmaFm7| Fm6lDs lc7-et-1slca/ec7i-elc6 ll
( Play the 6th diminishedscaleof C major descending,then ascendingwith the
left hand alone over one octave.

r' Tiy slowly to play at the sametime the 6th diminishedscale(major as well as
minor) with the right hand ascendingand the left hand descending.The scale
movesin contrarymotion.
r' Play the 6th diminishedscaleof C major with chords(C6 and Bo) in closepo-
sition.The startingposition is: thumb (1) of the left hand on middle c (c'), the
little finger (5) of the right hand on c" (one octave up), and the remaining
tones of the chord in betweenwith the right hand.Don't forget the half step
betweenthe g and the a!
r' Play the minor 6th diminishedscalein the sameway.
(.'
The following melody fragmentsrepeat topics treated previously.Some fragments
can be harmonizedwith chordsin root position,otherswith a combinationof thick-
ened line and root-positionedchords.Also apply at someplaceschordsin drop-two
position.

Practice:
r' Learn the two minor tr-V-I
models opposite by heart,
and practicethem in asmany
minor keys as possible.First
without, and subsequently
with the lowest note of the
parallel thirds (betweenpa-
renthesis)in the right hand.
./ Play the two melodic frag-
ments in practice 2a and 2b

66
 on the tr-V-I progressionswritten under the melody,in five-part harmony,the
melody in the lead included.Don't forget to spreadthe chord tonesover both
hands.
Remember.a minor chord is not the sameas m7!

( j The two melodylinesin practice

3a and 3b are harmonizedwith
{) a I-VI-tr-V progression in
melodicminor.The VIth degrees
{'}
(Ea and 7*o¡ are derived from GmG
CI melodic minor.The D7 chord in
practice 3a is on the third beat
of the secondbar.
The g and the e in practice 3b
{.)
are two neighbouring tones of
Am6 Ffra ga E7/-9
I t
the 5 0 of B@.Therefore,the 5
f \ t can be omitted from the chord.

r.\ The melodic lines in practice4a

\.v
and 4b are harmonized with a
( ) I-VI-tr-V progression in har-
monic minor. Consequently,ttre Dba Ga¡" C7l-9
(',
VIs are major 7th chords (Dna
( : and Fa).The root of V is antici-
pated in the bassof II: Gu7.and
(.j gole
Am F¡ Bale E7l-g
()
Practice5a can be harmonizedin a four-part drop-two position.The inver-
[J sionsGo and Ao of Eo and F#ocan also be omitted. In that casewe hear an
(.)
ascendingstepwisemotion (German: sekundengangl in the bass(see also
elample !in22.7).In practice5b we seethe progression IV+VIIá mm+III in
(..) 3D 1¿D--+EDo--+Dm7).It is bestto double the 3 in the melody of both Dm7 and
Bo one octavedown. For the voicing of Bo with the 3rd in the lead,refer to
q l
C#oin example5 of section22.7.

o
(,: Ff,o (Ao)

( '

t.)
[;
f \

1,,
67
i
 r' Harmonizefollowing eighth-notemelody lines with the 6th diminishedscale;
non-chordtoneswith the appropriatediminished7th chords(secondaryVtr)'
Tiansposethe lines to as many keys as possible.

. . .F 6 . \:.
Gm 7 .
,4:.

r' After the precedinglessonshave been studied and understood,a substantial

number of standardscan be addedto your repertoire.
Make a choice from:

PENNIESFROMHEAVEN l'\,
\ilrii'

I CAN'TGNEYOU AIWTHING BUT LOVE

OUT OF NOWHERE
WHAT'SNEW
YARDBIRDSUITE
IT COULD HAPPENTO YOU
SOFTLYAS TNA MORNINGSUNRISE
I THOUGHTABOUTYOU
ALL THE THINGSYOUARE
OLD FOLKS
STELIA,BY STARLIGHT
BODYAND SOUL
THE TOUCHOF YOURUPS
ALONE TOGETHER
ALL GOD'SCHILDRENGOTRHYTHM
THE BESTTHINGFORYOU
BLUE BOSSA
THE NEARNESS OF YOU
IT MIGHT AS WELLBE SPRING
HAVE YOUMET MtssJONES
and likely a lot more.Tiy!

r' Identify the minor-major enclavesin the abovelisted songs.

68
 CHAPTER 5 SncoNonRY (2)
DoMrNANrs

In lessonL8 we were introducedto the conceptsof the secondarydominantand the

adjacent(secondary)tonic.We saw examplesof secondarydominantsfor the prime
degreesfV andV. Furthermore,we learnedthat the extensionsof the dominant se-
venth chordsassecondarydominant [V7]* for IP,IIIT and VI7 originatefrom the key
and mode of the adjacenttonic, in C major:A7--+Dm7,B7--+Em7,E7-¡4m7. In les-
son 22.6 we were introduced to the dominant function of the diminishedseventh
chord as secondarydominant for II and ltr. In lesson23 we learnedabout the sixth
diminishedscale,in which the diminishedseventhchord,in its role as embellishing
passingandneighbouring chord,appearedasdominantappliedfor I, and assecondary
{^) dominantfor II, fV and VI. In this chapterwe will broadenour understandingof the
(-'.r application of secondarydominants.We will also meet the tritone-relateddominant
seventhchordand introduce a few more embellishingchords.
t\
LeSSOn 24 Yzt-S and the tritone-related dominant 7th chord
\;"i

ñ 24.7 As the scaletones which mainly distinguish

Good! minor + major
the minor from the major scale- i.e.the 3rd
(-)
and 6th tone - are not presentin a non-ex-
'',
(. tended dominant 7th chord on V, it is im-
possibleto establishits mode (major or mi-
i ; nor). 'Bare' VTthsbelongingto either major
(..) or minor are identical.
Poor! major + minor
() 24.2 In lesson18.3we learnedthat the extensions
of the secondaryV7 are derivedfrom the key
(,.r) and the mode of the adjacenttonic [I].A sec-
ondary V7 or secondarytr-V progression*
moves smoothly to major, even if extended
by tones from minor. In example 1, C--+[tr-
V]-rAZ the extensionsof. E7 are derived
from A minor. The oppositeis not true: it is
difficult to move to minor with a V7 of which
the extensions(9 and 13) are derived from
major. In example2, C-+!tr-Vl-+Am7, the
extensionsof E7 are derived from A major.
Cl9 ET1B Am7
24.3 In examples3 and 4 we seethe bare [W] tor
VI.We notice that the 5 insteadof the root of
the chord is in the bass.A descendingpass-
ing tone appearsbetweenthe roots of I and
VI. This is a stepwise moving tone which
usually appearson a metrically unaccented
beat or part of a beat.
* Squarebrackets usedwith chordsor chord progressionsin roman scale-degreenotation indicate a secondaryfunction.
[]

69
 5 and 6 the 3 of E7 and Eb7is
24.4 In examples ñ
o f#
by a andabrespectively.,
suspended lffi
I
In boththe m7 chordsthe 5 is
EbTsusTsb. lffi
omitted. Without the 5 in the suspending \ff
chords.we will not notice the differencebe- c9 E7/B Am7
tween the minor 7th chord (tr in major) and
the half-diminished chord (tr in minor). - A I
Consequently, the ttr-Vl in theseexamples O lffi
canresolve to majoraswellasto minor.
lffi
24.5 The 5 of the secondary dominants [V7]in IFffi!_ria
e¡amples 7 andSis lowered.InbothE7and Lffi
EP7this flat five (-5) is in the bass.These cmig E TBb lrrt
EbTgb abt
chords also can resolve to both major and
minor. However, we notice another phe- (
nomenon: If theS (sfl .l!7 is enharmoni- 7 /--':,
cllly changed to av,,E7 into
fffi L i

ghanges lffi
BDT|+11, and if the 7 (il\ of.EP7chansesto ll L, | | ( i

c'f,,and the -5 pbb¡ to o,Eb7 changei into lffi

-m (- ";
A7l+11:both dominant 7th chords without
(perfect)5. Seealsolessons25.7,26and37. cg
Cg E7l-5¡gb Am7
E7l-'¡sb Am7
i l

24.6 The alterltions and enharmonic changesin

E7 and EP7convert these chords into so- /L
called tritone-relateddominant 7th chords: 8
lffi
gbzwittrE7and47 with rbt. r-necfords
lre
arerelatedby thqircommontritone:a?4 = lffi
d-s* andg-c#- &-g,and arealsoa tritone lffi i , '
apart. CmB EbV-S¡gbb
Abt
Although a simplification, this concept is
commonly used in jazzharmony.
(TR) dominant
24.7 Thus,the tritone-related 9 fffi
7thchordcanresolveto majoraswellasto lre
minor.Wewill seein rhenextlessonthat
l# \,/'
their main applicationis in a dominant lffi
chain, i.e. as a secondary dominant for a
cs ab7:+fl13A7tgt13
(qecondary)dominant, etc. In example 9
8?7/+11113 resolvesas secondarydominant to W in D major: A719113.

Exercises:
r' Tlansposeall examplesof this lesson,exceptexamplesL and 2, to chromatic-
ally ascendingkeys,i.e. Cfi,D,Eb,E, etc.

r' Learn them by heart.

70
 LeSSOn 25 The dominant chain and another TR dominant 7th chord
When a dominantchord resolvesto anotherdominantchord,a seriesof descending,
cadentialdominantsis formed.This progressionis called a dominantchain(seealso
24.8).Thechordsin sucha chain can take on many different forms.In this lessonwe
shall meet someof them.The first six examplesshow the chordsin root position.
25.1 Becausethe 7 in these chords is absent,we
will not very often encounterin jazz music 1
the dominantchain of triads shownin exam-
ple L. Only the cadentialbassthat falls by a
5th or rises by a 4th,and the leading tone
causeharmonicmotion in this progression.
25.2 Example 2 shows a chain of dominant 7th
chordsin which the 5 is omitted.We seethe
tritone bv-e of C7 turn into the diminished
stha-ebof F7,etc.*
25.3 The dominantTthchordsin example3 are al-
ternatelyextendedwith the 9 and {he 13. In
this chain the diminished sth e-b? of.C7l9
turns into the tritone ev-a of F7/9113,etc.
25.4 In example4 the chordsare againextended
with the 9 and the 13. In the secondand
(; fourth chord these tones originate from mi-
nor. The upper structureof the chordsin this
{.) progressiondescendschromatically,main-
taining the sameform enharmonically;the5
\.,J
descendsto the -9 and the 9 to the -13.
r'l\
25.5 We see a similar repetitive pattern in exam-
l-r ple 5:
1 3r . - 1 0 r 1 3
{i 3 r 7 r3
7 r 3 r7
t . j

25.6 The progressionin example 6 is identical

t-\
with the previous one, only with the differ-
(,) encethat the lead movesindependentlyfrom
''
the other voices.Chromatically descending
{ middle voices,together with falling fifths (ris-
ing fourths) in the bass,and with the lead
moving independently,is a very common
( . t
voice leadingfor a dominant chain.
f t

* Augmented4th (tritone) and diminished5th are complementaryintervals,and divide the octavein two equal parts.
t t

Ll 71
 25.7 Example 7 showsthe altered VIIT in C ma-
jor and example8 the one in C minor, both
with lowered 3 (ah). fne chords in both
examplesare in closeroot position apwell as AlteredVIIthdegreein C major
in first inversion, the latter with d? at the
bottom. When in the minor inversion in
example 8, the rogt b of WI is enharmor,ric- offi
o :
4

ally changedto cv,-the augryeqted 6th&-b

changesinto a mlnor 7rhd?-cv forming a Altered VIFh degree in C minor
root-positionedDP7chord. See (8) in 33.6
and lesson37.
25.8 In the first bar of example9 we seeVIIE (3
in the pass)in C majgr (Bon).By alteringd
into dV and a i¡rto aD,the first chord,Bo¡g
changesinto D?71+5and D27 respectively.
Both are called tritone-related (TR) domi- /:.
nant 7th chords of GZ originating from VII; Ba¡s oÚ c7t13
the first from VII in C major (+5), the sec-
\...., lj
ond from VII in C minor or C minor-major (at av).
( i

25.9 The traditional point of view to name 4 TR dominant after its origin, the
VIIth degree,would becometoo complicatedto capturein a customarychord i i

symbolusedin jazz,specificallywhen the chordsare extended.Therefore, the

conceptof the tritone relationshipis a useful and practicalsimplification.

c B7/13 ^7 Dllfrovat
g-5t}b Trad.:Bf/-3leb AoÉs6b,
TR : D77 C7113 87 8?7113

The TR dominantsin example10 originatefrom the altered [W]. tn e4ample

1J they originate from the altered [VII7]*. The chord extensionsin Dh7 and
C27in example12 makeit not practicalto relate to traditional notation.
At somespotsin the examplesthe notation
of accidentalsis inadequate,e.g.the 7 of 12
the TR dominants is written as an aug-
mentgd6th.For example,,BPlin exampleL0
has bb-gf insteadof bb-ab;,bboriginally be-
ing the -5 of E7 (W).Iq Dr7 in exampleL1
TV : oblgp cvs cbuilB ebTg
has an augmepted6thil-b insteadof a mi- Trad.: Not practicall
nor seventh&-cD; the b being the root of
the alteredMI in C.
* Often it is problematic to establishwhether an extendedTR dominant originatesfrom an altered V7 or from an altered VIF.

72
 {

25.10 There is another item from traditional harmony which should be taken into
accountwhen dealingwith TR dominants,In a conclusionto I it is lessappro-
f priate to extend the TR dominant with ¡onesbelongingto the minor kgy in
which the chord is the actualV7.Thus,DP7,extendedwith tonesfrom Gr mi-
nor, is too remote from C major or minor to be harmonicallyacceptable.
The
'tonal ear' will object.
I

(-: 25.11 The examplesL3 and'J.qhowaD77 chord. 13

In example1,3aSV7 in GP,inwhich the ex-
(.) tensigpsoriginatefqgm C'Pminor: -10 (f),
-9 @oo¡and -13 (Uvo¡.Theprogressionis
C, er,rtirelyacceptable.In example14 we see
D77t-10t-13t-9 GP^/g
DP7as TR dominant in,C major, with the
sameextensionsfrom GPminor, in this ex-
ample enharmonicallychanged.The ear 14
('j probably hasobjections.

d"\ 25.12 The extensionsof the dominant in exam-

ple L5 (Dv7l13l9)originatefrom C minor.
C) T,heear hagno reasonto object! The 9 in
no objection!
Dh7is the ebfrom C minor.
The extensionsof the TR dominant,espe- 15
cially the 9, preferably originate from the
minor mode of the key in which the chord
f
functions as TR dominant and not from
(-i the minor mode of the key in which the
samechord functions as V7.
(_)
25.13 As a key can hardly be established,the statementmade aboveis lessrelevant
$ for dominantsin a chain,however,we still have to be cautiouswith -9 I -9
11 in dominant 7thchordsdescendingwith a half step.If the closurein example
\.,-,
16a is comparedwith the one in 16b,the differenceis obvious.The progres-
\..,/ sion G7l-9--+C^in example16ais apceptablein every way,aswith the resolu-
tion of G7l-9 (enharmonized)to G77l-g (qlso enharmonized)in 16b,the ear
( r
probably objpcts,due to the alteredbass(aPP)in conjunctionwith the non-al-
tered lead (a?),i.e.the combinationof the minor and diminished3 of the al-
L) tered MI. Seefor further discussionon this topic section27.21.
t; The TR secondarydominant preferably is extendedby a 9 instead of a -9.

16b

(_,

t)
L-)
73
 25.14 Every chord in which a tritone occurscan function as a dominant or as a TR
dominant.Also chromatically descendingdiminished 7th chords in a thick-
ened line have a dominant relation and can form a
chain. Becauseof the fact that the bass is absent, fl
their dominant relation is obscured.Compare the
similarity between the progressionpf;o-+ Fo and
D7l-9 -+ G7l-9 in examplelT,the latter seenwith-
out root. The descendingchain of diminished 7th D7t-9 G7l-9
chordscan be concludedon almostany major or mi-
nor chord.Wewill cometo the many different resolutionsof the dim chord in
lesson35.

Exercises:
r' Play all the examplesof the lessonon the piano and pay closeattentionto the
accompanyingtext.
r' Play the dominant chainsin the examples2-5 and ll-13 over the entire key- í )
board until somefluency is achieved.
t/ Come up with a lead, as demonstratedin example16, for the following pro-
gressions:
rteú 1r,únÚ lDbTc7 | Fa ll
G AG 2 7I F 7E 7 I E V T
D7 I G^ II
r' Play an arbitrary diminishedchord in closeand mixed position (root-7-3-5),
first chromaticallydescendingover the entire keyboard,then the samechord
ascending.
t/ Resolvethe chain of diminished7thchordsat somepoint on a major or minor
chord.Don't forget the correct voice leading!
i ' \
\:,
LeSSOn 26 Tlitone-related (TR) secondarydominants

The main distinction between the resolutionsof the secondaryW and the TR
secondarydominant is in the bass:the falling 5thof the secondary V7 exchangesfor
a descendingleadingtone in the bassof the TR secondarydominant,i.e.the strong
cadentialprogressionexchangesfor a stepwisebassprogression.Ina definite ending,
however,one prefersthe cadential5thinsteadof the weaker half step.
26.1 Example 1 showsa piano part and melody for the first eight bars of a well-
known song.TR secondarydominantswith extensionsoccur in measures3-4
and in the short dominant chain in the measures6-8.
Bar 3-4: Av7--+G7;TR secondarydominant for \Z in C minor.
Bar 4-5: Db7-rCm7; TR secondarydominant for VI in EP.
Bar 6-8: p7--+7b7--+EhTsus;
dominant chain.

74
f'- )

The resolution of do- 1

minants,V7, and sec-
{ ondary dominants,
[V7], is frequently in-
terrupted by their TR
substitutes.
In bars 3-4 we seefor
instance:
t l
fi,v'l--+Q'l--+Dv7-+Cm7
Depending on the
melody,alsothe oppo-
site is possible:the res-
olution of the TR
dominant is interrupt-
ed by V7. Cm7 rú Bbmz rú Ebzsus
Ebz
A suspendingII7 can
alsointerrupt a TR (secondary)dominant,aswe can seein bars 6 andT:
l l t l

(,)
fv-l--+flv17--+Fv7 the BPmTchord being IP in AD.

(,1 26.2 Example 2 shows a 2

more tricky version
(',, for the accompani-
ment of the same
fr
melody fragment.
At some spots liber-
ties are taken with the
voice leading. In the
progressionof the TR
secondary dominant
A7719/13 --+G7lsusin
bar 3, the 5-part har-
mony changesinto 6-
part (the 7 of G7 is
doubled).
The extensionsof AD7
andDvT originate from G minor and C minor respectively.
If we had stuck to the rules, the progressionin bar 6 (F7/9/13--+FD7l9/+5)
would have been unplayableon the piano with the given lead. Besides,the
last three barswguld havecometo a registertoo low for the piano,hadn't the
voicesin F7 ) Fv7taken over their respectivevoice leading as shownin the
example.We will frequently encounterthis practice.The piano is not a string
orchestraor choir,for which the voiceleadingis imperative.On the piano one
can,and sometimeshasto take more liberties.

75
 26.3 The first bar of the 3
song in example 3
showsa descending
TR secondarydo-
minant E719,while
in the same bar in
e¡ample 4 we see
F/9* E7l9
Bvltl3. The harmo-
nic function of the
chords is identical. 4
The second bar of
example 4 shows
the pretty descend-
ing movement13r
- 1 3 \9 \-9 \5 in
the middle voices A7 D7
of the chain of sec-
ondary dominants A7--ID7--+G7. The 3 of D7 can also be suspendedby sus-
taining theT (S) of A7 for one more beat,forming DTsus/9on the third beat \ , r

andDTl-9 on the fourth. ! l

26.4 One of the most frequently usedTR sec-

ondary dominant is the one for'V7. In the
examples5-11we seea II-V progressionin
C (major and minor) which has been in-
terrupted by the TR double dominant.
Double dominant is a specialname given
to the secondarydominant for the domi-
nant - in these examplesfor V7 (G7). In
such a progressionIIz (Dm7) can also be
( l
substitutedby the double dominant (D7)
and be followed by its TR dominant I I

(Av7).The choicemainly dependson the

melody over the harmonies.
26.5 Observe that some liberties have been \.-,1

taken with the voice leadingin example8.

These are the consequencesof the
'jumpy' lead voice.

26.6 Example 9 shows un Ah7chord of which

the extensions originate from C minor-
major.The +5 (e) is in the lead.This tone
would have been less appropriate,had it
been in a middle voice.The chord origin-
ates from an enharmonically changed
* The 7 in this chord is omitted and therefore not mentioned in the chord symbol. Some writers automaticallyimplicate the
presenceof the 7 when the 9 is indicated in the symbol.

76
 raisedfVB from C minor-majorwhich will
b,ediscussedin lesson36.If we forget the
ub for the moment and make the gV anrt,
the analysisof the chord becomessome-
what more obvious.Then we discover
Ff6, raisedfV, subdominant,with the low-
ered 3, the ab from C mm in the bass.*
r-\ The b?is a colouringtone from C mm.
f\ 26.7 In exampleL0 the root of Ab7 uswell asof
(r G7 is silent. This makes playing these
chordsmore practicalon the keyboard.
(.". +11G7l13l-9/+11
26.8 Th" 9 (e) of Dol9l11 in the first bar, and no root no root

C, the ev in the secondbar make the pro-

d-\
gressionin example11 a mixture of.C mi-
nor-majorand C minor.
\.,,j n Da is substitutedby Dm7, we hear ma-
jor in th,efirst bar and minor in the sec-
s ond. If eDin the secondbar is substituted
() by e, the wholeprogressio4is minor-major,and if subsequently also theab in G7
is substitutedby a, only A?71+5originatesfrom minor-major.
t: In example11,Av7 comesunder the ev on the first beat of the secondmea-
( ; sure,but it could also have been,li\e in example8, under thef on the third
beat of the ,first measure,forming A?71131+11. In that case,G7l-91-13comes
( )
under fhe e? on the first insteadof on the third beat of the secondmeasure.
(_) Tfy thesevariations on the piano!

