Jazz Harmony
(Almost) Everything there is to know
Dr. M.Mermikides
Monday, 28 February 2011
www.scribd.com/mmermikides
Monday, 28 February 2011
*
99% of Jazz Harmony
•
•
•
Major/minor scale and Diatonic Harmony (with extensions)
•
•
•
•
•
•
•
•
Passing Diminished Chords
Monday, 28 February 2011
Diatonic cycle of 5ths and the ii-V-I. Guide tones.
Taming the V7: Secondary dominants, Tritone Substitutions, related ii chords
and extensions
Major and Minor interchange
The Blues I7, IV7 and inflections
CESH Chromatically Embellished Static Harmony
Pentatonics and hexatonics
Modes and modal interchange (about 10)
Sliding chords and Parallelism
Non-triadic, upper structure and polychords
* results may vary
The C Major Scale and its Diatonic Harmony
©2010 Mermikides
1. The 7 notes of C Major:
I
4
&4
˙
III
II
˙
tone
Major 2nd
˙
tone
IV
V
VI
VII
˙
˙
˙
˙
tone
semitone
tone
tone
˙
semitone
Major 3rd
Perfect 4th
Perfect 5th
Major 6th
Major 7th
Octave
2. Triads: Root 3rd & 5th starting from each scale degree:
(These triad types occur in the same order in any major key)
Major Triad: R, 3, 5
'UK' I
'US' I
C
& ˙˙
˙
Monday, 28 February 2011
ii
IIm
Dm
˙˙˙
Minor Triad: R, b3, 5
iii
IIIm
Em
˙˙˙
IV
IV
F
˙˙˙
Diminished Triad: R, b3, b5
V
V
G
˙˙˙
vi
VIm
Am
˙˙˙
viiº
VIIº
Bdim
˙˙
˙
Major Diatonic Harmony Practice
m.mermikides@surrey.ac.uk
Reference: The diatonic triads and 7th chords of C Major.
viiº
VIIº
Bdim
C
ii
IIm
Dm
iii
IIIm
Em
I
ii7
iii7
IV^7
V7
iv7
IIm7
Dm7
IIIm7
Em7
IV^7
Fmaj7
V7
G7
VIm7
Am7
'UK' I
'US' I
& ˙˙˙
I^7
Cmaj7
& ˙˙˙
˙
˙˙˙
˙˙
˙
˙˙
˙˙
˙˙˙
˙
IV
IV
F
vi
VIm
Am
V
V
G
˙˙˙
˙˙˙
˙
˙˙˙
˙
˙˙˙
˙˙
˙
˙˙˙
viØ
˙˙
˙˙
VIIm7(¨5)
Bm7b5
˙
˙˙˙
1. Find the key (add key signature), notate and analyse the following progression.
GŒ„Š7
&
Monday, 28 February 2011
E‹7
A‹7
D7
The Cycle of 5ths
©2010 Mermikides
C
F
G
Am
Dm
Em
Bb
D
Gm
Eb
Bm
Cycle of
5ths
Cm
Fm
C#m
Ab
E
G#m
Bbm
D#m
Ebm
Db
Monday, 28 February 2011
A
F#m
F#
Gb
B
1. Diatonic Cycle
of 5ths
©2010 Mermikides
Imaj7
I
IVmaj7
V7
IV
V
Diatonic
Cycle of
5ths
(augmented 4th/
dimished 5th)
viiø
viiº
iii
iii7
Monday, 28 February 2011
ii
vi
vi7
ii7
ii - V - I Voice Leading
The 'guide tones' in 7th chords are the 3rd and 7th - determining much of the character of the chord.
In a ii-V-i progression the guide tones moves in a particularly elegant fashion (indicated)
{
Motion of 'guide' tones (3rd and 7th)
D‹7
w
& w
{
? w
G7
w
w
w
CŒ„Š7
w
w
w
A different voicing.
D‹7
w
& w
? w
Monday, 28 February 2011
G7
w
w
w
CŒ„Š7
w
w
w
Imaj7
I
IVmaj7
V7
IV
V
Diatonic
Cycle of
5ths
(augmented 4th/
dimished 5th)
viiø
viiº
iii
iii7
ii
vi
vi7
They're are no compositional 'rules'
But here are some effective mechanisms to try
I can jump to any chord ('I' as in 'one' not me)
Any chord can jump to I (or IV or V)
All other motion as indicated (dashed is less common)
End on I
Chords can be in there triadic, 7th or other form (6th, 9th, 13th,
add9 etc.)