('3 26.9 In the I-VI-tr-V and Itr-VI-tr-V progressions,which we learned in lessonsL5

and L6, the diatonic chords on the scaledegreescan be substitutedby sec-
6'r l ondary dominants,providedthe melody permits /ftis.Thesg secondarydomi-
nants in their turn can be replacedby TR secondarydominants.This implies
(.j
that if in the aforementionedprogression,C (the tonic I) is subptitutedby
( , Em7 (Itr), and Em7 in its turn by E7,its tritone-relateddominantBP7cansub-
stitute for the tonic C.We end up with the following possibilities:
l l
C--rAm7--rDm7-+G7becomes
(J Em7-+Am7--+Dm7-+G7or
E7-+A7--+A?7-+G7or
gb7--¿b7-'¡b7-,gb7
or any other combinationof thesechords.For example:
gb7--+
¡7 --+Dm7-rDb7 or
i, f-l-+lv'l--+D7--+G7 or
Em7--+Am7--+D7--+D27 . etc.
'l x 716¡-9can of coursealso be seenasVII (dominant) with flat 3 in
I G. Compareexample7 in lesson25.7.

77
 Exercises:

r' Play the piano part of the examples1-4 and sing the melody with it. Compare
the chords,as written out in notes,with the chord symbolsunderneath.
r' Play the examples5-Ll-on the piano.
r' Tiansposethe examples5-7 a whole step,both up and down. \''l

r' Play the exercisesbelow on the piano. l r

C7l-g Fm7
C7l-91:13 B7l9
cr7t9

i 'l)

Dm7 AD7t9l13GTlg Em7 Bv7l9l13 A7l9

r' Make an ascendingsequenceof the exercises2 and 3 and practicetheseover

the entire keyboard.
t/ Start exercise2 on Dm7, and exercise3 on Fm7. Also make a sequenceof
theseand play them over the entire keyboard.
r' Find and play the appropriatechordsunder the melody of exercise4. This is
the transposedversionof melody in the examples3 and 4. (' ,)

i,.,,

r' Play the first four measuresof the well-known ballad below. Colour the
chordswith appropriateextensions.Listen carefully!

D7 Dv7 c7

i ;
78
 !

Exercise6 showsfour measuresof the melody of three well-knownstandards.

Tiy to play them in as many keys as possible.Add someextensionsto colour
the secondarydominants.

l e x c ¡ la
¿ \ E7 ¡o
\.: J

q , i

*r.^r
\
abmt obt
{ ¡

r-\
B7 Em7 A7 Dm7 AV7l13G7
t ,

,f\
N ..' Play the TR secondarydominantsinsteadof the given dominantsunder the
melody of the fragmentsa and c in exercise5.
r\
t".,iJ
Harmonize the melody
f ]
fragments in exercise 7 a
( l
with the 6th diminished [r*'.7l
scale (the non-chord
tones with F#o or its in-
("'l
versions). Start on the
first beat in closeposition
with the melody doubled
án octave below. Change
on the secondbeat to a drop-two position,with the melody doubledin the sec-
ond-lowestvoice.Play all of fragment 7b in $rop two, also with the melody
doubled to the second-lowestvoice.Play DP7as well as C7 (both with a
colouring extension)in a 5-part root position.
r' Tlansposeboth melody fragmentsto as many keys as possible.
t/ Play the,samefragments, but with GZ insteadof Gm7 (i.e.minor-major:dbe-
comesil).flne non-chordtonesare harmonizedlikewisewith Ff;o.Alsotrans-
posetheseto different keys.
Play following dominant chain and melody.Move the inner voiceswith 13 \
-13 r 9 \ -9. SubstituteD7 and C7 with their TR dominants.Tiansposethe
melody fragmentto other keys.Put the chordsin a 5-part root position.

abt ebt
{ \)
q

( )
79
 t/ Play exercise9 with the chordsand finish it in EP.

FüO Gm7 Gf,o Am7 Ao Br¡ go Cm7 C$o

i i

Dm7 Do etc. in Et

i i
t/ Continue exercise9 as sequencethrough all keys.Play the lead one or more
octavesdown, in caseit becomestoo high. Seethe examplesin lesson22.7. i, '

Don't forget that the melody tone of the diminished seventhcords in exercise9 is the unresolvedsus-
pension for the 5 of the chord.Therefore,it is preferable to omit the 5 in these dim chords.In this ex-
ercisethe suspensionof the diminished seventhresolvesexternally and becomesthe 5 of the following
chord. /-'i\

r' Now that we have learned more subsiitutechords,our repertoire can be ex-
pandedas well. Also we might be able to use lessprimitive harmoniesunder
the melodiesalreadydealt with. (j:r
Choosefrom the list of standardsbelow: a',1)
NICE WORK IF YOU CAN GET IT
r THOUGHT ABOUT YOU (2)
THERE WrLL NEVER BE ANOTHERYOU (2)
FALLING IN LOVE WITH LOVE
INDIANA
WHAT IS THIS THING CALLED LOVE
IF YOU COULD SEE ME NOW
I CAN'T GET STARTED
THESE FOOLISH THINGS 1.- ''j

MY ROMANCE ( . 1
THE DAYS OF WINE AND ROSES
YOU AND THE NIGHT AND T:HEMUSIC
DOXY
SWEET GEORGIA BROWN
ALL OF ME
HAVE YOU MET Miss JONES (2)
I LOVE YOU
GEE. BABY AIN'T I GOOD TO YOU
THERE IS NO GREATER LOVE

Titles marked with the figure (2) have alreadybeen mentioned.

80
 o
(-:

fi CHAPTER 6 EnnnBr.r.rsHrNc
cHoRDS
l i
Embellishingtones(passing,neighbouring,suspendingtones,etc.) create melodic
f', activity.Embellishingchords(suspending,passing,alternating,approachand leading
( ) chords) createor delayharmonicmotion.Thesechordsusuallyharmonizeembellish
ing tones,which can be found in the lead, in the inner voices or in the bass.An
c) embellishingtone usuallyis a dissonantin the main chord.
Embellishingchordsdo not alter, but mainly decoratethe essenceof the harmonic
Ci structure.Their harmonicfunction, therefore,usuallyis subordinateto the function
o of the main chordsin the progression.

(')
LeSSOn 27 Dissonants,suspendingtones and suspendingchords
C) A suspendingchord is the harmonizationof one or more suspendingtones.In previ-
tl ous lessonswe met suspensions on severaloccasions. We learnedabout the majT (a)
suspending(delaying)the 6.^ Lessons9 and 10 dealt with the suspensionof domi-
ü nant and tonic chords.We learnedabout the suspendingfour-six (8) chord,about the
4 suspendingthe 3 (sus), the 13 asa suspensionfor the octavedoublingof the 5, and
ñ
the 9 for the octave doubling of the root of the chord.All suspendingtones delay
o chord tones:theroot (tonic),the fifth, the third, the sixth and sometimesthe seventh.
In lesson13 the suspendingminor 7th chord and in lesson20 the half diminished7th
( ;
chord (a) wereintroduced;bothsubdominantsdelay the dominant.
27.I Suspensions, whether they are chords or tones,have two characteristicsin
(,r common:they occur on relatively strong beats and delay the main chord, by
which they createtension.For example,the forming of the major triad is de-
f \
layed by the fourth (sus4), which is suspendingthe third of the triad. We will
call the 4 (or its octavedoubling) over the root of a major triad a conditional
$ dissonant.Similarly,we saw the dominant triad suspendedby the fourth, in
(i,\ conjunctionwith the sixth,over the root of the dominant,forming a suspend-
ing 3 tonic triad (lesson 1l.2).Therefore,this suspendinginversionof the tri-
ad alsoforms a conditionaldissonant.**
27.2 The first beat of a measurenormally has the strongestaccent (stress).It is
\",/
called a strongbeat.E.g.in a X,i.e.quadruplemeter,derivedfrom the two-four
or duplemeter(0), the strongestaccentis on the first beat and the weaker on
r\ the third beat.The secondand fourth beatsare still weaker.In a triple meter
the first of three beatsis strong.Of a group of 4 eighths,the first and third are
stronger than the secondand fourth. This organizationof accentsalso applies
( " to groupsof measures:of a group of two bars,the first is the strongbar, etc.

(_,, 27.3 The suspendingchord (m7 or sus4) is usuallyfound on an accentedbeat and

in a relatively strong (odd) bar.We can hear for example:
d ' r
D m7 G7 | D m7 G7 l l or Dm 7 | G7 | Dm7 I G7 ll or
¡ l
D m 7l G 7 l D m 7 G 7l c l l o r G T s u s Gl cT l l
* The 6 which is added to a triad, although traditionally a dissonant,is in jazz music
regardedas a (colouring) chord tone.
** In the sectionon the overtonesin volume 2, this phenomenonwill be discussed.
(,,
81
 27.4 If a tr7-W progressiondoesn'tfulfil the conditionsasmentionedabove,the IP
normally is not consideredto be a suspendingm7 and consequentlyno em-
bellishingchord.This meansthat the m7 in sucha progressionis an essential
part of the harmonicstructure,and can normally not be left out.

27.5 In example L wg see the first four bars of ALI- THE T$INGS YOU ARE.
precedingyt 1ED7),wehear the IInd degree(BDT7) of AP in the secondbar.
This is a relativelyweak bar (gvenbar) where as EP7is placedin the relatively
strong third bar (odd bar). BvmT doesn't fulfil the conditions as mentioned
above,and consequentlyis not a suspendipg,embellishingchord.It can there-
fore not be omitted and substitutedby Ebi without disturbing the metrical*
and harmonicallogic of thesebars.

Fm7 B?m7 EV7 A/a 1- .1,

27.6 In example 2 we see Gm7 in the strong third bar of HOW HIGH THE
MOON. It futfils the conditionsof a suspendingchord and can consequently /t":r
t.. .l
be omitted and substitutedby C7; the chord delayedby Gm7. Although the
harmonisationwill be more or lessimpoverishedby the lack of embellishing l l

chords,this doesn'treally disturb the logic betweenthe harmoniesof the pro-

it is po-
gression.GA/gin the examplealsofulfils the condition of a suspension;
sitionedon a strongbeat in a strongmeasure.The 9 (a) of Ga19in the melody
is an ascendingsuspensionfor the 3 (b) of G6, and the a (l) i" the middle
voice of G¡/9 is a descendingsuspensionfor the 6.

27.7 A suspensioncan occur prepared or unprepared.T};,epreparedsuspension

showsa chord tone becominga suspendingtone in the next chord.Especially
in jazz music,the distinctionbetweena preparedand an unpreparedsuspen-
sion is not of vital importance.

comesthe suspensionfor the 3 (b) of

the dominant.
The 5 of the dominant in example4 (d
of the G triad) preparesthe ascending
suspensionfor the 3 of the tonic (e).We
seeCsus2 (or sus9)--+Q.
Example 5 shows four suspensions:
three prepared and one unprepared.
The 5 (a) and the7 (c) of Dm7 prepare
the suspensionof the g and á in G7.The Csus2

* The perceptionof strong-weak (stressed-unstressed).

82
 t l

7 of G7 (fl preparesthe sus4 (fl in C6.

Tlte a in the third bar is the suspepsion
for the 5 (g) of the C triad. The aDis a
passingtonebetween a and g.

27.8 Also the tonic can be suspendedin Dm7 sus4

many ways:

dl'\
four-six (f) chord of IV; the so-called
\., .J 'Amen' close.Example6 (*) shows
this
f'r I chord of IV (F with 5 in the bass)de-
laying the tonic triad (C).
('''r

suspendingCO in two steps:first to

Ca/g,then to CO(NB!).

ished chord (Bo=4ho) suspendsthe

middle voicesof C6/9.
27.9 In example9, the secondarydominant
of VZ (Ff,o=VII in G minor-majoror G
minor) is placed above the root of the
dominant (G7l-9). We recognizethe
samemelody as in examplq8.The sus-
pending melody tone e? (-13 of
G7l-gl-13 in example8), however,is
harmonisedwith Ff,o.Thelatter chord,
which is the upper structure of.D7/-9,
(.j suspends(delays)the complete G7/-9
(i) that follows.Alsod could be in the bass.
In that casewe see a short dominant
( ) chain:
(
D7l-9--+G7l-9. o "l
The use of Dm7 as a suspendingchord
t....i for G7 is less appropriatehere, as the
lead,ehdoesn'tál*uy. fit in Dm7.*
() Püo7oG7l-9 C6
27.10 The descendingseventh(c#rs¡ in ex-
ample 10 forms a rather strong disso-
nant, but attractive embellishing 10
chord.The minor seventhc of Dg (or
Dm7) is suspendedby the major sev-
enth cf. If the chord is placedin a low-
er register, octave doubling of the Dmdt-5Ds G7t-9t+11
moving seventhscan alsobe left out. or Dma Dm7
t r * Seealsolesson20.2.

[,
83
i ;
 27.Ll With commonchord symbolsit is not alwayspossibleto correctlyrepresenta
suspendingchord. In such caseone could write the suspendingsonority as a
familiar chord symbolcombinedwith a basstone after a slash.Seeexample8:
4bo/c.Do not confusethis slashwith the slashused to indicate chord exten-
sions.
27.L2 The 4 (or 11) is a strong dissonantin conjunctionwith a major 3; so is the -6
in conjunctionwith the 5 of a major as well as a minor triad. Evenin the ab-
senceof both the major 3rd or 5th, if only the root toneof the chordis playedin the
bass,the 4 and 4 are conditionaldissonants.+
Thesedescendingleadingtonesare strong suspensionsfor the major 3 and the
5 respectively.In a minor chord the 4 (or 11),in conjunctionwith the minor 3
soundslessdissonant.It's not a descendingleadingtone, and therefore quite
common.The -6, however,soundsout of place,also in a minor chord (seeal-
so 27.I9).The 4 (11) and -6 are the root and the 3 respectivelyin fV and the
5,and 7 in VII, in both minor and minor-major,e.g.in C minor or mm, the/and i l

aDfrom Fm and Bo.

The major seventh(a) we know,besidesasleadingtone,as suspensionfor the
6 of I, and the 9 as suspensionfor the octavedoubling of the root of I. These al,., r'

tonescan resolvedescendingaswell as ascending.Becausethe a and the 9 al- ''- I

low the tones,towardsthey tend to resolve,to be presentin the samechord,

they are consideredto belongto the superimposedthird structureof the chord
and becamechord extensions. Therefore,apartfrom being suspensions, creat-
ing motion, they also can bg applied statically as colouringdissonanrs.As we
seein example8, the d of.ADokeepsits position and becomes9 in C6/9.The
á descendsas suspensionfor 6, but could also have stayedas a. In the latter
case,however,the interval of a minor 9thbetweenthe b and the c in the lead
resultsin a rather strong dissonant.

27.13 Normally, a suspendingtone doesn't allow its resolutionto be presentin the

( )
chord at the sametime.In certaincases,however,asmentionedabove,the sus-
pendingtone - e.g.the major seventh(a) for 6, the 9 for 1 or the augmented
eleven (+11) for 5 - functions as colouring dissonantin conjunctionwith its
resolution.In thesecases,the suspendingtone and its resolution,both present
in the chord, usually form an interval of a minor or major 7th,or a major lth i i
interval and sometimesa whole or half step.

pendingf resolvesto g, 11
I'
while the same tone,
one octave lower, is in
the chord. The interval
betweenthe suspending
tone (f) and its resolu-
tion (g), alreadypresent,is a major 7th. See also27.16.

* Seelesson27.1.
**This matter is discussedfurther at various placesin this lesson.

84
 Í-:

f-'r
though one octaye üp, is present in the chord. Once again,the interval be-
í': tween the tonesav andg is a major 7th.(see also27.I2).
t;
a major 9thunder the b,in the chord.In the secondchord the interval between
('-,r the suspension(a) and its resolution(g) forms a whole step (major 2"d).The'6
f"\ has largelylost its dissonanceand suspendingcharacterin jazz, andtherefore
is acceptedas addedchordtoneto the C triad (C6).
\,)
27.L4 The strongestdissonancebetweena suspendingtone and its resolutíonis created
c) whenthesetonesform an intervalof a minor 9th.

rl'r
sition of the á is a minor 9tt' (-9) under its resolution(the lead c). Also the aP
o is a minor 9thaboveits resolutiong.

$ G7/-gl-13 is a minor 9th above its resolution (d). 12

r*\ Therefore,the 5 normally will be omitted in a
dominant7th chord extendedwith -13. Even when
fii the 5 in a dominant 7th chord is positioned over
the -13, forming the interval of a majot 7th,the dis-
L_i
sonancebetweenthe tones is not really acceptable.*By some it is even pre-
Cr ferred to avoid the combination5 and major 13 in a dominant7th chord alto-
', gether.Oneshouldkeepin mind,that an intervalof a minor 9thbetweenthemiddle
(.
voicesor betweenone of the middle voicesand the lead may createtoo stronga
("; colouringdissonantin a chord.

(.) 27.15 Although the major 7this a chord extensionand belongsto the superimposed
thirds constructionof a chord, one should be cautiousto position this tone a
($ minor 9th below the root tone; the same applies for the 7 over the 13 in a
f} dominant7th chord.One usuallyprefersthe 13 above,insteadof below theT
of the chord.
{_") In volume 2 we will learn how strong dissonantslike the interval of a -9 generatemotion.

("r 27.16 The +9 and the +11 (d andfi in example13) havethe char-
1a
i " 1
acter of an ascendingleading tone to the 3 and the 5 res- ' v
w pectivelyof a major triad (seeexamples7,Lta and 11,c),and
ü thereforecanfunction assuspensions for thesetones.Under
certain conditions,however,they both accepttheir resolu-
t"\
tion in the samechord appearingas colouringdissonantsin
conjunctionwith the 3 and the 5; usuallyin a final chord (BIRTH OF THE
COOL, example 13). They originate from the unresolveddiminished7th
chord of the raisedII, about which we will learn more in the next chapter.
t .,1
27.17 The 7th tone of the major scale(leadingtone) can be a suspensionfor 3 or 5
of IV. It forms the +11 and can,with or without its resolution,be presentin
f'r
the chord (examplesI4aand 14b).In some casesthe +11 can resolveexter-
Á . i
\l * Obviously,dissonanceis a subjectiveassessment,
mainly dependingon style and conditioning.One should keep this in mind
l'r wheneverthe subjectcomesup.

85
\-._'
 nally to the root of the tonic chord: b , c in examplel4c.IV+11 is one of the
few subdominantchordsin which an ascendingleadingtone can occur.
*^[ffi 'oo[ffi 14"[ffi,
lF--Inr-Tf lF'f, rlE--l llu- ll
lffi
'----u-- -a
lre
_ h
lffi
27.I8 In m7, m6 and in half diminishedchords the 11 (/in example15a) or 4 (f ín i'. ' r

example15b) is often applied as colouring dissonantin conjunctionwith the

minor (!) third.In thesecases,the 11is more an extensionof the chord - or an
anticipationof the chord'sresolution- than a suspensionfor the minor 3td.In
example15c we see:Cm7/11-+F7lc.The11 in Cm7 is an anticipation of the
root tone of F7¡¿(seealsolesson13.4and 13.9).Due to its lower position,the
4 (like the 6) usuallyis called an addedtone insteadof a chord extension.

15,fffi= 15b[ffi 15c

t- [+ 1 )

27.19 As discussedin2T.l2,evenin minor, the -6 (-13) in conjunctionwith the 5 is

a strong dissonant.For this reasonit only occursas a suspensionfor the 5 of
the chord.When the -6 is abovethe 5, the interval betweenthe tonesforms a
minor 2td or a minor gth.Thisagainis a much strongerdissonantthan the ma-
jor 7th, which occurs when the 5 is
-=a--
15dlftF's- rselffi above the -6. Only over the root of a
" i€> ¡l .) e chord with the 5 omitted (Dm7/-6 in
ll example15d) or in which the 5 is dim-
l--
tF I r--
lgP=
inished (Dol-13 in example 15e),we i'rJ
often hear the -6. In those cases.how-
ever,we perceivethe -6 primarily asfundamenttonex offhe chord in the lead.
The chordsin examplesL5d and 15ewe hear in fact as BPchordswith 3 in the
bassor with a silent root. The -6 can also occur in the middle voices.
27.20 The -10 suspendsthe -9. In successionthese tones together form a suspen-
sion for the octavedoubling of the root of the dominant7th chord on V (in-
ternal resolution),or form a suspensionfor the 5 of the tonic (externalreso-
lution) as in example16.Both tones (-10 and -9) are derived from minor or
minor-major. The -10 can also function as a
16 colouring dissonantin the chord, in which case
the suspensiondoesn't necessarilyhave to re-
solve.The -10 in conjunction with -9 occurs in
7l-gl-1ol-13.** It is seldomheard in conjunction
G7t-10G7l-9 C
with the major 9th.