Monday, 28 February 2011
ii7
C7
I7
I!7
G7
C!7
IV!7
V7
G7
F!7
Secondary
Dominants
Bø
Dm7
ii7
viiø
V7/V
V7/iii
Em7
D7
Am7
B7
iii7
V7/vi
E7
Monday, 28 February 2011
vi7
V7/ii
A7
C7
Gm7
I7
v7
I!7
G7
C!7
IV!7
V7
F!7
G7
Secondary
Dominants
Bø
Dm7
ii7
viiø
V7/V
V7/iii
Em7
D7
Am7
B7
iii7
V7/vi
Monday, 28 February 2011
E7
vi7
V7/ii
A7
The C Natural Minor Scale and its Diatonic Harmony
The 7 notes of the C natural minor scale:
b4
& b b4 ˙
˙
˙
tone
tone
semitone
tone
semitone
˙
˙
˙
˙
˙
tone
tone
Triads: Root 3rd & 5th starting from each scale degree:
The triads in a minor key are:
Minor Triad: R, b3, 5
Diminished Triad: R, b3, b5
Major Triad: R, 3, 5
i
iiº
III
iv
v
VI
VII
Im
Cm
IIº
Ddim
¨III
E¨
IVm
Fm
Vm
Gm
¨VI
A¨
¨VII
B¨
b
b
& b ˙˙˙
˙˙
˙
˙˙
˙
˙˙
˙
˙˙
˙
˙˙
˙
˙˙
˙
7th Chords: Root 3rd 5th & 7th starting from each scale degree:
The 7th chord types in a natural minor key are:
Monday, 28 February 2011
Major 7 chord: R, 3, 5, 7
Minor 7 chord: R, b3, 5, b7
Dominant 7 chord: R, 3, 5, b7
Minor 7b5 chord: R, b3, b5, b7
(Half diminished)
i7
Im
iiøØ
IIm7(¨5)
Cm7
Dm7b5
b ˙
b
& b ˙˙
˙
˙˙
˙˙
III^7
¨III^7
E¨maj7
˙˙
˙˙
iv7
IVm7
Fm7
˙˙
˙˙
v7
Vm7
˙˙
˙˙
Gm7
VI^7
¨VI^7
˙˙
˙˙
A¨maj7
VII7
¨VII7
B¨7
˙
˙˙
˙
Minor Diatonic Harmony Self-test
m.mermikides@surrey.ac.uk
Reference: The diatonic triads of A natural minor.
'UK' i
'US' Im
Am
& ˙˙
˙
iiº
IIº
Bdim
˙˙
˙
III
¨III
C
˙˙˙
v
Vm
Em
iv
IV
Dm
˙˙
˙
˙˙
˙
VI
¨VIm
F
˙˙˙
'UK' V
'US' V
E
Common alterations from Harmonic minor:
#˙˙˙
VII
¨VII
G
˙˙
˙
i
Im
Am
˙˙˙
viiº
VIIº
G©º
˙˙˙
#˙
Reference: The diatonic 7ths of A minor.
'UK' i7
'US' Im7
Am
& ˙˙
˙˙
iiØ
IIm7(¨5)
Bdim
˙˙
˙˙
IIImaj7
¨III^7
C^7
˙˙
˙˙
iv7
IVm7
Dm7
v7
Vm7
Em
˙˙
˙˙
˙˙˙
˙
'UK' V7
'US' V7
E7
VI^7
¨VI^7
F
VII7
¨VII7
˙˙
˙˙
˙˙˙
˙
G
viiº7
VIIº7
G©º7
˙˙˙
#˙
˙
#˙˙˙
Monday, 28 February 2011
1. Notate, write chord names and analyse the diatonic triads of
Common alterations from Harmonic minor:
i7
Im7
Am
˙
˙˙˙
iii
IIIm
Em
ii
IIm
Dm
'UK' I
'US' I
C
˙˙
˙
˙˙˙
& ˙˙
˙
IV
IV
F
V
V
G
˙˙
˙
˙˙
˙
˙˙
˙
˙˙˙
viiº
VIIº
Bdim
vi
VIm
Am
i
iiº
III
iv
v
VI
VII
Im
Cm
IIº
Ddim
¨III
E¨
IVm
Fm
Vm
Gm
¨VI
A¨
¨VII
B¨
& b˙˙
˙
b˙˙
b˙
b˙˙
˙
˙˙
b˙
b˙˙
b˙
b˙˙˙
b˙˙˙
Common uses
The 'subdominant minor' IVm, iv
iv
Fm
˙˙
& b˙˙
minor key
The 'Beatles' chord
Monday, 28 February 2011
I
C
˙˙
˙
˙
major key
the bVI bVII I
bVI
A¨
bVII
B¨
œœ
bœ
b
œ
b œœ
minor key
'Epic'
I
C
n˙˙˙
major key
Common 7th chord uses
The 'subdominant minor7'
IVm7, iv7
iv7
Imaj7
Fm7
Cmaj7
b˙˙
& b ˙˙
Imaj7
Cmaj7
n˙˙
˙
˙
major key
minor key
The bIIImaj7 and bVImaj7
bœœ
œ
œ
bIIImaj7 bVImaj7 V7
E¨maj7 A¨maj7 G7
major key
bœœœ
bœ
œœ
œ
bœ
minor key
Minor to major ii-V
iiøØ7
V7
I^7
Dm7b5
G7
Cmaj7
& bœœœœ
minor key
Monday, 28 February 2011
œœœ
œ
˙˙
˙˙
major key
nœœœ
œ
Imaj7
Cmaj7
bw
w
w
w
major key
What do all those numbers mean?
G7
Cmin
A7(#5)
Bbmaj7
C9
D7#9
Cmin11
E13
F7(#11)
B69
Dmaj13(#11)
Monday, 28 February 2011
Passing Diminished Chords
m.mermikides@surrey.ac.uk
Diminished chords are often used as passing chords between chords I, ii and iii in either direction.
Imaj7
#Iº7
IIm7
#IIº7
IIIm7
bIIIº7
IIm7
bIIº7
CŒ„Š7
& V
C©º7
V
V
D‹7
V
V
V
D©º7
V
V
E‹7
V
V
E¨º7
V
V
D‹7
V
V
D¨º7
V
V
The #IVº7 chord is often used between chords IV and a 2nd inversion I chord
IVmaj7
#IVº7
FŒ„Š7
F©º7
& V V V V
I
C/G
V V V V
IV7
#IVº7
F7
F©º7
V V V V
I7
C7/G
V V V V
The bVII7 chord
The bVII7 chord (borrowed from the parallel minor)
is sometimes used as a resolution to I
Monday, 28 February 2011
The bVII7 chord may also be preceded by a related II.
We could call this the 'Aeolian ii-V' as it is
drawn from the Aeolian mode and is quite common.
Tritone Substitution
m.j.mermikides@surrey.ac.uk
Taking another look at the guide tones in the ii-V-I progression, we notice that the 3rd and 7th of the
dominant chord form a tritone interval.
{
Motion of 'guide' tones (3rd and 7th)
D‹7
3rd
G7
7th
CŒ„Š7
7th
3rd
7th
Root
w
& w
? w
Root
w
w
w
Root
w
w
3rd
w
Since the tritone interval may be inverted. This implies that a dominant chord a tritone away
may be substituted with the guide tones maintained (with an enharmonic adjustment).
{
D‹7
w
& w
3rd
7th
? w
Root
D¨7
bw
w
3rd
7th (B-nat = Cflat)
bw
Root
CŒ„Š7
w
w
3rd
7th
w
Root
Notice that the tritone substitution dominant chord now resolves down a semitone rather than a 5th,
Monday, 28 February 2011
The 12- Bar Blues (Major)
This is the very basic form based around I7, IV7 and V7. In this case I7 and IV7 are not
considered secondary dominants as they do not have the same tendency to drop down a 5th.
IV7 does not compel a resolution down a 5th and a piece can happily start and end on I7.
Consider these dominant chords as idiomatic substitutions for I and IV (ot Imaj7 and IVmaj7)
Note that the 12 bars are divided into 3 groups of 4 bars and that I, IV and V begin each group.
Basic Form
I7
'Statement'
4
&4 V V V V
IV7
'Restatement'
& V
V
V7
'Response'
V
V
& V V V V
V
V
IV7
V V V
V
V
V
V V V V
V V V V
I7
V
I7
V
V
V
V V V V
V V V
V
V
V
V
V
V V V V
™™
The basic form is often embellished with harmonic inflections, the 'quick change', the #IVº7 and the 'turnaround'.