* A fundament tone of a chord is a basstone which forms, in combination with two tones of the chord, the root of a major tri-
ad.Seealsolesson35.6.
**The custom to identify this chord as +9 (augrnented9th) instead of-10 is lessappropriate,sincethe resulting raised tone
86 (+9) usually doesn't occur in the key in which the chord is applied.
 )

which the -10 (bf as well as its resoh¡tion-9 (aV) are

17lffiE
Í-i present.The descendingsuspensioná2 is positioneda
"
Il ¡"
major 9thaboveits resolutionaz.In this chord we seethe |l-rrbr
a, caseof an,intervalof a minor 9thbetweenthe suspend-
l:.
\L------€-

ing tone (a\ andthe tone to which it tendsto resolve(g). G7t-gt{.0t{3

The interval of the -9 in this chord,however,doesn'toccur betweenthe mid-
(-'j dle voicesor bet-weenone of the middle voicesand the lead.but betweenthe
bassand one of the voices.
\.j
The interval of a -9 abovethe bassin a dominant7th chordcreatesa mild disso-
(r nance.
d<

C) 27.21 In generalwe can state,that the conjunctionof two toneswith the sameletter
name,one of which is altered - lowered or raised- form too strong a disso-
Ci nant in a chord,exceptwhen appliedassuspension.This is specificallytrue for
0 the conjunctionof the 5 and +5 (-6), unlessthe 5 is positioneddirectly over
tr\
the bass,the 13 and -13,7 and a, and the 9 and -9.The -10 togetherwith the
\.rl major 3rdis an exceptionto this,which is hardly surprising,sincethe -10 with-
out major 3rddoesn'texist;without major 3td the -10 is just the minor 3rdof a
ñ
minor chord. Only when the major 3rdis positioneda minor 9th (augmented
er octave)over the -10 we hear the strong dissonanceof a major 3rdin a minor
chord.
{ )
Comparablewith the -10 in dominant7th chords,unalteredextensionsof dim
( \ chords also occasionallyoccur in conjunction with altered chord tones.
Usually,theseextensions,likethe -10, are unresolvedsuspensions functioning
( l as colouringof the chord.Seeexample8 in lesson22.
o Dt In volume 2we canread how the 'Barry Harris sixth diminishedscale'creates
more possibilitiesfor suspendingtonesmoving independentlyfrom the bass.
$
(l
(.lr SUMMARY OFTERMINOLOGY USED SO EAR

l-' r
a Chordtone The root (1), third (3), fifth (5) of a triad are staticchord tones.
The seventh(7) usuallyis a dynamicchord tone. Chord tones
LJ
can have a bassfunction. In jazz the 6 is normally considered
(:; asbeinga chord tone.Themajor 7thcaneither be a chord tone
or a chord extension(seebelow).
C; ,a Extension A tone is called a chord extensionif it's not a chord tone but
(: )
still belongsto the upper structureof the superimposedthirds
( ; of the chord. Chord extensionshave an essentiallymelodic
function.They are unresolvedembellishingtones,mainly sus-
L") pensions.The majot 7th,9th,11thand L3thare known to be
chord extensions.In the bassa chord extensionis exclusively
(_;
an embellishingtone.
\-, * The reasonfor this phenomenonis dicussedin the lessonon overtonesin volume 2.

87
 a Addition Toneswhich are part of a chord and do not belong to the con-
structionof superimposedthirds are calledaddedtones.A fur-
ther distinction betweenchord extensionsand added tones is
the usual lower positioning of added tones in the chord, and
the fact that addedtonesare mostly staticand haveno obvious
melodic origin. An exceptionto this is the -10 in a dominant
7th chord.This tone can be static- in blues-typeharmony- or
dynámic.The6 addedto a minor or major triad, the 4 addedto
a minor, mTth or half diminishedchord, and the -10 addedto
a dominant7th chord are the most common addedtones.

a Colouring Every tone can be applied to colour a chord,whether the col-

our is appreciatedor not. Colouring of a chord dependson
taste,style and conditioning.Usually,it is brought about by in-
troducinga degreeof dissonanceto the chord.Thisdissonance
can be from beautiful to unbearable.Once in a while, colour- r ' r
ing can effectivelybe achieved,when the dissonanceof a chord
is reducedinsteadof intensified.
Sometimesthe tone which generatesdissonanceneedsto be (.- \
resolved,in which casethe colouring tone is a suspensionand 4..,

has a dynamiccharacter. I

Advice: Be cautiouswíth colouringof chords,in a tonal contextif

might easilybe overdone.
t Sonority A vertical combinationof two or more tones,which is not nec-
essarilyidentified as an interval or a chord.
a Chromatic A successionof toneswith the sameletter name.The tonesare
derivedfrom the sameprime tone.
t ,

O Diatonic A succession of different prime tonesor of tonesderivedfrom ,¡1l'\

different prime tones.The toneshave different letter names.

A succession of scaletonesor scale-tonechordsusuallyis a di-
atonicsuccession; however,doesnot nec-
a diatonic succession,
essarilyhave to consistof scaletones;essentialis the useof dif-
ferent letter names. '\
,.1

a Secondary A non-scale-tonedominant for a chord other than the Itt de-

dominant gree;usuallyfor one of the other scaledegrees.InRoman-nu-
meral notation, secondarydominants are written between
squarebrackets:[ ]. we distinguish[W], [Vtr7] and tTR Wl.
a Double Is the specificname of the secondarydominant for the domi-
dominant nant;usuallyfor V7.
o Enharmonic A differ,entletter name for, p tone with the samepitch: cf,be-
change comesil, c becomesb#or bb, "t".

88
 Exercises:
Play the examplesof this lessonand
try to comprehendthem in relation
to the text.
F7l9sus4 F7l9 Bbo Bp6
Play the exercisesopposite on the
piano.
NB! F7l9sus4is an Eb triad with/in rhe bass.
A four-part diminished 7th chord sounds best C m7t9 F7t9 Ba/Bb *olg
when the lower voices are in the following or-
der, starting from the bass: lE'c2l
root (=1), 7,3 (seealsolesson22.7).

(. ,)
For the placesindicatedin exercise
2 (arrows) make up some different suspensionG7
ü suspendingchords and apply a few
extensionsor additionsto the given
e) chords. ?
suspension C7 idem.
$ If you encounterplacesin the text
(,t you can not completelyunderstandyet, skip them for a while.They probably
will becomeclear after a secondreadinglater on.
(')
Play the chord sequencebelow on the piano. See27.10,example10,in which
\. the major 7th (A) is a suspensionfor the 7th of the half diminishedchord (o):
t'\ Dm¡/-5-+ Da-+G7/-9 + Cma/- 5-+Ca--+F7 /-g ¿ Bbm¡/-s- gbo--rgb7¡-9,erc.
Dma/-S soundslike a Db triad with d in the bass(Dh7p*).Th"3 (fl ofthe Db
L."] tfad soundsbestin the lead.The B triad is over c in the bass;the A triad over
G} b?, etc.Wehear repeatedly;a--+/--+tin one of the middle voices.

$ Apply the suspensionfor the 7th of the half diminishedchordsin above se-
quencein exercise3 (arrows).
('".)

f f
Ea A7t-9t13 ga G7l-9/13
¡{- \
Tiansposeexercise3 (which is in the key of C) to F, Bb and Eb.
[ . ]

{ r

t-\

* This slash-chordsymbol givesno insight into the harmonic functioning of the chord; it is only applied
as simplification.

n r

5 i
89
 LeSSOn 28 tonesandpassingchords
Passing

A passingtone movesstepwisefrom one chord tone to another.This movementcan

be internal,i.e.betweentwo tonesof the samechord,or external,betweentwo tones
of different chords.Passingchords usually are the result of harmonizing passing
tonesin the bass.Passingtonesand chordscan move chromaticallyor diatonically.A
passingchord is,contrary to a suspendingchord, an unaccentedembellishingchord.
Like a passingtone it normally (but not always!)appearson a weak beat.
Without'mentioning this explicitly,we came acrosspassingchordsin the sectionon
secondarydominants(lesson24.3) and in the sixth diminishedscale(lesson23), in
which melody tones are harmonizedwith passingdiminished7th chords.
We will notice that there is a differencebetweenthe voice leadingof passingchords
in traditional harmony and that in jazz mtsic. However, traditional voice leading is
by no meansa rarity in jazz.
28.1, In traditional harmony, two successivechords,which move in step-wisemo-
tion, never appearboth in root position,unlessa diminishedtriad forms the i r
basisof the secondchord.This rule is basedon the avoidanceof undesired
parallel motion of certain intervals.*In jazz music,however,one is lesscon- \. !l/

cerned with regard to this parallel motion, therefore,in harmony applied in

jazz,successive chordsin root position are quite common.
28.2 Seventhchordsusuallyare inverted when applied as passingchords.If in the
l

bass,we normally hear the 7 descending,the 3 ascendingand the 5 moving in

one or the other direction.Becauseextendedchordsin many casescan not be
inverted,and consequentlyacceptno other chord tone but the root in the bass,
one shouldbe carefulto apply extensionsin a chord which is inverted.Passing
seventhsand thirds,due to their leading tone character,by definition, have a
rather compulsoryresolvingtendency,especiallywhen they appearin the bass.
For this reason,their octavedoubling in a higher registeris preferably avoid-
ed, as undesiredparallel motion of octavesis usually the result of this doub-
ling. Moreover,the soundof a chord can becomerather 'muddy' when a 3 or
a7 in the bassis doubledin a higherregister(seelesson31.3).
28.3 Sometimes,a passingprogressionresult in a coincidentalsonority which can
neither be identified as a customarychord nor be reducedto a constructionof
superimposedthirds (seeexample6 in 28.10).Usually thesesonoritiesare the
result of passingtones in conjunctionwith sustainedtones.It is often a prob-
lem to provide an appropriatechord symbol for suchpassingsonoritieswith-
in the harmonic context of the progression(see example 8 and 9 in lesson
2e.4).
28.4 Like all embellishingchords,also passingchords are of no great importance
for the harmonic structure.Of coursetempo and their duration are significant
for their harmonic value.The longer they are sustained,the lessis their em-
bellishingcharacter.
* Undesired is the parallel motion of intervals of a 5th,octave,and of the traditional dissonants:Znd,7th,gth, etc.

90
 t

28.5 ExampleL showsa traditionalsekundengang (German:stepwisemovement)in

the bass,descendingfrom I (tonic) to II. The passingchords,consistingof scale
tones(scale-tonepassingchords)with 5 or 7 in the bass,are on the weak beats
of the measure(NB!);we see:Em7¡g, Am7¡6and Am7¡.* In traditionalhar-
\ l

mony a triad with a passing5 in the bass,likeAm/E,is called a passingfour-

six (8) chord.In this caseII8 in measure3 is a fV with an addedG.
The overall harmonicstructureof the progressionin this exampleis: I -+ VI
L,_J -) Ivadd6-r II..The first two measureshave tonic and the next two subdomi-
nant function.

r-)
Cr
r--\
I máuvI2 trgvlt tr
Q
28.6 In example 2 we seea bassline, descendingin chromatic half steps,which ends
ü on Io (C76)in the fifth bar.In this example,not all of the passingchordsare on
da, the weak beats.We notice that the emphasisis on I, trá and 16,which appear
\-r'
on the strong beat of the strong (odd) first, third and fifth measures.The re-
maining chordsare passingchords,someof which appearingon the accented
(-'t
beat,however,of weak bars.
In the weak secondbar we seethe passingttrá-W] progression**in D minor,
(r moving to Fm674b, an inversionof Ds (náin C minor-major).
The strong third bar showsthe passingI chord of C, on the weak third beat,
r) followed in the fourth bar by the the twofaces of lV,to which we will pay at-
s . l tentionin lesson36-6.***

ffi
(l
()
Scaledegrees:I ttráWI trá I3 W fV(ng) to
(-,r Functions:
Tonic Subdominant Tonic
The basic harmonic functionS in the progression of example2 are:
\"j
tonic--+subdominant--+tonic
in C minor-major (m-).

28.7 Example3 showsthe ascendingprogression I

--+Vá + 16.The á inversion of V (G7i¡) is a 3
traditional scale-tonepassingchord, between
I in root position and 16(3 in the bass).
( ;
G7le
t\ ^/ * The scale{one passingcho¡dsin this progressioncan be substitutedby secondary
dominants:
C E77gI Am C7¡6 lF A7¡ElDmT G7 | In traditional harmony subha progressionis named extended cadencewith secondary
t'\ dominants.
** Roman nume¡alsbetweensquarebracketsin the examples
indicatesa secondaryfunction.
*** We will return to the chromatic passingchordsin
Á t
the lessonson Passingdiminished7th chordsandlzading chordsin tlús
chapter,and in the lessonsonthe Relationbetweenmelodyand harmonyin volume 2.

91
\-.,
 28.8 Example 4 showsthe samepassingchord as
we saw in the first bar of example 1 (Itrá).
Only the voicing of the chords and the voice
leadingin this progressiondiffer slightly.This
is the result of the different lead.
289 The 7 (á) of C¡ in example5 is an unharmo-
nized passingtone. The chord which appears
over the passingtone is the third inversionof
C^ (7 in the bass).Itis calleda2 chord(in this
caseP). ExamplesL and 4 have the samede-
scendingbassline as this example.
28.10 The passingchord in example 6 is one of
those indefinable sonorities (tone combina-
tions) mentionedin lesson28.3.In jazzmtsic,
it could be identifiedas Am714(NB!).In tra-
ditional harmony,it is just a scale-tonepass-
ing sonority;two passingscaletones in the
progression from I to its first inversion 16
(G/e). ("i

28.11 In jazz music,scale-tonepassingchords fre-

quently appearbetweenI and Itr (example7)
and between II and fV (example 8). These
passingchords usually are in root position.
The voicescan move in:
parallel motion- sameinterval(s) maintained
betweenthe voices.
similar motion- voicesmove in the same di-
rection. (,',.1
obliquemotion- one or more voices move
while others are static.
contrarymotion- voicesmove in oppositedi-
rection.
From the exampleswe may conclude that
parallel motion of certain intervals,usually
avoidedin traditional harmony,is to someex-
tent characteristicfor harmony in jazz.*
28.12 The examples9-L2 show oblique motion be-
tween the outer voices.Inexamples1,3and L4
11
the outer voicesmove in contrary motion. In
examples7 and 8 all voicesmove in parallel
or similar motion.

* Probably this practice originatesfrom the guitar player,who not seldom has the habit of moving his fist liberally along the
neck of his instrument.

92
{ ,

( . :

r'' \ 28.L3 In examplesT-14notice the interval of a 10th

between 1 and 3 moving in parallel motion
{ 1
to 3 and 5, although this movement doesn't
invariably occur in the samevoices.We see
the 10thc-¿move to e-g (C¡--+ Em7) and the
10th d-f to f-a (Dm7 -+Fa), as indicated by
the arrowsin examples7 and 8.
28.14 The overall harmonic function of the pro-
gressionC¡ Dm7 | Em7 is tonic. Often in
sucha progressionEm7 is followed by Am7,
the other tonic substitute.
( r Ca Dm7 | Em7 Am7 | is comparablewith
two bars C. Dependingon the qnelody,Am7
(: ,
can be substitutedby 47 (or E?), in which
C"i caseit is followed by Dm7 or D7:
C¡ Dm7 | Em7 A7(E271 | Dm7(D7) |
\.)
l$'l
28.15 Dm7 Em7 | Fa hassubdominantfunction. F¿ in this progressioncanprecede
\.,:i
the dominant.For instance:
r-'\ Dm7 Em7 | F¡ CZ or Fo (=MIá)
(. I' or a subdominantmm:
Dm7 Em7 I Fa Fm(61 or Bv7t(+Tt).
\.. ,'
28.16 The passingchordsin most of the examplescan move ascendingaswell as de-
É )
scending.The progressionsthereforecan alsobe read (played)from the right
to the left,
Ca Dm7 | Em7 Am7 | in that casebecomes: Em7 Dm7 | Ca Am7 |
28.17 Dominant chains,descendingin half steps,likewe met in lesson25,alsooften
function aspassingchords.Dependingon the tempo at which they occur,they
have little or no consequences
for the overall harmonic structureof the pro-
. *
gressron.

One shouldkeep in mind, that aboveexamplesmerely deal with purely harmonicas-

pects,i.e.the voicing,connectionand functionalrelation of the chords.Accentuation
of the embellishingchordswill in practice,however,alsohave consequences for the
rhythmicalaspects:a suspensionusuallyhastonesof longer duration than its resolu-
tion; an unaccentedembellishingchord will be of a shorter duration than the chords
to which it connects.Later we will shed some light on these aspectsof harmony at
the piano.

Exercises:
r' Practiceexamples1-6 on the piano.

* Chromatic passingchords will be discussedin the lessonson the passing

diminished 7th chord (lesson29) and on leading
chords (lesson32).

93
 r' Tiansposeexample1 to as many keys as possible.
r' Tiansposeexamples3-5 to as many keys as possible.

r' Play the extendedcadencewith secondarydominants,as shown in the foot-

note to lesson28.5,in severalkeys.Use exampleL as a model.
r' Practiceexamples7-L4 as written, also from the right to the left.
r' Practicethe chordsbelow in variouskeys and in severalways.
F Gm7lAmT D7| Gml Gm7¡plEs A7 |
Dm7G7 | Gm7Am7 | BnaC7,lFa or F6/9ll
Tieat BPain the voice lepdingfor BPa --+C7,as if it were Gm7/9 with a silent
bass.Don't double the b?in the upper register.Also rememberto avoid dou-
bling of the 7 of.Gm7/r (/in the bass)with the right hand.

r' Play the chords below and extend the progressionin the first two bars with an
ascendingpassingchord and a VI chord or a secondarydominant asdiscussed
in28.14:
B v I z l c T 7 F 7l D m 7 G 7
l | | r

Cm7Dm7lEb^ Ab7/g I Dm7 G7 I cm7 F7:ll

Tieat the voice leading for AhTgI Dm7 accordingto the rule of the shortest
possibledistance.
r' Extend the dominantTth chordsin both progressionsshown abovewith 9 or
-9, and wherepossiblewith 13 or -13.

( Play,where possible,the aboveprogressions(with passingchord) in similar as

well as in oblique motion.
r' Tiansposeexamples7-I4 ton Bb,nb, Ab and Db. i l

r' Harmonize exercisesL and 2 with a I-VI-tr-V progression (one chord per
measure)and next play them with the chordsas written.
r' Harmonize exercise3 with a tr-V-Itr-M progression(one chord per measure)
and subsequentlywith the chords given below.

Cm7 Dm7 G7 Cm7Dm7

Gm7 Am7 D7 Gm7 Am7

Fm7Gm7

94
 ('

LeSSOn 29 Passingdiminished 7th chords with subdominantfunction

In this lessonwe will become acquaintedwith the chromatic passingdiminished

chordson the raisedsubdominantsII, [V and VI. In many a song,embellishingchords
like the descendingpassingdiminished7th chord betweenItr r tr or 16r II, belong
to the harmonicstructureas givenby the composer(seeexamples1-3and 14).Often
f ]
these dim chords can not be omitted without disturbing the song'sharmonies.
Nevertheless,Iwould still classifythem as passingembellishingchords.
t,i 29.1. The following exampleswill show that groups 1
Ii with two or more consecutivepassingchords
can occur:
One chord (example1*), u group with two (ex-
r-j ample 2), with three (example3) or even with Dm7 Düo cle
more (example4) passingchords.It is not un-
(-i usual for thesepassingchordsto occur on ac- 2
centedbeats.

f,¡ the strongfirst beat of the secondbar.We have

c Dm7 D$o Clt
to keep in mind, however,that the first beat of
(.1
an evenbar hasa weaker accentthan the first beat of an odd bar.The passing
chord on the strongfirst beat of an even bar hasthereforelessemphasisthan
the main chords.For this reasonC on the first beat of the first bar and F on the
first beat of the third bar are more stressedthen the passingchords in be-
tween.Seealsoexample2 and28.6.
''l
f'

r'''\
qrl

l''-l

chord (C) and the accentedáchord of.CT,whichis tied over to the strongfirst
beat of the secondbar. In the examplesmost of the chords are the result of
LJ voice leadingand thereforeincomplete(NB!).
(,'l 29.2 The ascendingpassingdim chordswith subdominantfunction mostly appear
(-) between:tr ¡ Itr and II ,16 and between-II/ z V or fV ¿,I8 (I with 5 in the
bass).In the latter progressionthe raisedII appearsin its first inversion ftr8
Lr (ftr with 3 in the bass).SeeexamplelT.Furthermore,we hear fV[ passingbe-
tween\17¿t VII, embellishingV7 (examples8 and 9). Descendingpassingdim
i---,
chords most often occur betweenItr r. tr or, 16r^ tr (examplesL0, lL and 12).
(,.: In theseexamplesthe passingdim chord, EDo,is more ¡egardedas the third
inversionof a diminishedchord on $fV,i.e. Ffo with 7 (eb) inthe bass,than as
/ ,
L' a root-positionedfU 1Oilo¡.Seealsolesson36.3.
f i * Notice that in some of the examplesthe dim chordsare incomplete,i.e. the 5 is omitted.

(.)
95
\
 29.3 In the examples 5-7 we see two passing
chordsbetweenI (C) in root position and the
first inversionof I (t0;.The passingchordsare
Dm7 (tr) and D#o(#tr).Theharmonic func-
tion of the two bars is tonic (C). If there
would have been g or b in the melody of the
secondbar of examples6 and 7,the chord un-
der the lead could have been Em7 insteadof
16 and the progressioncould have continued
with Am7 or A7 on the third beat of the sec-
ond bar (comparewith 28.15).
29.4 On the third beat of the first bar in examples
B and 9 a chromaticpassingsonority appears
which cannotbe interpretedwithin the key of
the progression.If this sonority is enharmoni-
cglty chapged,and a! and r* at. rewritten as 'l
bv,and &,we see BPm6 (example8 *) and 1t

BPma (example9 X)t neither chord belongs f,':

to the key of C. These coincidentallyoccur-
-i
ring sonorities,which have the appearanceof ¡í

a common chord, are called ornamentalhar-

monies.*Apparentchordscould also be an ap-
propriate name.Seealsolesson28.3.