Monday, 28 February 2011
The basic form is often embellished with harmonic inflections, the 'quick change', the #IVº7 and the 'turnaround'.
'quick change'
I7
& V
V
V
V
IV7
V
V
V
V
I7
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
The #IVº7 raises the root
of the IV7
IV7
& V
V
V
V
& V V V V
V7
Monday, 28 February 2011
#IVº7
V
V
V
V
V V V V
IV7
I7
V
The 'turnaround', the last 2 bars, is a little turn
resolving the harmony back to the beginning of the form.
There are many variations, 4 of them are given below
I7
I7
I7
I7
V7
IV7
VIm7
V V V V
I7
IIm7
V7
V7
V7
V V V V
™™
2
A 'jazz blues' takes the basic 12-bar blues form and embellishes it with secondary dominants.
Bars 9 and 10 are typically IIm7 to V7 rather than V7 to IV7.
Jazz-blues appear in many different forms and a typical example is given below.
Although not written, 7th chords are often extended to 9ths, 11ths and 13ths for added colour
I7
IV7
C7
F7
& V
V
V
V
& V
V
V
V
IIm7
& V V V V
D‹7
V
V
V
#IVº7
IV7
F9
V
V
F©º7
V
C7
V
V
V
V
V
V
V V V V
V
C7
I7
V
V
V
VIm7
V V V V
C7
V
G‹7
A‹7
V
E‹7(b5)
IIm7
V
V
C7
V
V7/II
V
V
A7
V7
V V V V
D‹7
A complex jazz-blues progression is found in Charlie Parker's 'Blues For Alice'
Monday, 28 February 2011
V7/IV
IIIm7(b5)
I7
V7
G7
Vm7
I7
G7
V
™™
A complex jazz-blues progression is found in Charlie Parker's 'Blues For Alice'
Even though there is much embellishment of harmony, the 3 basic 4-bar divisions are
still in place (analysed below).
A jazz analysis on the remaining chords will be helpful in unravelling its complexity.
I7
FŒ„Š7
&b V
V
V
V
E‹7(b5)
V
V
V
B¨‹7
A7
V
V
V
V
V
V
V
V
E¨7
D‹7
V
V
V
G7
V
V
D7
V
V
C‹7
V
V
A¨‹7
V
V
F7
V
V
V
D¨7
V
V
IV7
&b V
B¨7
IIm7
&b V V V V
G‹7
Monday, 28 February 2011
A‹7
V7
V V V V
C7
V V V V
F6
D7
V V V V
G‹7
C7
™™
A1
V7
E‹7
A7
D‹7
G7
IIIm7
V7/II
IIm7
V7
IIIm7
CŒ„Š7
A7
D‹7
G7
Imaj7
V7/IV
IVmaj7
& V
CŒ„Š7
V
V
C7
V
V
V
FŒ„Š7
V V V
IVm6
V
V
F‹6
V
V V V V
V
E‹7
Imaj7
V7/II
IIm7
V7
IIIm7
CŒ„Š7
A7
D‹7
G7
E‹7
& V
V
Imaj7
& V
CŒ„Š7
B
IIm7
V7/II
4
&4 V V V V
A2
V7/II
Imaj7
V7/VI
V
V
V
V
V
V
V
FŒ„Š7
V
V
IVm6
IVmaj7
V7/IV
C7
V
V
V
F‹6
V
V
V
V
V
V
V
V
& V
V
V
V
V
V
V
V
V7/V
D7
Monday, 28 February 2011
V
IIIm7
& V
E7
V
V
V
E‹7
V7/II
V
A7
V7
V
G7
V
A7
V
V
V
V7
IIm7
V
D‹7
V
V
G7
V7/II
IIm7
V7
A7
D‹7
G7
V
V
V7/II
V
V V V
V
V
V
V
A7
V
V
V
V
IIm7
V7
I6
V
G7
V
C6
D‹7
V
V
V
V
V
V
V
V
V
V
V
V
V
V
A3=A2
Chromatically Embellished Static Harmony
There are harmonic progressions that may be described as a chord with a
chromatically altered scale degree. Below are some common examples
©2010 Mermikides
Major Triad with moving 5th (5,+5,6,+5)
I
I+
C
C&
& w
w
w
I6
I+
C6
C&
w
nw
w
w
#w
w
w
#w
w
w
Minor Triad with moving 5th (5,+5,6,+5)
Im+
Im
C‹&
C‹
bb
b
& w
w
w
Im6
Im+
C‹6
C‹&
nw
w
w
#w
w
w
#w
w
w
Major Triad with moving Root/7th (R,7,b7,6)
I
Imaj7
I7
I6
C
CŒ„Š7
C7
C6
& w
w
w
w
w
w
w
w
bw
w
w
w
OR
˙˙˙
˙
C
& w
w
w
Monday, 28 February 2011
Imaj7 (3rd inv.)