29.5 The sonority on the secondbeat of the first

bar in example 8 is difficult to reduce to a
root position and is difficult to be fitted with
an appropriate common chord symbol. It is
composedof the two passingtonesa and c ín
conjunctionwith theT and the root of G7.
t ^
29.6 Although EPein the examples10-12has all
the characteristicsof a passingembellishing
chord, we will find in many songsthat it is
part of the harmonicconstructionand explic-
itly included in the chord symbols.Although
often substituted.it cannotbe left out without
disturbingthe flow of the song'sharmonies.
29.7 Over the ev in the bassin example 12, we
meet another ornamentalharmgny.If enhar-
monically changed,we see Av7rcbappear
(NB!). This chord in fact is EDo,extended
with a passingtone gf; g .' g# t a.

* Specificallythesetype of passingchordsare mainly the result of voice-leadingactivity.

96
f,
(-

( j

( , 29.8 In exampleL3 we seethe first three measuresof a well-known song.D#o (ftr)

in the first bar is the ascendingpassingdim chorfl betweenII and Itr. In the
(-r next bar the same dim chord - here renamed gho (Wz = 7 in the bass)-
movesin the oppositedirection (descending)betweenthe samechordsIII and
t- tr.
¡- iJ ---T

13

(.)

ü Dm7 D#oEm7
(-i
The first two measurescould easilybe harmonizedwith:
(-r C lAmT I or with: C f fo lemZ Am7l9 |
í*-\ The composerof the song,however,explicitly wrote betweenEm7 and Dm7
\-/
a descendingpassingEDochord,by which it becamepart of the composition.
ü
29.9 The measures3-5 of another famous song are shown in example14. In this
ffi) harmonizationthe composerembellishedthe two barstonic,demandedby the
(:) melody,with the two passingchords,Dm7 and EDo.Instead,he could have
chosen,for instance,for one bar C and one bar Am7. In both examplesthe
f.,, overall harmonicfunction under the melodv in the first two bars is tonic.
(.)

(j 14

\,$ Dm7 Em7 Eto Dm7

(3 29.1,0Dependingon the tonal context,the progressionin exampleL5 can harmoni-
(r cally be explainedin more than one way.By analogywith example11-wq can
say that the the passingdim chord Bo descendsbet,¡veenCm (Itr) and Eb7¡gb
(Vá) in the key of AP. Due to the melody tone g, BVnT (IP) is left out. The
globa! harmonicconstructionis tonic-+dominant--+tonic.A short excursionto
VI (APA¡in C minor, however,is a
more obvious interpretation: Bo
1b
(VII in C minor) is transformedin-
to a secondarydominant [MI] for
ED7. i.e. go is enharmonicallv
changed to Po 1VII in eb).
Therefore,the passingdim chord
(Do¡e)movesbetweenthe tonic Cm and Eb7¡sb,the dominant forAb.
The overall harmonic construction is:
tonic-+secondary d omin ant--+sub domin ant (I-r [VáJ--+
VI) .

97
 29.11,A similar casewe seein
measure 6 of another 16
ballad shownin example
1,6. The passing dim
chord Eo(*) occurpbe-
tween Fm and A?7¡¿b.
Becausethe melody tone c (leadingtone likp the g in gxample15) doesn'tal-
lo.wthe use of the suspendingm7th chord EvmT for Av7 (seealsolesson54),
All¡¿bimmediately follor¡rsEo.*.I.n this examplethe progressionleads to
9b7¡pt13) insteadof to Db¡ (VI).** We hear:W+I in f-minor-)[V7] chain.
(
29.12 In exampleL7,between/and g in the bass,we
seea passingpüo = fne 1*¡. Insteadof G7 over 17
the g in the bass,we see C/6. This chord could
be followed by G7, asis the casein example18.
The passingprogressionin exampleL8 is iden-
tical with the one in exampleL7; some chords,
t'l
however,are coloured by extensionsor added 18 l.-

tones.
29.L3 In example19the C chord with g in the bass(I8) I

is followed by C7l9. This progressionforms a

so-calledvamp.Such a repetitive progression
can - amongother things- be applied as an in- 1 9
troduction: 'Play till cue'. It could have contin- i r

ued also as follows: l i

F6 rfo I C¡cA7 lD7 G7 | C G7 ll or G7:ll

29.t4 In examples20 and}! we meet someprogressionsin which Ffo, this time in
root position (diminished7th chord on the raisedIV in C minor), functionsas
a passingchord (*) in minor. We often hear,however,theseprogressionsin í )
major as well.
20 21
*

In chapter 7 on alterationsand alteredchordswe will go somewhat deeper into the \ l

harmonicbackgroundof the diminished7th chordsdiscussedin this chapter.

In the scalescorrespondingwith altered chords like h and W, the alterationsshould match those in the chords.
For example,in Dfio(ff¡, I andf are the,alterations;the correspondingscaleis E minor harmonic,i.e.the C ma-
jor scalg*ltt ttr" two aíterationi¿dandl. In Füo(fi$, which ii derive?from C melqdicminor, the alterationis
f and ev is borrowed from C minor; the correspondingscaleis C major withf and ¿t instead of/and e. This is
the scaleof G harmonic major starting on c.
* In casethe leading tone is in the melody - like in this example- it also can be seenas 13 of the suspendingm7 chord, pro-
vided the tone resolvesdescendingor keepsits place.In that casewe usually hear the complete superimposedthird construc-
tion of m7.
** In lesson36 we will discoverthat in traditional harmony,Db7in this exampleis called an inversion (8) of the seventhchord
of the raisedIV in F minor.
98
 {-r
(^r

lr
C) Exercises:
(-\ r' Play all examplesof this lessonon the piano.

fi r' Thanspose
eachof the examples5,6, l-0and 11 to F, G,Ab and Bb.

f.: r' Tiansposethe examples1, 2,3 and 8 in half stepsup over an octave.Aim at
achievingsome fluency.
(-]
r' Play the measuresin exercise1 (IIIz+ f¡yz - IP -+ Vr) in all keys on the pi-
\.j ano,as long it takesto play them reasonablyfluent.
Ci
o cm7 F7 ll
C,
r' Play exerciseZ,first as given in F and then, after Fm7 BbZ,in Eb.
l-r

fl\

ñ Ffo Gm7 Gfo Am7 Cm7 F7

(-l Bbr go Cm7 Cüo Dm7 Gho Fm7 B?7

( )
Play exercises3 and4,and make a harmonicanalysisthe sameway it hasbeen
done for exercise1.
ü

(:)

()
¡o gb. G7 go
() sb FlC D7/-9

(r r' Tiansposeexercises3 and 4 to G, C and F

(-) r' Play exercise5. Don't forget the voice leadingfor the dominant chain.

C¡
CI BDnT 3o Fm/C D7 G7

Play the fragmentof exercise6 in severalkeys.

(_,'

o Cm7 F7 Ebo Dm7 Dbo Cm7 F7

o If you know the melody, try to finish the song.
O
t-/'
{-r
99
i
 chords
Lesson 30 Alternating

A couple of times we have alreadyencounteredalternatingchords,althoughnot ex-

plicitly stated.In lesson26,in t\e 3rd and 4th bar of examples3 and 4, we saw G7l9
alternatingwith an extendedA27 chord. If one or more voicesof a chord move -'
forming a new chord - and subsequentlyreturn to their original position,we speak
of an alternatingchord.Themovement of the voicescan be stepwise(half or whole
steps)or leapwise,up or down.The basscan be an alternatingtone,while someor all
other voicesstay static,or move in any direction each (parallel,similar,contrary or ( , ,
oblique motion).The basscan alsobe staticwhile someor all other voicesmove. a',,
In traditional harmony a non-chord tone (dissonant),which moves stepwiseup or
down and returns to its point of departure,is called a neighbouringtone.If the bass
movesstepwise,not leapwise,an alternatingchord is alsocalleda neighbouring chord.
Usually alternatingand neighbouringchords are unaccented.Their harmonic func-
tion is,in most cases,subordinateto the chord with which they alternate.x
30.1 Probably the most frequentiy occurring alternatingchord is a dominant (or
secondarydominant) of the main chord.
(i
( 1 ) Cc 7 l C o r C B o l C o r C l O v l t { + rl)C , e t c .
(21Dm7A7 I Dm7 or Fm7C7 | Fm7 or BDnTAo I BDmT, etc.
(3)c7 D7 | c7 or eÚ rú 1út or F7 Eo I F7 , erc.
30.2 ProgressionL is the original harmonizationof the first three bars of the song
in example 1.The altered dominant D7l+5, i.e D7 with raised 5 (af,)in the
weak secondbar, alternateswilh the tonic G.In its placecould alsobe the tri-
tone-related(TR) dominant AvTl+51+11 (progression3).
The basic harmonic structure of the first three measuresis three bars tonic
(G).Although rather excessive, the melody could alsobe harmonizedwith the
chords of progression4. In that case,the tonic would be on the strong first
beat of everv bar.

\ 1

1 G D7l+5 G \i.l

2G G D7l+5 G
3 G AvTl+5/+11 G
4 G D7l+5 G D7l+5 G D7+5etc,
5 G C7/91+11
6ilt+sl G

30.3 The tonic in example L could also alternate with a subdominant borrowed
from minor; in progression 5 we see the extended C7l9l+11, fV borrowed from
G minor, or its tritone substitute Fill+S (see also lesson 35.20). Other sub-
dominant chords could also act as alternating chords for the tonic, the choice
of which obviously depends mainly on the melody.
* The most simple alternation with the dominant is produced by the so-calledoscillatingbass,as one can hear in harmonically
simple fragmentsof waltz- and marchJike music,where the tonic triad alternateswith its t chord; i.e. a tonic triad with 5 in the
bass.
100
 t , ,

t 30.4 Other alternatingchordscan be seenin example2. It showsthe middle part

(bridge) of a well,known jazz stan{ard.In bars L and 5 we notice the neigh-
('l bouring chords GP7and Fv7.The B27chord in bars 3 and 4 could also alter-
nate with the secondinversion (á) of Fo.In that casethe alternatingchord
('r
(Fa¡¿b)would also be a neighbouringchord.In this examplewe see then,Fñ
(r precedingBv7, appliedas an unaccentedalternatingchord insteadof an a0-
cented suspendingm7(-5) chord. Bars 3 and 4 could also easily be harmo-
\ j

fi

n
f)
Ci
ü

$
ñ rú rbt Ev7 abt
d\
nized with 4 commgnII-V progression:Fm7 pú l, the composer,however,
(-i preferred BÚ Fa Fb7 | and we app¡eciatehis inspiration.Thesongin the ex-
ample,althoughusuallyplayedin DP,is here written in C.If it had been writ-
( )
ten in the original key,the bridge of the song,shownabove,would have been,
due to uncommonflats and doubleflats,evenharder to read for the inexperi-
encedmusicreader.
\"j
30.5 The examples3-6 show some alternating
qJ chordsasthey may occur in practice.In ex-
ample 3 we see as a model I alternating
f'\
with IV8. Any subdominantchord - altered
t'-\ or unaltered,either from major or from mi-
nor - could take its place,provided it fits
the melody tone c and soundsnice.
LJ 30.6 In the examples4 and5, we seethe tonic C,
alternated by VI borrowed from minor.
Example 4 s\ows the first inversion (3 in
$ r i the bass)of Abalg.The bassis staticand the
middle voicesmove.In example5 the alter-
nating chord is in root position and someof
the middle voicesare static.

Á )

a.' I

101
 30.7 In example6, Co alternatesCa. A similar casewe hear in the first couple of
bars of I REMEMBER YOU (example7).In these bars too. the inverted
diminished 7th chord of the raised tr (Fo
=G$o/r) alternatesthe tonic; a little more
elaboratethan in example5. More than one
would expect from an embellishingchord,
this alternating chord is part of the harmonic
structure of the composition.Most players,
however,substituteit with Bm7 E7,which more or lessshowsthat the chord
doesn't contribute that much to the solidity of the structure.If necessaryE7,
or even C7, could replaceit. Compare Ffr7t+sin 30.3.

/-.-\
! )

i i

Exercises: 11.:::"1

r' Play the exampleson the piano.

r' Alternate Cm7,Bm7, Fm7 and BbmT- with 5 in the lead - with a secondary
dominant 7l-131-10 chord with -10 in the lead.
r' Alternate Dm7/9,Em7lg, Am719and Gm7/9,with 3, 5 or 7 in the lead,with
a tritone-relatedsecondarydominant.For instance,a dominant 7l-13 chord
with -13 in the lead.
r' Alternate Fa/g,,gbNgand Eb¿/gwith an appropriatesubdominantfrom ma-
jor, or borrowed from minor, while maintaininga staticbass.

r' Play oppositeexercises.

At placesmarked with
ll, insert an appropriate
alternating chord.
Colour the chords at
will.
D7 Gm7
At placeswhere chords
have been omitted, in-
sert the correct ones.
Bring in some syncopa-
tion.

102
 ( .

t-\ Lesson 31 Approach

chords
a1
The bassof approachchordsis reachedby a leap or a fall, and subsequentlymakesa
ascendingor descendingstep.Theleap or fall can move in similar or in contrarymo-
tion with the step:leap up, stepup y'' ;leap up, stepdown y'\;fall down,stepdoryn
f"'r
\ ;anOfall down,stepup \¡.
('i 3I.1' Approach chords,likepassingand alternatingchords,usuallyoccuron the rel-
ativelyweak beats.Theyhavelittle harmonicweight.Occasionallythey belong
\" ,r
to the harmonicstructureof a compositionand are thereforementionedin the
ll chord symbolsgiven with the melody.They can be left out or easilybe substi-
tuted. Often, scale-tonepassingchords can substitutefor approach chords
composedof scaletones,or the other way round.
l'"'
3I.2 The most frequentlyheard approachchordsare TR secondarydominantsand
f) diminished7th chords.The bassof the TR dominant movesa half step down,
of the dominant diminishedchord a half step up, and of the subdominantdi-
ñ minishedchord a half step down. In a somewhatmore traditional setting,we
hear triads and dominant 7th chords,both with 3 in the bass,half diminished
fi] chordswith 5 in the bass,and sometimesa dominant 7th chord in root posi-
C-¡ tion. Significant is that the bass,after a leap or a fall, continues stepwise,
preferablyin contrarymotion and asan ascendingor descendingleadingtone.
(,)
31,.3 Example L showsa transition from the key of C 1
( r to the key of F, where Gm7 iEtr in F. It is preced-
ed by the approachchord ADo.The progression
CI
could proceedto Dm7:
o Gm7 Gm7¡7lEs A7/-9 | Dm7 G7 |
(") In that case,Gm7 would be IV in the kev of D
minor. Remember: 2
()
The 7 of a chord in the bass(tGm7/71is preferabty
C-r not doubledin the upperregister.
3I.4 In example2,the sameapproachchord 4bo, re-
named Gfio, is secondarydominant, [VII], for
\:.j
Am7. The progressioncould proceedto F:
3
() A m7 D 7 o r ¡fo ¡ Gm7 C7 | F I
If F#owould follow Am7 or C,it alsowould be an
CI approachchord to Gm7 (example3); F#ois a sec-
(., ondary dominant [VII] for Gm7.

f\- r 31.5 TR secondarydomin ant Gb7/g/+11

in example 4
is an approachchord for F¡.
(.,¡

O
* Seealso lesson28.2
CI

103
 31.6 By analogy,the approachchordsAb7 and gbZ in
examples5 and 6 are TR dominantsfor respec-
tively G7 and 47.The voice leadingin example5
is, due to the falling lead, somewhatless strict;
the number of voices has been varied. This
shouldn'tworry the studenttoo much.A piano is
not like a vocal group with a fixed number of "--i
,,
parts (voices).

3I.7 In example7 we see a more traditional progres-

sion, C7 with 3 (¿) in the bassis the approach a l
chord here.Also remember:the 3 in the bassof a
major chord is preferablynot doubledin the upper
register(Seealso28.2)
31.8 Example8 showsa root-positioneddominant7th
chord (E7) as approachchord. In this example,
we observea different resolutionof E7." Instead írr
of falling a 5th to a, the bassascendswith a half
step to / In traditional harmony,this deviation
from the usual resolution of a dominant 7th
chord is called a deceptivecadence.We actually
seeW + \l{ in the key of A minor. See31.11 { l

3L.9 Example9 showsa scale-toneapproachchord.In

this example,Fa substitutesthe passing(embell-
ishing) chord Dm7 between I (C^/9) and III
( Em7 ).

31.10 The approachchord in exampleL0 is the second

inversion of II in C mm: á chord of.Da (5 in the
bass).It approachesV7 (G7l-91+11).Compare 10
this progressionwith the one in examplé5.
In exampleL0we seea II-V progression,of which
the tr is an unaccented(on a weak beat) ap-
proach chord instead of a suspendingchord,
which usuallyappearson a strong beat. !..

31.1L In the secondmeasureof the song,inexample1L,the ascendingD7/-91-13

chord precedesthe suspensionfor EP6.In this example,we seeagaina decep-
tive cadenceW - VI; this time
in G minor.DT,whichis the sec-
ondary doqinant for the VI
(Gm7) of BP,,resolves decep-
tively to VI (EP)of VI. See also
lesson38.20.

* Seethe chapter on Devíations

frorn the usualresolutionof thedominant7thchordin volume 2.

104
f

( r

(-r Exercises:
('t r' Play the examplesin this lesson.

('-' ( In exercisesL,2 and 3 at the end of lesson28 find thosepassingchordswhich

can be substitutedby scale-toneapproachand alternatingchords.
(-)
r' Slowly play the following melodieswith the chordsaswritten, and distinguish
\ l the approachchords.
l{i:\ Chord extensionsappearingin the melody and some colouring extensions
\.J
have not alwaysbeen included in the chord symbols.Add those where suit-
Ci able.
f-')

Dm7 B7l+11 B?

Am7 G$o eú/gnr ot ct abt c7

/ /

€>
DmZFüoFfo/cGm7Cm7 cÚns FTsus

Lesson 32 Leadingchords

Leading chordsare embellishingchords,which do not exist in traditional harmony.

They representa form of parallel harmony.So far, we haven't met them in the
precedingpages.Leading chordsplayed an important role in the harmoniesapplied
in iazz,especiallyin the forties.This role, althoughnot yet played out, hasneverthe-
lesslost part of its novelty.Even so,leadingchordsare important enoughto spenda
lessonon them.
In nearly all cases,leading chordsare appliedfor a rather stylishreharmonizationof
standards,mostly substitutingfor diminished7th chords and secondarydominants.
Often leading chords are in conflict with the melody,and are therefore mainly ap-
plied in chord progressionsusedfor improvisation.We typically hear leadingchords
in harmoniesof piecesspecificallycomposedfor jazz.
32.L A leadingchord mainly consistsof leadingtones,which, as we know,move in
descendingor ascendinghalf steps.Likewisewe talk about descendingand as-
cendingleadingchords.
32.2 A leadingchord can function as a passing,neighbouring(alternating)and ap-
proach chord. Sometimesthe leading chord is applied as a suspension,in
which caseit falls on a stressedbeat.

105
 32.3 The leadingchordscan resolvein parallel,oblique and in contrary motion.In
the oblique motion only one tone,usuallythe lead,is static;wecan seesucha
sonority as a partial leadingchord.
Dominant7th chords,descendingor ascendingwith a half step,are dominants.Do
not confusethemwith leadingchords.
32.4 Minor and major 7th chords are the most fre-
quently appliedleadingchords. 1

32.5 The examples L-5 show a chromatic passing

leadingchord betweenIII and tr.The samepro-
gressionsin these examplescan also be rea$
from the right to the left II -r III.In that case EP
m7 is renamedD$m7: Dm7 Df,m7lEmT
2
32.6 In the examples2 and3, the lead movesin con- i )
trary motion with the other voices.In example
4,the lead is a neighbouringtone.In example5
the lead first moves in contrary, and subse-
¡1'r\
quently in oblique motion.

323 The entire progressionin example6 moves in

oblique motion; the lead (e) is static.The pro-
gt"sion Ca-+Cfi¡¡7can hardly be considereda
leading chord progression;it can n*ormallynot
be playedin the oppositedirection.- We should
not forget that, as its name alreadyimplies,the
target to which the leadingchord leadsis more
important than its startingpoint.The succession
--r ¡ :. l',.
of the chords invariably is: arbitrary chord
leading chord --+resolution chord, by which the
most important tones of the leading chord and
its resolution form congruent chords.
32.8 Although thp congruenceof the chords in ex- ( )
ample 5, EbmTllJ-+D@,is incomplete' we
neverthelesscall EDm7l11a leading chord for
D@.Consequently,the reverse is also true. The
congruenceof the leading chord and its reso-
lution doesn't have to be complete.The chord i .,,

can be applied as such,as long as the essential

tones are presentin both. In the examples,we
seeat leastthe correspondenceof the root, the
third, and the seventh.This is normally suffi-
cient to call the progressiona leading-chord
progression.
'* g[¡¡/--rea is not a complete leading chord progression,however,one may hear it played by pianist Lenny Tiistano.