I7 (3rd inv.)
w
w
w
w
bw
w
C/B
C/B¨
VIm7
A‹7
˙˙
˙˙
F
˙˙
˙˙
...similar progression with bass motion
I
IV
OR
IV (1st inv.)
F/A
˙˙
˙˙
Minor Triad with moving Root/7th (R,7,b7,6)
Im
C‹
b w
b
& bw
w
w
Im
C‹
b
&b b w
w
w
Monday, 28 February 2011
Im(maj7)
C‹(Œ„Š7)
nw
w
w
w
Im7
Im6
C‹7
C‹6
bw
w
w
w
...similar progression with bass motion
Im(maj7) (3rd inv.)
C‹/B
w
nw
w
Im7 (3rd Inv.)
C‹/B¨
w
bw
w
n˙˙˙
˙
VIm7(b5)
OR
IV9
F9
˙˙˙˙
˙
IV9 (1st inv.)
A‹7(b5) OR IV9
C‹/A
F9/A
˙˙
n ˙˙
˙˙˙
n ˙˙
The Derivation of Modes
©2010 Mermikides
The major scale has a particular pattern of tones and semitones.
I
& 44
II
˙
˙
tone
III
IV
V
VI
VII
˙
˙
˙
˙
˙
tone
semitone
tone
tone
tone
˙
semitone
Since these intervals are not regular, we get a different pattern, and set of scale degrees
depending from which of the 7 notes we start with. Each of these 7 starting points
gives a 'mode' of the major scale and each has its own distinct and beautiful character,
harmonic language and repertoire.
1. IONIAN
Mode 1: Starting on the 1st degree: Ionian. In this case:
C Ionian (C, D, E, F, G, A, B) with degrees (R, 2, 3, 4, 5, 6, 7)
Identical, of course, to the major scale.
& ˙
˙
˙
˙
tone
˙
˙
˙
˙
semitone
2. DORIAN
Mode 2: Starting on the 2nd degree: Dorian. In this case:
D Dorian (D, E, F, G, A, B, C) with degrees (R, 2, b3, 4, 5, 6, b7)
Natural minor with a 'sweet' and 'funky' major 6th.
& ˙
˙
tone
Monday, 28 February 2011
semitone
˙
˙
˙
˙
˙
˙
3. PHRYGIAN
Mode 3: Starting on the 3rd degree: Phrygian. In this case:
E Phrygian (E, F, G, A, B, C, D) with degrees (R, b2, b3, 4, 5, b6, b7)
Natural minor with a 'sinister' and 'moorish' minor 2nd.
& ˙
˙
˙
˙
˙
˙
˙
˙
tone
semitone
2
4. LYDIAN
Mode 4: Starting on the 4th degree: Lydian. In this case:
F Lydian (F, G, A, B, C, D, E) with degrees (R, 2, 3, #4, 5, 6, 7)
Major with a 'bright' and 'magical' raised (augmented) 4th.
& ˙
˙
˙
˙
˙
tone
˙
˙
˙
semitone
5. MIXOLYDIAN
Mode 5: Starting on the 5th degree: Mixolydian. In this case:
G Mixolydian (G, A, B, C, D, E, F) with degrees (R, 2, 3, 4, 5, 6, b7)
Major with a 'bluesy' and 'majestic' flattened 7th.
˙
& ˙
tone
Monday, 28 February 2011
˙
˙
˙
semitone
6. AEOLIAN
˙
˙
˙
6. AEOLIAN
Mode 6: Starting on the 6th degree: Aeolian. In this case:
A Aeolian (A, B, C, D, E, F, G) with degrees (R, 2, b3, 4, 5, b6, b7)
Just like natural minor but without the alteration of the 6th and 7th
degrees as found in typical tonal harmony.
Aeolian is a 'bleak' and 'sorrowful' mode.
˙
˙
& ˙
tone
semitone
˙
˙
˙
˙
˙
7. LOCRIAN
Mode 7: Starting on the 7th degree: Locrian. In this case:
B Aeolian (B, C, D, E, F, G, A) with degrees (R, b2, b3, 4, b5, b6, b7)
Phrygian with a flattened 5th.
Locrian's diminished quality is 'demonic' and 'twisted'.
& ˙
semitone
Monday, 28 February 2011
˙
˙
tone
˙
˙
˙
˙
˙
Dorian
4
Let's look at the dorian mode, and choose A dorian so we can easily see its relationship
to A natural minor. Since A dorian is derived from G major (the 2nd mode of G major) we'll use
one sharp in the key signature. However A (and not G) should be considered the root, and we'll work out all
scale degrees and chords with A as the root. The scale degrees are (R,2,b3,4,5,6,b7)
A Dorian
&
#
˙
Root
˙
Maj2
Ä
˙
Min3
Ä
( #) ˙
˙
˙
P4
P5
Maj6
˙
˙
Min7
Octave
Note that Dorian is different from natural minor in that it has a major 6th (not minor 6th) - in this case F# not F
This is its character note. In fact it is the presence of both a minor 3rd and major 6th that gives much of Dorian's vibe.
Here are the triads of A Dorian , together with a ('US') roman numeral analysis.
Chords containing the character major 6th (F#) are underlined. The IIm and IV are the most common
dorian modal chords (the VIº ir unstable and not commonly found)
A Dorian A‹
#
& ˙
˙˙
Im
B‹
˙˙
˙
IIm
C
˙˙
˙
bIII
D
E‹
F©º
IV
Vm
VIº
˙˙
˙
˙˙
˙
˙˙
˙
G
w
w
w
bVII
And here are the 7th chords with roman numeral analysis. A very common and effective
Dorian chord is the IV7, as it contains both the minor 3rd and major 6th of the mode.
Of the seventh chords IIm7, IV7 are the most often used to describe Dorian modality, but most of
the other diatonic chords may be found in progressions. In addition the Im6 is chord is often used.
A DorianA‹7
#
& ˙˙
˙˙
Im7
B‹7
˙˙˙
˙
IIm7
CŒ„Š7
D7
bIIImaj7
IV7
˙˙
˙˙
˙˙
˙˙
E‹7
˙˙
˙˙
Vm7
F©‹7(b5)
˙˙
˙˙
VIø7
GŒ„Š7
w
w
w
w
bVIImaj7
There are may examples of the Dorian mode in popular music here are a few:
So What - Miles Davis (alternates between D Dorian and Eb Dorian)
Scarborough Fair and Drunken Sailor traditional songs,
Pink Floyd 'Another Brick in the Wall' ( D Dorian:Dm7, F, C, G Im7, bIII, bVII, IV)
The classic arpeggio of 'Sine On You Crazy Diamond' (G dorian.
and most of the 'Dark Side of the Moon' album (E Dorian: Em (or Emadd9,Em7) to A7-Im to IV7)
The opening riff of Lenny Kravitz' 'Always On the Run' (E dorian)
Beatles - Eleanor Rigby (Verse melody in E dorian)
Joe Satriani - 'Ice 9' opening melody (C# dorian)
Loads of funk tunes: eg 'Brick House' - Commodores 'Le Freak' Chic
Moondance - Van Morrison. The verses are Am Bm/A C/A Bm/A
Oye Como Va - Santana (Am D7 -Im IV7)
Monday, 28 February 2011
Phrygian
5
Now Let's look at the 3rd mode, the phrygian mode, and choose A phrygian so we can easily see its relationship
to A. Since this is derived from F major (the 3rd mode of F major) we'll use one flat in the key
signature. However A (and not F) should be considered the root, and we'll work out all
scale degrees and chords with F as the root. The scale degrees are (R,b2,b3,4,5,b6,b7)
A Phrygian
&b
˙
Root
Ä
( b)˙
Min2
˙
Min3
˙
˙
P4
P5
˙
˙
˙
Min6
Min7
Octave
Note that Phrygian is different from natural minor in that it has a minor 2nd (not major 2nd) - in this case Bb not B
This is the character note of Phrygian which gives it its unique 'flamenco' quality.