106
 32.9 As said before,leadingchordsare often applied as a substitutefor dominant
7th chordsor,for passingand approachingdiminished7th chords In example
1,insteadof EDm7,we could haveheard A7 l-gor Cfo under thebbin the lead.
l,
.. In bars 7 and 8 of JUST FRIENDS, the leadingchord A?m7 fits the melody
excellently.ItsubstitutesAto, the passingsubdominantdiminished7th chord
( ^ t
betweenIII en tr (example I2).
32.10 Often, leading chords have a distinctive surpriseeffect.We should keep in
mind, however,that the qovelty of surpriseswearsoff quickly.Notice the sus-
pending leading chord AvmTlg in measures6-8 of ...Mrss JONES shown in
example7 (8).

l r
r--,
frt¡
\,i,;r

Becausethe leading chord in this examplefalls on the first beat of a strong

(odd) measure,the chord is rather a suspensionfor Gm7 than a passingchord
betweenAm7 and Gm7.
32.1.1.To make up a suitable(surprise-)leading chord under a melody,one should
keep in mind that the melody tone we intend to provide with the 'surprise
chord' should be a common tone for both the new chord and the original
chord under the melody.This requiressomeskill. In ...MrssJONES, the bDin
t\e melody is the 3 of Gm7, which is the origipal chord under the melody.
AvmTis the descendingleading chord.The 9 (U\ of AVnT/9is the common
tone.
32.L2 With oblique motion of a leadingchord,the 9
of a descendingleading chord, in example8
the/in ebnJd @), becomesthe octavedou-
bling of the 3 of the resolution(/in Dm7);the
octavedoubling of the 3 of an ascendinglead-
ing chord - in example9, the g of Em7 (*) -
becomesthe 9 of the resolution(g in Fm7l9).
32.13 Also ma or m6 chordscan be appliedas lead-
ing chords (example10).The strong compul-
sory progressionof a leading chord can be

such,that a conflictingtone
occurringin the lead hgd-
ly interferes.See the bv ín
AmO ({<).

107
 Notice also the leading chord (*) in Jerry Mulligan's ROCKER in example11 (not
easy to play on the piano!). Without a
problem, we hear a major thirfl (fl in the
lead of a minor 7th chord (Dhm7).This 11
phenomenonone often hearsin a succes-
sion of leading chords.It can give an at-
tractive, rugged characterto the progres-

32.1.4A minor 7th chord,applied as a descendingleadingchord,can be seenas a II

in a key a half step abovethe main key. It could be followed by a V7, or the
progressionin the new key could be manipulatedin an other way.Obviously,
time and spacehave to be availablefor this procedure.In a ballad tempo,half i l

a bar will probablybe sufficient.In a fastertempo,however,the leadingchord

should last one measureat the least.
32.1.5In JUST FRIENDS, mentionedpreviously (32.9),the leading chord (APm7)
staysfor two bars.Usually,the songis played in a medium tempo,which pro- (",j
vides sufficient time for some manipulation.
In example l2,wesee under the bin the melodyof the 3rd and 4th measures, '.. '
six possibleharmonizations: ,'"'.

r3--l

1 Am7 Abo , Gm7

2 Abmt %

3 AbmT obt
4 AvmTEo7 ebmt obt
5 A?m7A7l9 AomTDv7
6 A7m7Am7l9 nbmt obt (..,')

For accompanimentas well as improvisation,such reharmonizationscan on

occasionpresentlively possibilities,but don'toverdoit!

108
 Exercises:
r' Play minor 7th chordsin root position, with arbitrary voicing,chromatically
ascendingand descendingover at leastone octave.Don't forget to listen care-
fully! Tiy to gain somefluency.
r' Do the samewith m7l9 chords enmTlll chords.Also with major 7 and ma-'
jor 719chords.

r' Play in the sameway a II-V progressionchromaticallyup and down the key-
board.
r' Play all the examplesin this lesson.
r' Play following exercises.
At the placesmarked with X, insert the appropriate
leadingchord or/anddominant7th chord.At the placesmarkedwith ?,extend
the chordswith appropriatecolouring tones (extensionsand addedtones).

Dm7 G7l?

Em7 )( Dm7 X Em7 X Dm7

In some,of theseexercises,
more then one possibilityis applicable.
Tiy to find some more leading chords under the melody of AUTUMN
LEAVES. Seeexercise3.
Tiy alsoto find someleadingchordsin HOW HIGH THE MOON. They
should fit under the melody.

109
\.
 SOME TIPS FOR CHORD VOICING

a A chord played on the piano is supposedto produce one single sound.

Although it is usuallyplayed with two hands,it is not made up of a left and a
right half. Tiaditional harmony gives an octave as the maximum distancebe-
tween the middle voices.Inmy opinion,on the piano this is alreadytoo much.
Therefore,the interval between the tone played with the thumb of the left
hand, and the one played with the thumb of the right, should not exceedthe
interval of a sixth,but dividing the voicesevenly over both hand soundsstill
better.
t Unless some of its tones are doubled in a higher register,the voicing of a
chord in root position generallysoundsbest,if the larger intervals are posi-
tioned in a lower registerthan the smaller ones.Therefore,it is preferred to
position the secondlowest tone at least a fifth or, still better, a sixth,seventh
or a tenth over the bass.In many cases,however,this tip is overlooked.
o The seventhand third of a chord sound best in the middle register- i.e. in (",
front of the pianist.If in the melody,they usuallyare doubled in a lower reg- a'¡
\'.ri'
ister.
'\
i'
a The bassof a chord usuallyis positionedin a registernot higher than the c of
the great octave.Only rarely it reachesg smalloctave.Thistone is a fourth be-
low middle c.Also to this tip one often paysno attention.
a The 13 of a dominant seventhchord is rarely found directly over the fifth.
Often the fifth of a dominant seventhchord is omitted altogether,specifically
if the 13 is present.
a The 13 as well as the -13 of a dominant seventhchord are preferablynot po-
sitionedbelow the seventh.
r'1.',
a A dim chord usually soundsbetter, if the added (non-chord) tone in the
melody is positionednot directly over a chord tone, as the addedtone origi-
nally substitutes- suspends- the chord tone. The chord tone, therefore,is
much rather omitted. Seealso the examplesin lesson22.

a In general,the following tonesare preferrednot to be combinedin one chord:

-13 or -6 and 5, 13 and +5, and any alteredand unalteredtone:7 anda, 9 and
-9, 13 and -13, etc.The only exceptionis the combinationof -10 and major
third, with the remark that 3 should be below -10. i i

a In a root-positionedchord the 9 is usually not directly over the octave dou-

bling of the root tone.Besides,the 9 as colouring extensionis not alwaysap-
propriate.The harmonic function of the chord tends to get obscured,due to
the occurrenceof an interfering triad in the chord'supper-structure,if the 9 is
the highesttone below the lead and the bassis in too high a register.It is usu-
ally prefered in those cases,to lower the bassor replacethe g by the 3.

110
 CHAPTER 7 Ar,rnn.rrroNsANDALTERED
cHoRDS
(-',
In the previouslessonswe already met a number of chordsin which altered tones
(-, were present,e.g.secondarydominants,diminished7th chordson #[ and ffV, domi-
nant seventhchordswith -5 and +5, tritone related dominant 7th chordsand sorne
f i
non-scaletone extensionsof chordssuchas +11 and +9.
t ) In this chapterwe will discussthe theoreticaljustification of alteredtonesand chords
in general,and the applicationof alterationsthat we haven't met so far.
f.\
C'r Lesson 33 Alterations
in general
(-' 33.1 An alterationis a scaletonewhich is chromaticallyraisedor lowered.
There are three reasonsfor altering a tone or a chord:
(-r
(1) to bring in a leadingtone
(,,'$ (2) to colour a chord or sonority
(3) to changekey in a modulationor a tonal excursion
$
Thesereasonscan overlapor supplementeachother.
{} The root or any other tone of a scale-tonechord,exceptthe root tone of the
tonic (see33.5),can be altered,thus forming an altered chord.An accidental
chromaticembellishingtone (passingtone,neighbouringtone etc.) in one of
( ) the voices,however,doesn'tnecessarilyresult in an alteredchord.
l r Any altered triad and 7th chord, except for the ones already inverted (".g.
Neapolitan sixth chord, etc.),can be inverted.We will notice,however,that
(-) some inversionsof altered chordsare more frequently used than others and
that not all alteredchordsare equally common.
()
33.2 A chord can be an altered chord in one key,while in another key the same
(,p
chord is composedof scaletones,i.e.tonesbelongingto the key in which it oc-
(:¡ cursunaltered.In this contextthe key includesmajor,minor and minor-major
(mixture).
For instance,D#o is an altered chord in the key of C (fII) and a scale-tone
chord (VP) in E minor. 87 is an altered chord on MI in the key of C, and a
scale-tonechord on V in E major.
Some altered chordsdo not belong to any key.For example,a dominant 7th
chord on V with a diminishedfifth, or a diminished7th chord otr h or fIV with
a diminishedthird includenon-scaletonesin any key.
33.3 Some are inclined to considertones borrowed from minor as alterationsin-
steadof tones belongingto the extendedmajor key.This has resultedin the
useof the abbreviatedsymbol GTaltinsteadof the notation G7l-101-13.This
chord is composedof scaletones derived from C minor; alterationsare not
'V7,
present.Therefore,we prefer to speakof extendedwith -10 and -13 from
or borrowed from C minor, or in short,extendedV7 from minor.
Chordsappliedin major in whichtonesoccurfrom parallel minor or minor-majo4
are usuallynot consideredaltéredchords.

111
 'borrowed from minor', if tones derived from minor occur in a major
We wilt maintain the custom to speak of
key, and of 'minor-major' chords or chord progression,if these are derived from minor-major.

33.4 At times,one encountersa chord or chord progressionfor which the harmon-

ic analysisis ambiguous.For example,D7 in the key of C major canbe seenas
secondarydominantfor V (double dominant),as alteredsubdominantor sim-
ply as an alteredchord on II.
B7l-9lon- Cle can be seen as V7-rVI in E minor, or as altered VIIS-rI6 or
f,¡-+10,in C major.All points of view are correctand applicable.Only the con- i'-)

text will decidewhich interpretationis best suited.

33.5 It is commonpracticeto regarda chord in which an alteredtonic (finalisof the
scale)occurs,as not belongingto the key.Thesechordsare seenas secondary
dominants,usuallyfor II. For instance,A7 and F+ are no alteredVI and IV in
C, but regardedas secondarydominants,respectively[V7] and [Itr] for tr. In
both chordsthe c (tonic) hasbeen raisedto cf,.The only exceptionto this rule
is the dominant7th chord on V extendedwith +11,e.g.G7 extendedwith cilin í1 \

the key of C. In this chord we find a discrepancybetweenthe westerntonal

systemand the overtoneseries.* { ;

In the summarybelow we see a number of altered chords which are more or less common in jazz.They will be il)
separatelytreated in the following lessonsof this chapter.We will also go into various aspectsof the augmented
triad and will meet the octotonic scale and the octotonic tone system,both resulting from the diminished 7th
chord.

33.6 Altered chordsmost appliedlinjazz

(1) Neapolitansixth chord. 2II6 Major triad of loweredtr. The 3 is in the

Lesson34.1-2. bassand should be doubled.
(2) 7th chord of lowered II. Major 7th chord (a) on the loweredII.
Lesson34.3.
1 r
(3) RaisedIP. Can be invert- ftr/ Usually this is a diminishedTth chord;
ed and is often heard in its root and 3rd of II are simultaneously
first inversion (8). raised.The chord also occurswith only
r J
Lesson35. the root raised,forming a diminished
7th chord with diminished3rd.
(4) RaisedIV7 in major, mi- fiw In major this is a half diminished7th
i . )
nor and minor-major.The chord (a),inmelodic minor a dim chord
chord can be inverted. (o) and in aeolic and harmonicminor a
Lesson36. dim chord with diminished3rd.The root
position in mm hasno name. i . /

(5) Augmented-sixfive chord fn¡#8 In jazz this frequently usedchord is

(first inversion) of {[Vz in mostlyinterpretedasTR** double
minor. and mm.*** dominant (see26.4 and 26.6);if fol-
lowed by a tonic, it functionsas sub-
dominant.Seealsolesson36.

* Seefor more information volume 2,The nrysticchord.

** TR readsas t¡itone-related.
"** ¡¡ ü!,
fi6 -"utts an interval of an augmented6th over the bass.
112
l-r

f-'r
(6) Augmented-fourthree ln jazz the secondinversionof V7 with
Vf;á
chord of V. -5 (in the bass)usuallyis interpretedas
-'i
í' TR dominantwith 5 omitted,extended
with +11.See24.5-6.
i
(7) Seventhchord on V with VTns In jazz its first inversion(3 in the bass)
an augmentedfifth. is frequently used.See37.5.
t l
(8) Augmented-sixfive chord VIIf,8 In jazz this inversionusuallyis inter-
of VIL See25.7and lesson preted asTR dominant.It is derived
c] 37. from minor and mm. The variant from
major is treated in25.7.
(')
(9) Doubleaugmented-four VII*á Diminished 7th with double diminished
l r three chord of VII. fifth in the bass.For its application in
jazz see34.4.

In jazz mainly 7th chordsare used.Therefore,the alteredtriads from traditional har-

t-) mony will not be discussedin this chapter.An exceptionis made for the Neapolitan
Fr i sixth chord discussedbelow,and for the augmentedtriads which will be treated in
lesson38 and the appendixin volume 2.
(,)

LeSSOn 34 Neapolitan 6th,btF and VIFá

From the alterationsmentionedin abovesummary(33.6),the traditional form of the

Neapolitansixth chord (1) is the leastappliedin jazz music.
f i
The double augmentedá chord on MI (9), stightly varied and enharmonically
(r changed,can be heard a little more frequently.For the sake of completeness,
an il-
lustration of the use of both chordswill be includedin this lesson.
t..,
34.1 The Neapolitan sixth chord in example1 is a
() major triad on the lowered tr. As the 3 nor-
mally is in the bass,the term <<sixth>
has been
\t,J
added to its name.In traditional harmony,al-
(,. ) though doubling of the third of a major triad
'', is usually avoided,the third in the bassof a
l-
Neapolitan sixth,which is also the root of the
i \ primary subdominant(IV), is doubled.*
\!r

í-r 34.2 A Neapolitansixth hassubdominantfunction.

Therefore,it is usually followed by a domi-
( ; nant, either suspendedor not (example1).A
'r plagal progressionto the tonic, however,is
¡'
certainlynot impossible(exampIe2).
,
{. 1 For a number of sotgs ptayedin jazz,DIIfunc-
tions aspivot chord*l in a transitionto anoth-
L,) er key. In that case,PII usually is a major 7th
(, chord (l) in root position (2).
x Notice the conditional dissonanceof a minor 6th betweenthe bassand the root of a Neapolitan sixth chord.
("-
** A pivot cho¡d has a harmonic function in both keys of a modulation or tonal excursion.

t; 113
 We hear the major 7th chord on b[ in bars 5
and 6 of ALL THE THINGS YOU ARE, in
the transition from APto C (example3).
In Ab:f[+[!z]+[I], or in c: bIp-Vz7I (ma-
jor).In the transition {rom 4o to C, DF¡ fur,rc-
tions as pivot: IV in AP and PII in C where PII obl¡gczl-gt-13
c^ts
lnC: SD D
is borrowed from alteredC minor (Phrygian).
In bars L3 a¡rd14 of the samesongthe transi-
tion from Eh to G goesanalogous.
34.3 The major 7th chord (a) on PII can also sub-
stitute as subdominantfor the tritone-related
dominant. For instancein the turn around
Db¡/9 C(m)a¡g
bgrrowed from minor*, Dbacan substitutefor
DD7ínits resolutionto C m4jor or minor. See
the plagal progression DPa--+C(m)/a/9in
example4. In the last bar of the first and last
8 bars of TheloniousMonk's PANNONICA,
we can hear DPa,applied as susBensionfor I.
We hear: G7--rDP¡ll Ca 1=yz-+PIP*I).
¡o E7¡s(enh.l
Cm í )
34.4 The examples5 and 6 show a rather uncom-
mon altered chord. On the third beat of the
first bar in example5 we seea diminishqd 7th
chord with a double diminished fifth (/). In
example6 this tone is in the bass(VII*á).En-
harmonically changed,it gives an E7 chord
( i
rqsolving to C minor with a doubled third Fo E7(enh.)Gm
(ev).In this form the chord is not frequently {.r":'
heard in jazz,but in somerespect,it is similar
ro E7)AaUE[¡-+p/--+Qa (example.7)*in ii',,j
'
which E7 --+Aa is a commonprogression.'
The emergenceof E7 (enharmonized)in ex-
amples5 and 6 can also be sqena$the result
of voice-leadingactivity:/re I . ,b. E7n AaEb D7 Ga/g

Exercises:
r' Play the examples.

r' Make a descendingsequenceof example4 as given in the following model:

DP^Cm I Ba Bnm I Aa APm,etc.
r' Make a sequenceof:
E7/9 Aa¡¿, lD719 Galob,etc.(seealsoexample7).

* E.g.:C gbZ I ebo Obo ll Co I Seethechapteron turnaroundin volume2.

** In th" A-pu.tsof DizzyóiUespie's
wOODY'NYOU onecanhear:G?+C|qP-Bb7,etc.

114
 C, LeSSOn 35 Diminished 7th chordsand octotonics

fr In lesson22 we met the diminished7th chord, applied as secondarydominant.In

a-, lessons29,30 and 3L we discussedits role aspassing,approachand alternatingchord
on the raisedII and raisedN dn and fi$. We met the áim chord in the upper struc-
(-"
ture of the dominantTl-9 chord and we learned about its symmetricalappearance.
The diminished7th chord can occurasscale-tonechord on VII aswell asa non-scale-
\,,ji
tone chord,on frIIwith"altered(raised)root and 3rd, and otr hV with altered(raised)
6 " l
\-,., root. See(3) and (a) in summary33.6.
t \
35.1 By meansof enharmonicchange,the dim chord dividesthe octavein 4, and2
f' l
apparentequal parts;4 minor thirds and 2 tritones.This apparentsymmetry
makesit impossibleto identify - outsidethe harmoniccontext- its inversions
f'r from the sound.This quality,and the fact that each key possesses three dif-
ferent dim chords,i.e.VIIT in minor and mm, ftrz in major and #IVzin minor,
d'n gives the same dim chord, after enharmonization,a function in eight minor
and eight major keys.The dim chordsof fIP ¿¡¡dfiyz are eachothers appar-
$ ent (enharmonic)inversions;thetwo sound alike.Seeexample1-3.
fl.$ 35.2 Only the augmentedtriad, which hasa similar symmetricalappearance, canri-
C\ val the speedof the dim chord in implementinga modulationor tonal excur-
sion;in one step,two at the most,the new key is reached.
( )
Example L showsthe resolutionsof Bo lCno¡ in 4 minor or 4 major keys
( ' , (*-).The samedim chord resolvesin another4 minor keysin example2 and
in 4 more major keys in example3.We seethe dim chord asVII in exampleL,
(.)
ut #fV in example 2, and ur h in example 3. The first bar in the examples
()

$
r"\
(,J
go c(m) Bo A(m) go ff(m) Cbo Eb(m)
t)
C,I
(.)

C) fiv-r: 3o Fm gDo 4Dr¡ Bo Bm go Dm

( )

l .

U
(_; fr-r: go ¡b
Ci
[)
115
 showsBo in root position;in the remainingbars,weseeits ipversions,in which
the b occasionallyhas been enharmonizedto c2.This b (cP)can be the third
(3), fifth (5) or seventh(7). All together,the samedim chord Bo has a func-
tion in eight different major and minor triads.A versatilechord indeed!
TTlteoctotonicscale(also called
35.3 4
dim scale)is another result of
the seeminglysyrnmetricalaP-
pearanceof the diminished7th
chord.This scaleis formed by insertingascendingleadingtones betweenthe
chord tonesof the dim chord.Seeexample4.
35.4 Every tone of the scalesoundsin concordpnc,e with its dim chord played un-
derneath.This would not be the caseif c, €v,gv anda were insertedinsteadof
the tones given in example4, as thesetones would form intervalsof a minor
9th with the chord tones of the dim chord. In lesson27,we learnedthat this
interval is a strongdissonantwhen occurringin a chord.It would certainlynot
result in concordanceof the scaletoneswith the accompanyingdim chord;the
main reasonfor the popularity of the scale.
35.5 In example4athe scalestartson the 7th of the dim chord;in example4b on a
suspension(accentednon-chordtone) for the 5th of the dim chord.In the lat-
ter example the scaleis
divided into two halves 4a
which are a tritone apart:
Bo in the first bar, and in
the secondbar the enhar-
monically changedinver- 4b
sion of Bo, in this case
written as Fo. The scale \ )
toneson Fo equal the first 4 tonesof the scaletransposeda tritone down.The í'' )
scalerelatesto dominants,e.g.the first ba¡ played on G7 and the sepondbar
played on the tritone-relateddominant Dv7 in the keys of C and GP respec- (-.r
tively.The dim chord can resolveto either key,which are also a tritone apart.
r i
The tone system,which originatesfrom the diminished7th chord and the oc-
totonic scale(dim scale),is calledoctotonics.x

35.6 The upper stavein example5 showsthe inversionsof Bo, with in the lead the t*-:J
octotonic scale,made out of suspensionsand chord tones.The I in the bass,
( )
sustained for two bars, forms, to-
gether with the root (b) and the third t )
(d) of the dim chord, a major triad.
This sustainedg, root of the G triad, is
calledthefundament(tone)of Bo. Due
i )
to its symmetrical appearance,the
dim chord possesses four of thesefun-

* Seealso volume 2: Thecircle offifth, the axis crossand octotonícs.