Here are the triads of A Phrygian , together with a ('US') roman numeral analysis.
Chords containing the character minor 2nd (Bb) are underlined. The bIIm and bVIIm are the most common
phrygian modal triads (the Vº if unstable and not commonly used)
A Phrygian A‹
&b ˙
˙˙
Im
B¨
˙˙
˙
bII
C
˙˙
˙
bIII
D‹
Eº
IVm
Vº
˙˙
˙
˙˙
˙
F
˙˙
˙
bVI
G‹
w
w
w
bVIIm
Here are the seventh chords of A phrygian with roman numeral analysis.
Of the seventh chords bIImaj7 and bVIIm7 are the most often used to describe Phrygian modality, but most of
the other diatonic chords may be found in progressions. In additional the Im(addb9) chord is also used.
Also note that 'power chords' (chords with just roots and fifths) are found in Phrygian (and other modal) contexts.
A Phrygian
A‹7
& b ˙˙
˙˙
Im7
B¨Œ„Š7
˙˙
˙˙
bIImaj7
C7
D‹7
E‹7(b5)
FŒ„Š7
G‹7
bIII7
IVm7
Vm7(b5)
VIø7
bVIIm7
˙˙
˙˙
˙˙
˙˙
˙˙
˙˙
˙˙
˙˙
w
w
w
w
There are may examples of the Phrygian mode in popular music, particularly when 'spanish' and
sinister atmospheres are required. Here are a few:
White Rabbit - Jefferson Airplane. (F#5 and G5 and the notes from F# phrygian are used)
Symphony of Destruction - Megadeth (the opening riff uses E5, F5 and G5 from E Phrygian)
The God That Failed - Metallica (Eb5, Fb5, Gb5, Bb5 from Eb Phrygian)
War - Joe Satriani (E5 and Fmaj7(#11) from E phrygian)
Monday, 28 February 2011
Lydian
6
The 4th mode of the major scale, the Lydian mode, is often found in film soundtracks for its 'floating' and
'magical' quality. The lydian mode can be derived from C major from F to F.
If we calculate Lydian with a root of C,we can easily see how it compares to a major scale. In this case
we get an F# instead of an F. Lydian is a major scale with a raised (augmented) 4th. (R, 2, 3, #4, 5, 6, 7)
Ä
( #) ˙
C Lydian
&
#
˙
Root
˙
Maj2
˙
Maj3
#4
˙
˙
˙
˙
P5
Maj6
Maj7
Octave
Note that Lydian is different from major in that it has an augmented 4th (not perfect 4th) - in this case F# not F
This is the character note of Lydian which gives it its unique 'magical' quality.
Here are the triads of C Lydian , together with a ('US') roman numeral analysis.
Chords containing the character augmented 4th (F#) are underlined.
The II and VIIm are the most common
lydian modal triads (the #IVº if unstable and not commonly used)
C Lydian
#
& ˙˙
˙
C
I
D
˙˙
˙
II
E‹
˙˙˙
IIIm
F©
˙˙
˙
#IVº
G
˙˙˙
V
A‹
˙˙
˙
VIm
B‹
w
w
w
VIIm
Here are the seventh chords of C lydian with roman numeral analysis.
Of the seventh chords II7 (often in 3rd inv.), Vmaj7 and VIIm7 are the most often used to describe Lydian modality,
but most of the other diatonic chords may be found in progressions. In addition the Imaj7(#11) chord is also used.
C Lydian
#
& ˙˙˙˙
CŒ„Š7
Imaj7
D7
˙˙
˙˙
II7
E‹7
˙˙
˙˙
IIIm7
F©‹7(b5)
˙˙
˙˙
IVm7
w
w
w
w
GŒ„Š7
A‹7
B‹7
Vm7(b5)
VIm7
bVIIm7
˙˙˙
˙
˙˙˙
˙
There are many examples of the Lydian mode in popular and film music, particularly when a floating and
magical atmospheres are required. Here are a few moments from pop songs:
Sara - Fleetwood Mac. (Opens with F, G/F and Am/F all from F Lydian)
Man on the Moon - REM (the intro and verses use C major to Dadd11 from C Lydian)
The Simpsons theme - Danny Elfman (One of the most famous lydian melodies of all time in C LydianIn fact some of the harmonic material implies Lydian dominant - a mode of melodic minor)
The Riddle - Steve Vai (Open in E Lydian with an A# (sharpened 4th as the opening melody note)
Other examples include Blue Jay Way - The Beatles, Every Little Thing She Does is Magic - The Police,
All I need - Radiohead (C Lydian) The verses of Tonight, Tonight - Smashing Pumpkins.