116
 dament tones.They are written in,the loryer stave of the exampleas half
notes,above the sustainedg: g, e,& and bv.Togetherwith the three chord
tones from the dim chord, written as half notes in the upper stave,the four
fundamenttonesform four (gnharmoqized)dominant7th chordswhich are a
minor third apart: G7, E7, DD7and BD7.These four dominant Tths form the
(octotonic)doryinantfamily of Bo, and,as a consequence of symmetry,alsobf
Do, Fo, and ADo (G#o).The corresppndingtonicfamily cgnsistsof the major
and minor chordsof C(m),A(m), GP(m)or F$(m)and EP(m),a minor third
apart as well.

35.7 The upper stavein example6 shows 6

the same diminished 7th chords as
example5 in ascendingorder. In ex-
ample 6, however,they are provided
with different fundament tones from D?7
the correspondingdominant family.
| |
On the relativestrongbeatswe see:G7/-gl13,Bv7l-9113,D27l-9l13and
E7/-9113.Each of the chordsin the upper stavecan be providedwith anyone
of the four fundament tones and correspondingchord symbol.Occasionally,
one of the chord tones,3,5,7,or -9, is suspended(example6), or substituted
in the lead by the suspension(example7).
35.8 The four fundamenttonesby themselvesform a diminished7th chord which
is a half step below (whole step above)the original dim chord.Thesefunda-
ment tonesare alsothe extensionsof the dim chord within the octotonictone
{.) system,although not necessarilywithin the key and mode in which the dim
chord occurs.We must thereforekeep in mind that not alt of the tonesof the
{J octotonic scaleapply to a single key. Consequently,one should be cautious
() not to extend the dim chord indiscriminately,just for the sake of colouring,
with tones from the octotonic scale.This appliesespeciallyto the suspension
for the root of the dim chord,e.g.cfrin Bo, which can be out of placewithin a
tonal context.
35.9 Example 7 shows the octotonic ex-
tensionpof G7/-9.These are:13(r), 7
-10 @\ and +11 k#). The final
chord is made up of Bo and its four
extensions,over its fundament tone
g, which forms: G7l-9/-10/+11113.
We seethe superimposeddiminished
7th chords Fo and Eo, with g in the
bass. 8
35.10 Example 8 showsthe inversions,or
rather transpositions by a minor
third, of D#o with two suspensions,

117
 i.e.b for the 5th (a) and d for the 7th (c).This succespion
of ghords,after elab-
orate enharmpnicchange,can be seenas in C, Eb,F$ (Gb) apd A, apd ü[V
#tr
in C minor, Eb minor, F# minor and A minor, and VII in E, G, Bb and Oh.This
examplealsoshowsthat in someof thesekeys,the givendim chord extensions
are somewhatout of place.
To go any deeperinto the fairly extensivearea of the octotonic tone systemwould
exceedthe scopeof this j.azzharmonymethod.On some of its aspects,however,we
will come back in the following lessons.

35.1L In lesson32we came acrossthe practiceof replacingdiminished7th chords

with leading chords.Also the tr-V progressionis often used to substitutethe
dim chord. For the latter substitution,a fundament tone is placed below the
dim chord,thus creatinga dominant 7th chord.Next, the dominant7th is sus-
pendedby the correspondingminor 7th chord.
Well-known examplesfrom the repertory of standardswhere this practice is
applied are, among others:ALONE TOGETHER, STELLA BY STAR-
LIGHT and EMBRACEABLE YOU. In these songsthe subdominantdim
chord is replacedby a secondarytr-V progressionfor III, but instead,unex-
pectedly,a II follows. Besidesa different harmonization of the melody - the \.r'.,,1

'changes'- this practicemainly servesimprovisationpurposes,asthe II-V pro-

gressiongives the improviser more insight in the correspondingkey and its
tone material than the diminished7th chord does.
35.12 Examples 9-11 show melody fragmentsof the songsmentioned in 35.1,1,in
which the dim chord is substitutedby a tr-V progression.
In example9,E71-9 is createdby placing a fundamenttone ¿ below the ADo
chord;this dominantTth chord is suspendedby Ba and a tr-V progressionin
A minor is created.E7l-9 doesnot adequatelylink up with Gm7 in the next
r,'i
bar. Therefore,we may assumethat the changehas been mainly createdfor
.,,
(''';,
improvisingpurposesinsteadof for harmonizingthe melody.By analogy,also \
the dim chordsin the examplesL0 and 1l arereplacedby tr-V progressions.

ADo -rGm7 C7
sa E7F{

F7
A7rÁ---c^7

Abo
ga ,r,-ry'o^'

118
 35.13 In the precedingexamplesthe diminished7th chordsAbo and Dbo are not in
root position.If,this woulfl have been the case,the diminished7th of the
chords,i.e.the gv?and the cw,would havebeenvery unusualtonesin the keys
F and BPof the melody fragments,These tonesdo not normally occurin these
keys;they are simplycalled/and bv.ln the examples,therefore,the diminished
7th chordqare from the raisedfVth degreewith the 7 in the bags(Wz).We see
Bo with aDinfhe bassin examples9 and 1"L,andEo with & inthe bassin
[) example1-0.
\.t
Wemayconcludethat namingthediminished7th chordafter the bassinsteadof its
root tone,is not really a usefulcustomfor a good understandingof its harmonic
(l
function.
c) Exercises:
(-i
r' , Play the examplesslowly on the piano and try to comprehendthem fully.
\"/ )
y'
c-\ ,r/Clote example8 in as many keys as possible,as hasbeen shownin the exam-
\J plesL-3.

s r' Sing the melody of examples9-11,and play,in some different ways,the ac-
companyingchords.
o r' Play all the fundamenttones of Co and C#o.
()
r' Find and play the appropriate octotonic scalesof the dim chords in the pre-
( ;
cedingexercise.
C
LeSSOn 36 Alterations of the 7th chord on fV
t , 9

In the foregoinglessonswe have met alterationsof fV7, exclusivelyoriginatingfrom

ñ minor. Seealso (4) and (5) in summary33.6.We cameacrossthe dim chord and,al-
thoughnot explicitly mentioned,the augmentedgchord on fIV in a progressionsuch
$
as AP7--+G7-+C,presented as tritone-relateddouble dominant (seelesson26.4\.In
(,: this lessonwe will look into its harmonicbackgroundand will alsodiscussthe appli-
cation of fIVT originating from major and mm. Furthermore,we will become ac-
(".,
quaintedwith the conceptof cancelledalteration.
\;J

fw7 ¡n c mm

{l';'ffi
f,lvz in C melodicminor

r¡re
t i i

a. I

* 'enh.' means:enharmonicallychanged.
\-l

L) 119
( r
 36.1 Raising the fourth tone of the scalebrings in a leading tone for 5, which is,
among other things,the fifth of the tonic and the root of the dominant.The
raisedfourth tone of the scalecan be positionedin the bass,in the lead or in
the middle voicesof the chord.
36.2 ExamplesL and 2 showthe traditional,and example3 somejazz progressions
of fiIV7to V and I, in C
harmonicminor. 1
In example 1 the
dominant is suspend-
ed by the I chord of I
(cmlc).
In exampleza ftvfá (s
in the bass)resolves,as 2 i
. . l

alternating chord, di-

rectly to I in root posi-
tion; in example2b, as
approachchord, to V
with 3 in the bass.
Example 3 showstwo Í l l
of many applications
or fiVf,8 in jazz: in ex-
ample 3a the chord re-
solvesto the tonic and #Mg I fIVf I V7
in example 3b to the i )

dominant.Enharmonizedwe see:A27--+CmandAh7--+G7.*
Seealso36.5.
36.3 When the third (ab¡ of fIVz is replacedby o,the chord originatesfrom C
melodic minor and the frequently useddim chord (Ffi") on fIV is formed.
36.4 Example 4q shows ffVT as passingchord 4a
with the 7 (u?)in the bass.Wemay recognise
l )
a ripe evergreen.
Example4b showsthe original h.armoniesof
the composerunder the melody.WeseeC#o i. ,i
of which the g is substitutedby the passing
fone avthat resolvesexternallyto the root of 4b
G7. In this example,C$o is secondarysub-
dominant,i.e. ftr8 in G, for Vá in C. It is in- \ r
terestingto see how a simple melody can
have rather complicatedharmonic conse-
quences.
36.5 In jazz,wherethe avoidanceof parallelmotion of,certainintervalsis followed
lessstringently,frIW with the diminishedthird (av) in the bass(g) usualtyre-
*Example 1-3 can also be in minor-major,in which casethe ,b becomes".

120
 solvesdirectly to V7 (seeexample3b).EnharmonicallychangedfiIW t named
f:
after a dominan[ 7th chord on the lowered VI. For exalnple,in the key of Q,
f, ttr,el is seenasghand fiV#8is given,thechord symbol nbi inwhich theTth,ab
-gD,inrealityis an augmented6th @b$).This customis a practical,and for our
purpose adequatesimplification,although not quite in accordancewith the
(,i rules of traditional harmony.Seealsolesson26.4.

C,¡ 36.6 Ambiguity of harmonic function of chords has been mentioned in 33.4.
Especiallythe harmonicfunction of an altered subdominant,i.e. a subdomi-
LI nant chord in which the raisedfourth tone of the scaleoccurs,is ambiguous.
(-i Dependingon the context,thesesubdominantchordscanjust aswell be seen
as secondarydominantfor the dominant (double dominant).
f.r Only if a seventhchord on fIV is followed by a tonic, or by anothersubdomi-
(,)
nant, usuallyderivedfrom minor-majorasshownin example6, f,fVexclusive-
ly is a genuinesubdominant.In this progressionthe alteration of the fourth
di .) scaletone is cancelledin the following chord.We call this a cancelledaltera-
tion.
\*J
In case#IW is followed by a dominant, either suspendedor not, the chord
ffi function is ambiguousand can be seenboth as double dominant and as al-
tered subdominant.Seeexamples5 and 9.
o A third possibilityis that ffVz, originatingfrom major, functionsas a IP in a
(..) secondaryII-V progressionfor III ( seeexample7), becomingpart of a tonal
'' excursionor modulation.
(,
Example 5 shows F#aas flIVzin C major. It 5
(,1 can be seenfunctioning as secondarydomi-
f-\
nant for the suspendedV, i.e. [[V/ is double
\/ dominant in C major. It can be compared
(;\ with D7 with a silent bass.
This progressioncan also occur in C minor.
r'\
\,"r In that casewe hear:
C: Fm7--+Filo--+Cm/c-rc (7)
The root as well as the 3 of IV are raised.
(,;
In example 6 the mm subdominantfollows 6
L; ffvz*. We see Fma-+Fm6 resolvingto the
(; sixth chord of the tonic.This exampleshows
a plagalprogression:subdominant--+tonic.
(-\
The following variation of example6 can be
( ) frequentlyheard too:
Ff;o (-* Fm7)-+FmG--Cm¡¿bor --+C/e
36.7 In example(6) the alterationof the root of ffi ir cancelled.The raisedfourth
L; tone of the scaled) i" the bassof Filabecomesscaletone (fl againin Fma.
(; We can hear suchcancelledalteration in a dominant chain too: the 3 of the
*In my classesI am usedto call this frequently applied progression(Fil6-Fm¿
Li or m6) the ,two facesof IV,

L,) 121
L
 first dominantTfh chord resolvesto the 7 of 7
the next one.E.g.,in D7--+G7thef of D7 re-
solvesto the/of G7. Seealsolessons25.

Example 7 showsthe secondaryII-V pro-

gressionto III (Em7) in C major.
F$uis pivot chord between C and E minor
or E mm;it is f;IVzin C and alsoII in E mi- 8
nor or E minor-major.

36.9 #fV7can also originate from minor-major.

The 6th tone of the r4ajor scaleis lowered;
insteadof a we hear av. F¡ riarg az c
i . j

In examples 8 and 9 we see the rather

( . 1
uncommon chord symbol f*a/-3,. In iazz I
music the chord in this position is seldom l--r
heard.The same chord, on,the other hand,
¡"1\,
with the diminishedthird (aP)in the bass,i.e.
AvTl+S in example 9, we hear quite fre-
quently (seealsolesson26.6).It is a double
dominant. as well as an altered subdomi- ('' i

nant, functioning as dominant preparation;the alterationf is cancelledand

becomes7 (f) of G7. \ l

Exercises:
r' Play all examplesof this lesson. ,:
.,

r' Play the following chord progressions:

r ga Bbm6 G7 | CTsusC7ll
lAmTD7| GTsus
lcmTFm7lGa c7 lFmt BÚ ll
,( so Dbmo
In which key are the first 2 bars of theseprogressions?
Play the melody of the exercisesL-4 togetherwith the chordsas given in ex- i l

erciseL.
Pay attention to the different keys! In Exercise4 the chord changeson the fourth beat of bar two.

r' Tlansposethe exercisesto keys of nearby tonalities.

i )

@
trv9l rvmm g7 su(o¡m)

122
 LeSSOn 37 Alterationsof dominant7th chords

The alterationof the dominantTth chord,encounteredin lesson24.S,concerns an al-

teration of V7, where the altered chord tone, the lowered 5, is in the bass.This con-
verts the commondominant7th chord into its tritone-relatedcounterpart(71+11).lt
forms an augmentedáchord of V. See(6) in the summary33.6.Furthermore,in leé-
( ' son25.7we discussedthe alterationof VIIT.This alteration alsoconvertsthe VII7 in-
to a TR dominant 7th'chord. See(8) in the summary33.6.The altered tone in both
C) of thesealtereddominantchordsis a descendingleadingtone for the root of the ton-
ic (the secondtone of the scaleis lowered) or, if applied as secondarydominant,for
()
the root of the adjacenttonic. Sincethe sound and someother characteristicsof TR
fr chordsare identicalto thoseof commondominant7th chords,we call the alteredV7
as well as the alteredMI7, for the sakeof simplicity,'TR dominant7th chords'.
( i
In this lessonwe will discüssthe differencebetweenthe +11and the -5, and between
f l the +5 and the -13. We will alsomeet two scale-toneTl+11chords.

(i 37.L Example 1ashowstwo positionsof the

same extended G7 chord: as a con- 1
\l,1 struction of superimposedthirds, and
in an arbitrary mixed position.
f-i
Example 1b showsthe superimposed
thirds
t
construction
l
of an extended
i . ,
DP7,with cPenharmonizedand written asá, in a closeaswell as a mixed arbi-
trary position.
f l
In the key of C major the +11 1cil¡o¡ G7/91+11113 (seela) is a colouringex-
r"\ tensionof W, while the +11 (S) of D?7/91+11113 (see1b) is in fact the rogt of
an extendedaltered G7 chord, originatingfrom C minor, with its -S (&) in
q..J the bass.xFor the sake of simplicity,both chords are identified as dominant
7th chords,exter¡dedwith, among others,the +11;the first (G7) as W in C
(l
and the latter (Dv7) as the tritone relation of the first, alsoin C, major or mi-
nor.
The +11 shouldnot be confusedwith the -5. Both belongto an altereddomi-
i )
nant 7th chord on V. The -5 of V7 occursin or over the bassand usuallyre-
solvesdescendingstepwise.The +11 of V7 is mostly heard in the upper regis-
ter of the chord,resolvingupwards,internally aswell as externally,or keeping
its place.Seealsolesson13.10,14.8 and 14.11,.
ü
As could be seenin lesson25.I1 and25.I3,the -9 is usuallyavoidedas exten-
sion of the TR dominant7th chord.This avoidanceof the -9 is entirelyjusti-
( l
fied when we considerthat this -9 is preciselythe unalteredfifth of V7, aswell
as the unalteredthird of MI7. the tone which is altered in the tritone substi-
tute. With a few exceptions,the ear normally protestswhen an altered tone
and its unalteredcounterpartare both presentin the chord. See also lesson
27.21,.

* As the 7l9l+"11chord consistsof the 4th up to and including the 1lth harmonics
of the overtone series,the ear perceivesthe
chord more or lessas consonant.If the 7/9/+11chord is on V, the root tone of the tonic, i.e. the +11, is altered.This presentsa
conflict betweenthe laws of acoustics(the overtone series),and the laws of traditional harmony.In volume 2, in thglesson on
I Theovertones,the superimposedtriads, and the 'Mystic chord', this problem will get more attention.
123
 37.2 Examples2 and 3 show the
+11 applied as colouring ex-
tension in the dominant 7th
chord on V, in C and in E In
examples2a and 2b the +11
is in the lead, ascendingex-
ternally to the 9 of the tonic
and internally to the 5.
In examples3a the +11is re- { ' \
solvedascendingin the mid-
dle voices.Inexample3b the
voice leading deviatesfrom
the usual one, due to the G7l-91+11 C7l-91+11
falling lead. For a piano
voicing one shouldn'tworry too much about that. For a vocal ensemble,how-
ever,it would be a different matter:the givenvoice leadingwould not be easy
to sing.To solvethis problem,we'd have to drop thef one octave.
37.3 If a dominantTfh chord on fV" from melodicminor. or on VII from minor-ma- fi
jor is extendedwith an +11,
this tone is a scale tone in-
steadof an alteration.

scale-tonesubdominant in
C, borrowed from C melo-
F7l9l+11 C^/9 (6) B7l13l-5¡, Em7l4 (Cl
dic minor. We see a plagal
progresslon:
fV7+IinC.

its non-simplified chord symbol 87/131-5¡pand not as TR substitute.The

chord is identicalwith F7l9l+11in example4a,howeverthe functionsdiffer. i \

a scale-tonesubdominantin
C minor-major (FWI) 5

5b. but with different func-

tion, is now a tritone substi- ¡ r )
827/13t41 Ca/g Bv7/13tít A7t-9/13
tute (simplification) for
E7l-101-5rgb,applied in a short dominant chain. 47 could function here as
secondarydominant for II in C:
E7/-101-5leb- A7/-9/-13 -+ Dm7/9.
We should remember that F7l+11as well as BbTl+11are both scale-tone '=-)
chordsin C, borrowed from C melodic minor and mm respectively. í \
The +11,in both F7 and Bv7, caninternally resolvedescendingto the 3 and
r l

124
 (' ascendingto the 5.In this case+11 functionsmainly as a suspensionfor 3 and
5, which can therefore be omitted from the chord. Resolvingexternally,the
(--'
+11 can keep its place (see example4) or can, dependingon the following
í' chord and the lead.move in both directions.

37.5 The +5 in a dominantTth chord (see(7) in

summary33.6)shouldnot be confusedWith
fl -13; seethe d#.inexample6, and the ebin
example7.The former alteredtone belongs
\.-.i
in major and preferablyresolvesascending
f l to the 3rd of the following chord,while the
latter tone originatesfrom minor and has a
descendingtendency:internally to the 5 and
(-r externallvto the 9 of the next chord.
37.6 As the descendingTand the ascending+5
Q
of the altered dominant 7th chord both resolve to the 3 of the resolution
f] chord,this 3rd will be doubled.Notice the ¿ in example6.TiaditionalJy,the 3
in a major triad is not doubled.Therefore,intraditionalfour-partharmonythe
ñ
+5 in Vz in conjunctionwith the 7 canresult in voice-leadingproblems.ln jazz
Cr the doublingof the 3rd in a major chord is hardly of any significance.
("r 37.7 Besidesin the melody,the +5,like the +11,can alsooccurin the middle voic-
es.In that casethe +11is a moving colouringtone in the dominant7th chord;
( ,
an essentialelementof the voice leading.Seealso examplel- in lesson30.2.
("; 37.8 The +5 in conjunctionwith the 13 in a dominantTth chord is not a very suc-
() cessfulcombination.Also the natural 5 with -13 is a combinationwe rather
not hear.Seealsolesson27.
()
Exercises:
ñ
r' Play the examplesand transposethem chromaticallyto all keys.
Ir
(,, r' TLyin the longer term to memorizethem.
Play the given
LJ sequencesover
(.1 one octave
range.
Cr
Play sequence
(- 'r
L2 over one oc-
t . tave, but this
time start on
u; Em719 instead
of Gm7/9.
t";
[;

( j

125
 ¿ l
l ¡
? n a
t
t l
l I I

r/ Learn the sequencesby heart, and start them on different placesin the
quence.

r' omitting the root tone of the chordsin the bass.

Play the sequences, i )

r' Composeyour own sequences,

usingthe onesshownaboveas model.
{"

Lesson 38 Theaugmented
úriad

The augmentedtriad is a scale-tonechord on III in minor and on VI in minor-major.

i-l
However, the oneswe often encounterare altered chords,whether enharmonically
changedor not. Therefore,we believethe augmentedtriad not to be out of place in
this chapter.
n
(-)
The augmentedtriad, just like the diminished7th chord,is an apparentsymmetrical
chord. Outside harmonic context,the inversionscannot be distinguishedfrom the
root position by their sound.Like diminished7th chords,augmentedtriads are
named after their basstone.
In jazz we usuallyhear the augmentedtriad aspart of a chord,mostly asupper struc-
ture of an extendedchord,e.g.of a minor major 7th (ma), dominant 7th (7), or half
diminished(u) chord.
Justlike the diminished7th chord,the augmentedtriad producesa tone series(scale)
which can be the basisfor a tone system.It alsoopensthe possibility,by meansof en-
harmonic change,to modulateto remote keys in one or two steps. '. ,'

38.1 Through enharmonicchangeof one of its tones,the augmentedtriad divides

the octavein three apparentequal parts,e.g.;c-e,e-gfr,ab-c.One of the major
thirds in the apparent symmeúical construction of the triad in reality is a
diminishedfourth g*-c,which is changedenharmonicallyto ab-c. i i

The lower interval of the augmentedtriad is a major insteadof a minor third.

Therefore,it doesn'thavea fundamenttone which,togetherwith the two low-
er chord tones of the augmentedtriad, can form a major triad,like we have r )

seenwith the diminished7th chord in lesson35.6.However,sincethe lower

three tonesof a7 l9l+11 chord form a major triad, the root of this chord is the
only tone which can function as a genuinefundament tone for the augmented
triad, consistingof the 7, 9 and +11 of the 719/+11chord (NB!). There are
other tones,however,which function comparablyto a fundamenttone;we will \-. I

call them semifundament.

126
 f .

{--

Doubling of one of the chord tones of the augmentedtriad in the bass,com-

parableto the addition of a fundamenttone,substantiallyintensifiesits dom-
inant function.This createsa fifth relation (dominant relation) with its suc-
ceedingchord.Seeexamples9a and t2.
A basswhich forms a minor triad with the root and the third of the augment-
ed triad can alsobe comparableto a fundamenttone for the augmentedtria'd,
as the perfect fifth in the minor triad givesa more distinct impressionof the
function of the.chordthan doesthe unstable+5 in the augmentedtriad.
(l
38.2 The scale-toneaugmentedtriad is found on III in harmonic and melodic mi-
i'r nor, and on VI in minor-major.On III in minor the chord hasmainly dominant
function,therefore,a tonic or tonic substituteusuallyfollows.The augmented
triad on Itr in minor can also have tonic function, in which casethe leading
tone is a suspensionfor the 1 or for the 6. On VI in minor-major the aug-
mentedtriad hassubdominantfunction,and a dominantor tonic.or their sub-
stitutes,usually follows.
38.3 Example 1a and 1b show the two augmentedscale-tonetriads on III and on
M, together with their resolutionsin C minor (1a) and in C mm (1b) res-
pectively.
I
a. Dominantor tonic
b. Subdominant
EP+on Itr in exampleLa
has dominant function 1
in C minor and resolves
to the tonic Cm or to the
tonic substituteA2.
I

AP+on M in exampleLb hassubdominantfunction in C minor-majorand re-

solveshere to the tonic substituteEm or to the tonic C.
The doubling in the bassof the g gr the ,b irEb*,would stronglyintensifyits
dominant relation with Cm and APrespectively.
A tonic chord (Cma) resultswhen c is added in the bassbelow EP+.In this
tonic chord the 7 (b) is a suspensionwhich either can resolve,or can keep its
position as colouring dissonant.The samecan be done with Ab+:after adding
/in the bass,the subdominantprime degreeFma (IW) is formed.
38.4 Example 2 showsalterationsof the triads on V and [V.*
G+,in example2a has
(l dominant function and
a Dominant b Secondarydominant

resolvesto the tonic C 2

ü
or to the tonic substi-
f \
tute Em. Notice the
similarity betweenexample1a in C minor andZa in E minor.
L,
(-, for the loweredVII, BP,in C minor or C mm.
r l
* Becausethe tonic tone c has been altered in cf, one p¡efers
to identify F+ as a secondarydominant insteadof being an al-
f-l
tered scaledegree(IVf5). Yet we use,againstthis rule, the altered scaledegreehere for the sakeof clarity.

t-i
127
 By addingof a doubled chord tone in the bass,as discussedin 38.1,the domi-
nant function of the augmentedtriads in the above and the following exam-
plesbecomesmore intensified.

38.5 Example 3 showsthe augmentedtriads on I and on Ptrin C major.We seeC+

and DP+.
a. Dominant relatíon b. Subdominantrelation

ple3 alsoisIII in A mi- 3 ffi#

nor,andalteredV in F. Yqfr
hasu gog
It therefore VI Iv Pl I V V I
inant relationwith VI
il F; $A m I F mm: VI I I t r
i; i;, fo I VI
(Am), as well as with
IV (F).We have seena similar resolution of the augmentedtriad in example
2a.Example3a can be heard in C, in F, as well as in A minor.
Ob+(tr) in example3b is alsosubdominant(VI) in F mm. Consequently,DD+
hassubdominantrelation with IV (F), and VI (Am), in C. Notice the samepro-
gressionas in example1b.This time in F mm:
I
PVI-rI or III in F mm, which is the sameas lII--+ fV or VI in C.
D+ in example4 is double dominant in C D o m i n a n tr e l a t i o n
(alteredV in G) and also dominantfor Bm { )
(Itr in B minor), not belonging to C.
Therefore,the latter resolution of D+ does
not belong in our seriesin C. For this rea- in c: tv#51v
son examplesfor the augmentedtriads on
e, b and a are omitted. These augmentedtriads resolve to chords.none of
which belong to C, C minor or C mm.
The augmentedtriads in the examplesL-4,exceptfor D+ -+ Bm in example4,
¡ )
are all conceivedin C major, C minor or C minor-major.The sameaugment-
ed triads,however,can due to the apparentsymmetricalstructureof their in- i . )
versions,after enharmonicchangeoccur in the keys which are q major third
apart from C. By this property they form the key family of C-E-AP.Theirscale
degree (position) and, consequently,their function will determine whether
they belong to major, minor or minor-major.

38.7 The harmonic possibilitiesof the augmentedtriads as shownin the previous

examplescan still be expanded,by letting the voicesresolve,for example,in
contrarv motion.

\lI in C mm V'l VI8in E mm V7 VI6 in Ab mm

Example 5 shows the progressionVI-tV1-I in the key family mentioned

above:respectivelyin C mm, E mm and AP mm. The 5 is not presentin V7.
In theseVI-V7 progressions,two voicesdescendand one ascends.Owing to

)
128
 1 r

enharmonicchangewe seethe augpentedtriad in root position (AP*),in I po-

sition (C+) and in sixth position (FP+).
38.8 By addingtones,adjustingthe voicingof the chords,and by letting someof the
voicesresolvecrosswise, the soundof thq chordscan be mademore in accord-
ancewith thejazz idipm. For example,At+ forms the upper structureof oo E.
t..-'
Similarly, c+ and FP+form the upper structure of F#olg and Bbñlg res-
pectively.These half diminished chor{s can function as suspendingchords
\r:.t
(tr2) for the vz chords G7, 87 and Ev7 respectively,which resolve to the
T correspondingtonic chordsC, E and AP,resultingin tr-V-I progressions.
Cl 38.9 Example 6 showsarbitrary voicingsof the three tr-V-I progressions, a major
third apart, as mentioned above.In each progressiontfre upper structure of
f, the first chord (o) consistsof the augmentedtriad on ob 1t#¡.rn someplaces
O the voicesof the augmentedtriad resolve crosswiseto the dominant 7th
chord,dropping an octave.Seedotted lines.*
C¡
f-ñ

s
o
( )
38.10 By having one of the voicesin the augmentedtriad keep its position and let
(') the remainingtwo voicesmove in contrarymotion, three different incomplete
diminishedTth chords are formed.Thesecan be completedby adding the
C; missingfourth tone in the bassof the augmentedtriad. Seeexample7.x
(.)

Q*)

{,}

f-)
Three tr-VII8-I minor-majorprogressions,
a major third apart,are the result:
( ,
Dl-+Do--+Ca; pf6_+¡fio_+fa; gbO__rgbo _-¡b6
("; The three diminished7th chordsin their turn, can resolvewithin their appro-
(,.t
priate families as discussedin lesson35.

(') 38.11 The augmentedtriad, applied as dominant or secondarydominant, can be

convertedinto a dominant7th chord with an augmented5 or -13, by adding
(,, the minor 7th over its root in the bass.
,
( ¡
to chordsa major third apart from C (Em7l9 in 8b and AP¡ in 8c).Th,ethree
C,' dominant 7th chords originate from the same G+ chord (S-b-ú or "D).Fre-
quently,a7/+5 chord resolvesto a minor chord (example8b) in which case,
(.;
*When the six bars of this progressionare played in succession,
after which the first two are repeated.we hear the chordsof
I J
the last eight bars of John Coltrane's GIANT STEPS.

(_)
129
 l l
+5 is enharmonizedto -13 (g in 8b). If resolvingto minor, the dominant 7th
chord can alsobe extendedby other tonesderivedfrom minor.The transition
from E major to F minor at the end of the bridge of JeromeKern's ALL THE
THINGS YOU ARE is a remarkableillustration of this (see38.12below).
r l
38.L2 Example 9a showsthe following progression:E --+E+ -+ C+ --+Fm.
i l

i _ l
E E + C + F m E C 7 F m 7

This is a reduction of the progressionin qxample 9b. After enharmonic \-i t.,;

change,E+ as well as C+ are inversionsof AP+,which is dominant (Itr) in F

minor, following in the third bar. In one step a modulation from E major to
the distantkey of F minor (8 signsdifference!)hasbeen achieved.In example
9b, on the first beat,of the secon{ bar, the enharmonicallychangedE+ is ex-
tendedwith the 7 (bb)and -10 (eb)otCl, wlrile at the sar.netime the 3 (gf) of
E+ in the lead is enharmonizedto -13 (ov),tv aswell asar being derivedfrom
F minor, the key which alreadyappearson the first beat of bar 2.
38.13 As alreadymentionedin lesson33.L,analteration doesn'tinvariably have to
result in an alteredchord with an independentharmonicfunction.Chromatic \.,.
passingtones can also createa sonority,with the appearanceof a functional
chord, which in fact is the result of voice leading, as illustrated in following
examples.
' j
y#s 1g-U4) in Q major. After, enharmon- 1 0 a
ization of l,to ,ebando{ b to ch,it alsobe- |..)
comesYl (c7-e7-g)in EP minor-major,rg-
solving as subdominantto Gm, Itr in ED.
Example 10b showsthesetriads from ex-
10b i )
ample LOawith a different bass,which fits
better our actual harmonic perception.It
showsG+ (lr) resolvingto an alteredItr in
C (Eq, which continuesas subdominant
(Gm or ea¡ inD minor.The latter progressionis more in accordancewith the
harmonic implication of the C major region we perceive,than the tonally

130
 Í

rather remote progressionof VI in Ebmm (cb*) resolvingto III in Eb;ou, ears

tell us that CP+has no distinctivetonal relation with either Gm or with E@.
The augmentedtriad in example10a turns out to be the result of two chro-
matic passingtonesbetweenC and Gm7gb.

\ . .. which is Itr (dominant) in D minor. It fol-

lows Dm and resolvesto Dm7, only the bass
\-.:,
of which illustrdtes the actual harmonic im-
t l ptication of the chromatic passingtone c#; | ¡
DP+,subdominant(VI in F mm) resolvingto F in the upper stave,would be in
this casea tonally too remote pivot chord.
38.14 It is often difficult, due to its symmetricalconstruction,to establishthe posi-
tion of an augmentedtriad, when it functionsasa passingpivot chord.The en-
harmonicchangeof tonesusuallyaltersits function and frequentlyalsoits po-
sition.

12
in G minor-majorresolvjng(plagal) to G.
After enharmonization ,V*d, it also is an
inversion of G+ (e-u-d) with +b a* 1"b¡in
the bass.It follows Em in which it is m
(dominant). Both function and position of
the augmentedtriad has changed. 13

(f) i" example13 (*), is alteredtonic in root

positionin G and alsodominant(Itr),in root
position as well, in E minor, to which it re-
solves(Emi6). In this casethe position and function of the augmentedtriad
staysthe same.This progression, can also simply be seen as I-rVI6 in G in
which the passingleading tone d* is inserted.
38.15 In order to analysethe function of an augmentedtriad in a progression,the
following questionshave to be answered:
Which is thefunction and the position of the augmentedtriad in the key and
mode of the precedingchord?
In major the augmentedtriad invariably is an alteredchord.In minor it is Itr
and hasdominant and sometimestonic function.In minor-majorit is lowered
M and has subdominantfunction.As an altered chord,the augmentedtriad
very seldomoccursin minor.
On which degreeoccurs the augmentedtriad in the key and mode of the suc-
ceedingchord?
Sincethe chord frequentlyis not in the samepositionin both keys(or modes),
its position in the key of the chord to which it resolveshasto be found.To do
this,usuallyone or more toneshave to be enharmonicallychanged.
U
(-)
131
i.
 Whichis thefunctionof the augmentedtriad in the key and mode of the suc-
ceedingchord?
The function of the scale-tonetriads can be found in examples1a and 1b,of
the alteredtriadsin examples2a,2b,3a,3band 4.*
If these questionscan not adequatelybe answered,we may assumethat the
augmentedtriad is the result of voice-leadingactivity.Seealso38.13.
38.16 By placing a major secondbetweenthe tones of the augmentedtriad, a tone
series,called whole-tonescale,is created.Since one of the intervals between
two adjacenttones of the scaleis a diminishedthird - soundinglike a whole
tone - the divisionof the octavein six whole tonesis.within the diatonictone
system,only an apparentdivision in equal parts.
Five ascendingtones of the scale,from ¿b 1A
'-
to á (example 1,4),are scale tones of, for
example,C melodicminor.The diminished i )
third occursbetweenthe leadingtone (á) and the lowered secondtone (ab)of
the C minor scale.The tonic (c) is not present.This givesan indication of the i )
dominant characterof the whole-tonescalein C minor and,as a cgnsequence ¡.i\
of itg symmetricalappea¡ance,also in D minor, E minor, F# or Gh minor, Gf; "¡i)
or Ab minor and Ail or Bb minor. ,."-.)
38.17 Example 1,5shows the augmentedtriads Eb+(orDl+) and inversions
composedof tone material of the scale
15
shown in e¡ample 14.We notice thrqe po-
sitionsof Eb+(or D#+)and three of Dh+(or
Cfi+).If these augmentedtriads and their
Db+(orC$+)and inversions
(enharmonized)inversionsare regardedas
dominants,for instanpeas altered V (e.g.:g-b-d andf-a-c*) or as scale-tone
Itr (e.g.:"D-g-b andil-f-a), we nptice,due to their apparentcongruence,the
key families of C-E-Ah and of Bh-D-Ff,, in major and parallel minor. Seeal-
so 38.16.
¡'r:r)
38.18 The upper structure of a 7/91+11chord, as discussedin 38.1,forms an aug-
mented triad in root position and, consequently, the root tone of the 7l9l+11
chord can function as the (only) genuinefundament tone for an augmented
triad. Any of the chords shown in example1,5can be the upper structureof
this 7l9l+11 chord.We notice.in this e4amplethe upper structure of, for in-
stance,G-//9/+11(-5l,i.e.f-a-cfior f-a-il, and its inversionsbelow thef,the a
and the il (cfrlof the scale.This implies that, togetherwith the result of 38.17,
any augmentedtriad in exampleL5 can function as dominant in C major as
well as in C minor, and, as a consequenceof the symmetricalappearanceof
the scaleand of the enharmoniccongruenceof the chords,also as dominant
in all six keys of the two families mentioned 38.17;in major as well as in mi-
nor. It meansthat any tone of the whole-tonescalein example1,4canbe an
added basstone, either fundament or semi fundament,for each of the aug-
mented triads from example15.
* The appendixin volume 2 gives a summaryof the augmentedtriads belongingto the key family of C, i.e. C, E and Ab. See
also examples10-16.
í l
132
 fr
(-'l By placingsuccessively all tonesof the whole-tonescalefrom exampleL4 be-
low anyoneof the augmentedtriads in example15,six different dominant7th
f-"i chords without perfect fifth can be formed. Three are 7l+5(-13) chords of
which the seventhis absent,and three areTlgl-5(+11)chordsof which the
third is absent.When thesemissingtones are addedto the augmentedtriads,
f-- ) preferablypositionedover the bass,thesetwo types of dominant 7th chords
can function asV7;eachone of them can resolveto its correspondingtonic of
t i l
\-_.,r the key familiesmentionedabove,major aswell as minor.
t \ 1
seethe two domi- 16
nant 7th chord
types, T/+5(-13)
and 7l9l-5(+11),
t i
placed above two G7l-13(+5) G7l9l+11(-51A7/9/-5(+11)A7113(+5)
arbitrary succes-
\\, i
sivebasstones (g and a) from the whole-tonesgalein example14.The upper
\".;, structureconsistsof the two augmentedtriads,Eh+and C*+ (Dh+)and their in-
versionsfrom example15.The missingthirds and seventhshave been added,
{i to completethe 7th chords.
Cr 38.19 Chromaticallydescendingaugmentedtriads have a mutual relation which can
be comparedwith that of chromaticallydescendingdiminished7th chords.
t. '

l._, the diminished 7th chords,the bass 17a

("-l tones placed below the augmented
triads in examplet7a move in descen-
ü ding fifths or ascendingfourths. We
hear a dominantchain (seealsolesson
{$ 25.L4).The dominant character of the chords increaseswhen the missing
(* thirds and seventhsare added.In the first two chords of exampletTa these
tones are placed within parenthesis.They descendchromatically with the
(.) chain;the 3 moving to 7 and theT to the 3, etc.
{.) Example L7b showsa chain of domi-
nant 7th chords, in which,the aug- 17b
u,r mented triads in the upper structure
resolveascending.Inthis examplethe
C; thirds are absentin C7l9/+11and in
ü BD7l9l+11.This is the result of the
voice leading.Also the doubling of the 7 resultsfrom voice leading.
The 13 of the Av7l9l+11113chord and the -9 of the G7l-9/-13 chord at the
end are the only tonesnot derivedfrom the whole-tonescale(NB!).

{*.j

t)
(.--)
133
 38.20 In lesson 3L.fi. on approachchords (q.v.) we have discuqsedthe secondaqy
dominant for M resolvingdeceptivelyto IV (VI of VI): BP--+D7l-91-13-+EP.
The progressionin that examplehas been identified as a variation of the de-
ceptive cadence,V7-+VI.
Sincewe have becomefamiliar with the properties of the augmentedtriad,
and consideringthe melody at that placeof the songin question(SOME DAY
-+
MY PRINCE WII,L COME, seeexample18a),the progressionD7l-pl-13 i . l
Eb can also be interpreted as D+ -t Eh; D+ (inversion of I#5,i.e. er+) sql-
plementedby its 7 (r), and functioning as altered (+5) dominant for IV (Eo).
The extensionof D7 with '9 (r'),shown in example11 of lesson3t."J.I,points
in the direction of
G minor, and thus 18a
of the deceptive- ri etc.
D7h9H3
cadenceapproach. D+ Ef etc.
However, the D7 Efl9l+11 Ef etc.
BDTl+5 Ev etc.
chord. extended
with a major 9 ("), rather unusualin G pinor, is not out of place in this con-
text.This points in the direction of the BPwhole-tonescale(NB!), and conse-
quently in the direction of the harmonizationof that part of the melody with
D7l9/+51-13),which is confirmed by the alternativepossibilityto substitute í \
D7/91+5byE7l9l+11(-5),havingthe sameaugmentedtriad asupper structure
(seeexample16);also the latter chord preciselysuitsthe melody and can re-
-^1.,^ +^ EV
solveto EV.
The same progres- 18b
sion, with the same E?tc G7t9t73
possible harmonic El/c G+
alternatives, which Er fil9l+f1
BvmT Eo7
are also reasonablv !.:'r)
in concordancewith the melody (d is somewhatproblematic),can be heard in
the third bar of 'Fats'Waller'sAIN'T MISBEHAVING. Seeexample18b. t.)
Sge also INDIAN SUMMER in lesson 30.2,in which D7l+5, C7l9+11, t-',)
A\l+51+"t1 and F*ll+S can alternatethe G chord; all dominan[7th chordsbe-
ing derived from the whole-tonescalestarting on d (or on ,, ob o, f,, etc.).
The two above examplesgive us a better understandingof the harqtonicim-
plicationsof dominant 7th chordswith a major-third relation;e.g. Bv7 <-+D7
andEz7e G7.Furthermore,they showhow the augmentedtriad and the cor-
respondingwhole-tonescalecan sometimeshelp us finding alternativeways
of applyinga dominantTth chord asV7.

From here on, we will leave it to the resourcefulreader to discoverthe many possi-
bilities which the augmentedtriad offers.To conclude,a last warning remains:the
augmentedtriad shouldbe handledcautiously.One runs the risk that its characteris-
tic soundbecomestoo dominant and,more or lesscomparablewith the useof octo-
tonics,getseasilytiring.Applying thesetone syste-r, u, uruully,requiresgood taste.*

* One can hear interesting illustrations of the application of augmentedtriads and the whole tone scalein Bix Beiderbecke's
piano solo IN A MIST (1928)and in Claude Debussy'sprelude VOILES (book 1 nr.2).
134
:-

Exercises:

r' Play all the examples.

r' Recite by heart on which degreeand in which key and mode the scale-tone
augmentedtriads occur.
r' Determine on which degreeand in which key and mode a given scale-tone
augmentedtriad occurs.
r' Play the augmentedtriads on the whole-tonescale,startingon c and on rf;.
r' Placeanlunder the augmentedtriad on á and play this chord on the whole-
tone scalestartingonl
r' Placea g under the first chord of the exerciseabove,and play the chord on
the whole-tonescalestartingon g.
t/ Placeanf under the augmentedtriad on c, and play this chord on the whole-
tone scalestarting or'f . Give the chord a fundamenttone.
r' Place a d under the first chord of the exerciseabove (yes,the fundament
tone!), and play the chord on the whole-tonescalestartingon d.
( Play a 7/9 chord with the 5 omitted on everytone of the whole-tonescale,e.g.
on c-d-e-rt-glf-of. Th" tones of this scaleare the roots of the dominant Tlgth
chords.Subsequently, play the appropriate719chordson the tonesof the scale
startingon r#.
t/ Do the samewith a 719l+LLchord of which the 5 is omitted.
r' Find as many resolutionsas possible,by inverting and changingtones enhar-
monically, of one or more given augmentedtriads. Determine in which keys
and modes they belong and establishtheir harmonic function in those keys
and modes.
(.;

(-,r

\J

(.;

o
\.,1

t,)
(.r
(¡

l )

(-l
135
136
 ..'

R E F E R E N CI N
E D E Xv o l u m e 1 f F

{ Accented, see Sfrong in a modulation 38.12

Added sixth 5.6,8.2,14.4 key families of the 38.6-8,
( Added tone (addition) 27.13,page87 scale-tone- 38.2-3
Adjacent(secondary)tonic 1 8 i n t r .1,8 . 1 . 2 0 . 1 , symmetrical form of the 38.6-
(r 24.2 as pivot chord 38.14
Aeolic Authentic cadence(progression) 8 . 1 - , 9 . 1 - 6p, a g e 5 0
-'major', also m i no r-major
19.9 Beat
{} -minor 7.1-,19.1-2,19.6 accented- (strong-) 24.3,27.2-3,28intr.<
scaledegreeson 7.5 29.1
(-)
Alteration(s) Chp.6 unaccented- (weak-) 24.3
and scales page98 Blackkeys 1.4,6
(:
in general 33 applicationof the 6.2
reasonsfor 33.1 oBorrowedfrom minorr 19.4,21.1,33,3
(: of the tonic 33.5 C-majorscale exc.1
oftr 34 in thirds (and in triads) exc.2.2
( . i of IV 36 C-minor scale 4.1
ofV 24.5,37.1-2 in thirds {and in triads) 4.1
of VII 25.7-,34.4 Cadence, see also Fifth relation page 50
\'.-/
of dominant Tths 24.6-7,37 IV-I progression 8.2,9.7-
summary of 33.6 V-I progression
C¡ 'Alt' 13.10,14.6,33.3 authentic and plagal
8, 9.1-6
8 . 1 - ,9 . 1 -
Altered chords 13.10,Chp.6 deceptive- 31.8
cl ambiguity of 33.4 Cadential progression, see Fifth relation
summary of 33.6 Cancelledalteration 36.6-7
(_t Alternatingchord 30,32.2 i n a d o m i n a n tc h a i n 36.7
tr (s)as 30.4 Chord extensions 9.1,10.4,27.15, page
( ) Ambiguity of harmonicfunction 33.4,36.6 87
'Amen
close' = W-IV'-I 27.8 a (maj 7th) 9
Anticipation 13.9,27.9,27.18 i n d o m i n a n tc h a i n 25.13,26.1-
ü
Apparent chords 29.4,29.7 in minor 20
C; Applied dominants,
see Secondary dominants
¡n the bass
inTR-dominant
9.1
25,9-13
Approach chords 31,32.2 of dim chord 22.6-,35.8-10
(¡
Arpeggio Exc.3,Exc.5 of m7 1 3 . 1 11,6 , 7 ( f t n . )
Augmented resolutionof 35.2
() -fourth, see tritone substitution of 35.11-12
-fifth (+5) 4.2,20.6,25.8, voice leadingof 10,20.8,22.6-
f,-t 33.6(7), 37.5-8 with 11 13.9,20.8
vs.-13 37.6 Chromatic page88
( , -second 22.2 -half step 6.2
-sixth 25.9,36.5 -succession 6.2
' 1 1( + 1 1 )
14.8-,20.7-8,21.9, -passing tones 12,14.5
\J
24.6,27.16-17,33.5, Chromaticism 6.1-
(r Augmentedtriad
33.6(6), 37.1-
4.2,20.6,38
Chord symbols
o f C h a r m o n i cm i n o r 4.2
harmonicalanalysisof 38.15 under thickenedline 23.10
L: and the whole-tonescale 38.16-17 of passingsonorities 28.3,29.4
as passingchord 38.13-14 Chord tone page87
( - .r as upper structure 38.8-11,38.18 Chord voicing page 110
as voice-leadingactivity 38.13-14 Circle of fifths 6.5
(_) chromaticallyascending- 38.18 Close position 5.1,5.3
chromaticallydescending- 3 8 . 1 8 Colouring page88
e; doubling of tones in
fundament tone of
38.1-
38.18
Conditional dissonant, seei Dissonant
Conjunctionoftones 27.21
(; ALLTHETHINGSYOU ARE 38.11-12 Deceptive cadence(-progression) 31.8,31.11,
38.20
- in deceptiveprogression 3 8 . 1 9 Decorations,see:Embellishing chords

Li * Bold-face '-' after.an

print refersto lessonsand chapters.
entrymeans 'and after'.
(r
lnd.1
\_r
 Diatonic page 88 -key 18.10
-succession 6.2 -preparation page50
15.5,2O.7,
Diminished -relation, see Fifth relation
-fifth 8 . 4 , 9 . 11, 3 . 5 , 2 4 . 5 Dominant chain 24.8,25,25.9
-triad 3.2,4.2 9, -10 and 13in a 25.4-6
Dim(inishedseventh)chord 22,29,35 of augm. triads 38.19
as alternatingchord 30.7 of dim chords 25.14
as approach chord 31.2-4 of triads 25.1
as passingchord 29 parallel-9 in a 25.13
as secondarydominant r8.4,22 tritone in a 25.3 l ' r
as suspension 27.8-9 with silent bass 26.7
as upper structure of 7/-9 22.' t,35.12 Dominant 7th chord 5.2,8.3
best-soundingvoicing of 22.7 +5 37.5-8
chord symbol of 22.3,22.8-' t0 -5 24.5
colouring of 22.5-,27.16 (-)e 12 I

dominant chain of 25.14 +11 14.8,24.6,33.5, 37.1-

dominant family of 35.6 4. 38.1 {
extensions of 22.8- (-)13 12,37.5,37.8
family (tonic-dom.)of 35-6- alteration(s)of
' 1 3 . 1e0x . 8 1
, 4.11, l: \

fundament tone of 25.14,35.6-9 24.6,37

harmonicfunction ol 35 as approachchord 31.2 l'l\r
in root position 3 5 , 23, 5 . 1 3 as subdominant 37.3-4
in sixth diminishedscale 23 with silent bass 26.7 lt)
in thickenedline 23 upper structure 25.4,25.6
inversionsof 22.2,35.1-2 super imposed thirds of 37.1 ¡1"r
leadingtones in 22.4 tritone related-, see Tritone related
of ftr 29 Dominant function
of frv 29,36.3 of Itr 16.1,page50
of SvI 19.12-14 of VII 17,pageSO
of VII 20.6,21.1-2, 21.4-5, Double dominant page
18.10-11,26.4, r l
a¿, 88
position of 35.13 raised IV (fiV) as 36.6,36.9
resolution of 35.2 with silent bass 36,6
resolution of the 7th 22.6-7 Doubling 11.7 r i
structure (form) of 22.1 of tones in dim chord 22,5
substitution for 32in1j.,35.11,32.9, of the 3 9.9.13.6,14.5,14.7,
32.15 16.7,20.6,
28.2,31.7,
suspensionsin the dim 22.8-10 34.1,37.6
symmetrical appearanceof 22.2-3,35.2- of the 7 13.6,14.8,28.2,31.3
transpositionof 35.10 of the octave 14.5,14.8,
voicing of 22.7 avoidanceof 20.6,28.2,31.3
with subdominantfunction 29,35.11- Drop-two position 5,3,9.5-6,11.6,14.3,
Dissonance page 38
of the conjunction of tones 27.21,37.8 Drop-three position page 38
Dissonant 27 Duple meter 27.2
colouring- 27.12,27.20 Dynamicchords 3.2,5.2
conditional- 27.' t,27.12 Dynamictonic 15,16,page50
4 27.12 Embellishingchord(s) Chp.6
6 14.4,21.6,27.13 (Decorations)
-6 27.12,27.19 Embellishingtone(s) 14.519.6.Chp.6intr.
-9 27.14,27.20,37.1 (Decorations)
_10 27.20 Enharmonicchange 6.5,25.t,29.4,38.1 i )
11 13.4.13.10, 20.8 Extended dominant 7th chord 37.1
+11 14.8-,27.12-13,37.1- see also: Dominant 7th chord
in IP 21.6 Extension, page 87
Divisionof tones 13.7 see afso: Chord extension
Dominant 6.3,8,9p , ageSí F¡fth Exc.1
as alternatingchord 30.1-4 as non-essentialtone 13.6
double- 26.4 fall of the 13.3,25.1
figurative- 18 intr. -relation 8,1-, 10.2-4,' t3.3,
for the dominant 26.4 16.2,18intr.,
26intr

lnd.2 r l
 {

Figurativedominant 18intr. as substitute chords 32.9

Finalis 7.1, as 'supprisechord' 32.10-1'!
altered- 33.5 Leadingtone 8 . 2 ,1 3 . 1 , 1 8 i n t r .
Fingeringof scales 6.6-7,7.3 page 5Q,19.8,27.17,
Fixed number of parts 31.6 32.1
(', Flat 5 (-5) 24.5 descending- 8.2,21.2,27.12,32.1
difference with +11 37.1 for 5 36.1
í--, Flat 6 (-6) 27.12,27.19 in subdominant 8.2, 19.8
see afso: minor-major Letter names of the keys 1.2
Flat 9 (-9) 27.14,27.20
(,i Lowered 6th tone 19.8,21.1-,27.12,
as passingtone 12.2 27.19
in o chord 20.2 see afso: minor-major
(l in parallelmotion 25.3
1 Major
inTV dominant 25.11-13,37.1 Secondarydegreesin Ghp.3
fr Flat 10 (-10) 27.20 Secondarydominants in 18
as suspensionfor -9 27.20 Major third 1.1
(-) Flat 13 (-13) Major triad 2.2
difference with +5 37.6 Major 7th 5.1
('r Flat IF on PII 34.3
as subst.forTV dominant 34.3 M e l o d i cm i n o r 19.4
as suspensionfor I 34.3 Melodic
L,/
Flats 1.4,6.5 -7th 14.8
r^l Fourth Exc.l -3rd 14.5
\,-)r as conditionaldissonant 2 7 . 12, 7 . 1 2 Meter 27.2
Functionof passingchords 28.14 Minor 7th
/\
\r .J Fundamenttone 27.19 as passingtone 21.3
'rr of dim chords 35.6-9,35.12 Minor 7th chord 5, 18
f of augm. triad 38.1 asI 19.6ftn.
Half steps, two kinds of 6.2 as suspendingchord 13-
Half diminishedchord 5.4,13.s extensions of 13.11
differencewith m{i)6 chord 21.6 substitution of 3, by 4 16.3
( extension with -9 20.2 with 9 13.8
Harmonic with -9 20.2
-third (3)
(r -seventh (7)
14.5
14.8,16.5
with 11 13.9-11
Minor
-minor
r-\ -major scale
4 . 1 , 7 ,1 9 . 5
19.9
Aeolic- (Natural-) 7 . 1 , 7 . 51, 9 . 1 - 21, 9 - 6
borrowed from 19.4,21.1,33.3
Harmonicfunctions 6,3,overviewp.18, -scale(s) 4.1.7,19.1-2
\J concept of page 50 Harmonic- 4 . 1 , 7 . 1 , 7 . 51,9 . 1 - 2 ,
I GOT RHYTHM 15.4-5 19.5
in minor 19.7 Melodic- 7.1,19.1-4
Internalresolution 9.4,10.4 -mode 19.4
l l Interval 1.3,pagell -ninth (-9) 27.14-15
Inversion see also: F/at 9
t l of augm. triad 38.6-Z38.17 Parallel- 7.1
of triads 3, Exc.3.overview Relative- 7.2
t \ onp.18 -sixth diminishedscale 23.2
of dim chord 22.2 scaledegreesin t9
t.' ': 28.2
of extended chords -triads 2.2,4
\.../ of the 7th chords in C(min) page38 Minor-major 19.8-9,21
'James Bond Fifth'
19.7 degreesin 21.1
f'l Key, see Superimposed tríads -enclave 21.4
Key signature 6.5,7.2 lowered 6th tone in 21.2
í ' I Keyboard Chp.l subdominantsin 19.8
keys of the 1.1,1.4 W¡n 26.6,36.G
range of the 1.1 VII in 19.8,21,2,2'|4-5
Leadingchord{s) 32 Mixed position
( r conflictingtones ¡n 32.13 (see Drop twol 5.3,9.5
correspondenceof tones in 32.7-8 Mixture, see also minor-major 2' t.1
t ) ,
in JUSTFRIENDS 32.15 Mode 24.2
resolutionof 32.3- Names of the keyboardkeys 1

Ind.3
 Natural minor, in major 36.6
see Aeolic minor in minor-major 36.9 \
Neapolitan6th chord 33.6.34.1-2,33.6(1) Raised5 (+5) 37.5-8,38
as pivot chord 34.2 Relative minor 7.2 |
double third in 34.1 Resolution 10
Neighbouringchords, internal-, external- 9.4-6,10,27.20 '
see; Alternating chords inward-, outward- 9.1
Neighbouringtone 14.2-3,14.10,3Ointr, of suspensions 10.5,27.12-14 í
Oblioue motion 29.11 of a dissonant 27.12
'\,
of passing chords 28.11-12 of the dim chord 22 {
of leading chords 32.6-7 of the 3 10.3
Octave of the +5 37.5 .,/-'.,
-ñ?rfl€s 1.3 of the 7 8.3, 10.1-2,16.3,16.5 \
-doubling 28.2 of the 9 9.3, 10.4.12.3,20.4
Octotonic(s) 35 of the -9 20.2 I
-scale 35.3- of the +11 37.4
-extensions 35.8-10 of the 13 10.4,11.4,12.3-4 í ;
and tonality 35.8 of the tritone 8.4
Odd measure 27.5,29.1 Roman symbol notation pagell-IlJ ( I
Open (wide) position 5.3 Root
Ornament harmony, silent- 14.2,16 intr. ( I
see'.Apparent chords Root position 17,2
Parallelminor 7.'l of the triad 2.1,3.1 '
\
Parallelmotion 18.7,28.11 finding of the 17.1
of passing chords 28.11 \IIp+ llp i¡ 17.9 ,,: .\
of tenths 28.'14 VIP+ I in 17.10 \r . /
undesired- 28.1 Scale page 5O
Passingchords 28 of altered chords page98 |
as apparentchord 29.4,29.7 of C in superimposedthirds Exc. lesson2
diminished7th chords 29 of C min. in superimp.thirds 4.1
function of 28.14-15 fingering of the Exc. lesson 6. 6.7
motion of 28.11 minor- 7 ,. ,
7th chords 28.2 octotonic- 35.3
on accented (strong) beats 29.1 Scale degrees 5.5 r' ,
Passingsonority 28.3,28.10 of C major 5.5
Passingtone 8.3, 12, 19.6,21.9 of C minor 7.5,19,
24.3,27.7,28,28.2 of C minor-major 19.18
Pedal of the piano 2.3 Scale-tone passing chords 28.5
Perfectfifth 13.6 motion of 28.11-'13,28.16 '',,.,
Picardianthird 20.5 Seconddegree (tr)
Pitch 1.3 -9 in the 20.2 (. l
Pivot chord 34.2 dissonantin the 14.4,21.6
Plagal cadence (-progression) 8.1-, I3infi., 21.7, in major 13, page 50 l )
page 5O in minor 13.5
in jazz 9.7-9 as leading chord 32.14 )
'
in minor 19.3- as suspendingchord 13.4,27.3-6
Plus 5 (+5) as unaccentedalternatingchord 30.4 | i
differencewith -13 37.6 as unaccentedapproachchord 31,10 \-:
Primetones 1.2 Secondary(applied)dominants 18,24, page 88
Primary degrees 6.3, Overview page dim as 22
18,8, page 50 in major and minor 24.1-2
V-I and IV-I progressions 8 Secondary(adjacent)degrees (.. ,
in jazz 9 in major 5.5, page 18, page
Position 38, Chp.3, ! ,,
close- 5.3 tr 13.2-
mixed- ld¡op 2, drop 3) 5.3 VI 15 I j
open- (wide) 5.3 m 16
Ouadruplemeter 27.2 VII 17 ,' ,
RaisedIV (fin 26.6, 36 in minor 7.5,page 18, 19.1+
as double dominant 36.6 Secondary II-V progression 18.2,20.1
as pivot chord 36.8 Sekundengang '

Ind.4
 see: Stepwise movement Superimposedthirds 13.9,27.15
Seventh chords 5 Superimposedtriads
dominant 7th chord 5.2,5.5, in major exc.2.1,6.3, over-'
half diminished7th chord 5.4,5.5 view p.18,pageSO
inversions of page 38 in minor 4 . 1, 6 . 4 , 7 . 11,9
'Surprise
major 7th chord 5, 5.5 chord' 32.10-11
minor 7th chord Exc.5 Sus(4) 11,27.1-
on the wh¡te keys 5.1- Suspending
on the C major scale 5.5, Overview p.18 -trt 27.5-6
o n C h a r m o n i cm i n o r 7.5 -chords 27
as passingchords 28.2 -m7 chord 13.4,27.3
Seventh (7th) -tone (suspension) 9.1, 11,27
in roman-type notation 7.5, pageII-ú. -4th, see sus4
in the bass 28.5 -9th 9.2
doubling of the 14.8,13.6,28.2,31,3 -13th 11.2,11.4
deviating resolutionof the 16.5 -8 (six-fourl chord 11.2, 27.1,27.8
Seventh degree (VII) -half diminishedchord 13.5
in major 1 7 ,p a g e 5 0 Suspension 9.1
in minor 19.6 resolutionof a 9 . 1 - .1 0 . 5
in minor-major 19.8 of a dominant 7th chord 11,13.4
Sharp 11,see Augmented 11 in dim chords 22.8-10
Sharps 1.4,6.5 prepared- 27.7
Signs 7.2 of the tonic 27.8-9
Silent root (bass) 14.2,17.2-5,26.236.6 for the root tone 27.20
S i m i l a rm o t i o n Symmetricalchords 22.2-3,23.4,35.1-2,
of passingchords 28.' t1-12 38
Sixth degree (VI) 15, pageSO Tenth in parallelmotion 18.9,28.13
as ton¡c subst¡tutein minor
19.7 Thickenedline 23
i n h a r m o n i cm i n o r
20.7 bass in 23.3
i n m e l o d i cm i n o r
19.7,20.4 Third degree (III) 16,pageSO
'James Bond fifth' 19.7 in minor 20.1,20.6
Sixth diminishedscale 23 Third (3-5)relation 15.1,16intr.
drop-two position of 23.1 Tonalcentre 6.3,page50
in minor 23.2 Tonal excursion 18.2
Splitting of voices 13.7 Tone materialof a key
Sonority page 88 major 6.3
coincidental- 28.3, 28.10, 29.4-5, minor 6.4
29.7 Tonic 6.3,page'18,8,page
Static chords 5.6-7 50
Stepwiseorganisation 6.3 m7 applied as I 19.6ftn.
Stepwise movement lSekundengangl adjacent- (subsidiary-) 18.1,24.1
in the bass 28.5 dynamic- 15.2,16intr.
Strong (accented) -function of W 15
-(accented)beat 27.2-3,28.6,29.1 -function of Itr 16
-(accented)measure(bar) 27.2,27.5,29j Triad(s) 2
-progression(Cadential) 13.3,26intr. as approachchord 31.2
Subdominant 6.3, 8, page 50 augmented- 4.2,38
as alternatingchord 30.5-6 diminished- 3.2,5.2
as dominant preparation 11.3,13 in close position 2.1
-diminished 7th chords 29 ¡n root pos¡tion 2,
dominant 7th chord as 37.3-4 in minor 4
-function of II 13.2 C h a r m o n i cm i n o r 4.2
-function of M in major 15.3 major- 2.2,Exc.2
-function of VI in minor 20.7 minor- 2.2,Exc.2
- J ton¡c in jazz 9.7- inversionof the 3. Exc.4
Subsidiary tonic see: Adjacent tonic on the scale 4.2
Substituteof the tonic Triple meter 27.2
VI 15 Tritone 8.4,24.7,25.2
ü 16 Tritone relateddominant(s) 8.4,14.1't,24.7-8,
Substitutions 25.2-3,25.8-14,35.5,
of I(Itr)-VI-ü-V 26.9 37.1,37.3-4

Ind.5
 (.
alteration of W as 24.É
t
alteration of VII as 25.7-
extensions of 25.10-12,37.1
Tritone rel. sec. dominant 25.9,26 (
as alternating chord 30.4
as approach chords 31.2,31.5-6
Two-five prog ression [f/-Wl t3
as dim substitute 35.11
Unaccented(unstressed)
-beats ..24.3,28.6,31.1,
31,10
Upper structure 11.7,25.4
augm. triad as 38.1,38.9,38.18
'Vamp' 29.13
Voice leading
conditionalimportanceof 13.10,
deviation from the -rules 14.9.16.3-4,20.3-4,
26.2,26.5
dominant-tonic 8,11,12
division of tones 13.7
in dominant chain 25.4-6
in minor 20
in minor major 21
liberties taken ¡n 26.2,26.5
IF-!7 t3
w-IIf/ 16.5,16.9
v7-vlp 17.6,17.8
ur¡-ff/ 17.1-
VI-V-Iin minor 20.7
ur/-I 20.5-6
IV-V7 18.7-8
of doubled voices 17.5
redundantrules of 13.10
-rules 10
shortest distance 10.6
of dim-chords 22.6-
Voicing of chords (tips) page 110
Weak beat, see: Unaccented beat.
Weak measure(bar) 27.2,27.6
White keys 1.2
Whole-tonescale 38.16-18
Wide {open)position 5.3

lnd.6