Monday, 28 February 2011
Mixolydian
7
The 5th mode of the major scale, the mixolydian mode, is often found in rock and blues.
It is also found in superficially 'eastern' influenced pop music due to its similarity with some Ragas.
The mixolydian mode can be derived from C major from G to G.
If we work out a mixolydian scale with a root of C,we can easily see how it compares to a major scale. In this case
we get a B-flat instead of a B, so mixolydian is a major scale with a minot (flattened) 7th. (R, 2, 3, 4, 5, 6, b7)
Ä
( b) ˙
C Mixoydian
&b
˙
Root
˙
Maj2
˙
Maj3
˙
˙
˙
P4
P5
Maj6
˙
Min7
Octave
So Mixoydian is different from major in that it has a minor (not major) 7th - in this case B-flat not B
This is the character note of mixoydian which gives it its 'dominant' quality. In fact it is the combination of the major
3rd and minor 7th that sets it apart from all the other modes of the major scale.
Here are the triads of C Mixolydian , together with a ('US') roman numeral analysis.
Chords containing the character minor 7th (Bb) are underlined.
The Vm and particularly the bVII are the most common mixolydian modal triads
(the IIIº if unstable and not commonly used)
C Mixolydian
C
D‹
I
II
& b ˙˙˙
˙˙
˙
Eº
F
G‹
A‹
˙˙
˙
B¨
IIIº
IV
Vm
VI
bVII
˙˙˙
˙˙
˙
˙˙
˙
w
w
w
Here are the seventh chords of C mixolydian with roman numeral analysis.
Of the seventh chords I7 , Vm7 and bVIImaj7 are the most often used to describe mixoydian modality,
but most of the other diatonic chords may be found in progressions, particular the IV chord.
bVII/IV/I, for example, is a common mixolydian progression.
C Mixolydian
C7
& b ˙˙˙
˙
I7
D‹7
˙˙
˙˙
IIm7
E‹7(b5)
˙˙
˙˙
IIIø
FŒ„Š7
˙˙
˙˙
IVmaj7
G‹7
˙˙
˙˙
w
w
w
w
˙˙
˙˙
A‹7
B¨Œ„Š7
Vm7
VIm7
bVIImaj7
There are countless examples of the mixolydian mode in popular music - particularly in the harmony
of a track (even if melodies and solos are in minor pentationic) The bVII/IV/I sequence can be found
in everything from AC/DC to Zappa.
More 'pure' examples of mixolydian (when harmony and melody are both mixolydian) include:
Norwegian Wood - Beatles. (E Mixolydian)
Sweet Child of Mine - Guns and Roses and Sweet Home Alabama - Lynyrd Skynyrd
(D, Cadd9, G D in verses and the notes of guitar intro are all from D mixolydian)
Champagne Supernova - Oasis (A, A/G, A/F# and A/E - derived from A mixolydian)
Other examples include
Led Boots - Jeff Beck,
Within You or Without You - Beatles,
Monday, 28 February 2011
Aeolian
8
The 6th mode of the major scale, the aeolian mode, is a common mode in rock and pop music when a
mournful emotion is required.
The aeolian mode can be derived from C major from A to A which gives us the following
scale degrees. (R, 2, b3, 4, 5, b6, b7)
A Aeolian
&
˙
Root
˙
Maj2
˙
Min3
˙
˙
P4
P5
Ä
˙
Ä
˙
˙
Min6
Min7
Octave
You'll notice that the aeolian mode is identical to the natural minor scale.
However in a minor key, the 7th note of the scale is often changed to a leading tone (harmonic minor)
which allows for V7 chord for example. The 6th degree is also sometimes changed, as in melodic minor.
However the aeolian mode has a fixed minor 6th and minor 7th which gives it its particular character.
Here are the triads of A Aeolian , together with a ('US') roman numeral analysis.
Chords containing the character minor 6th (F) - distinguishing it from Dorian - are underlined the IIº (rarely used), IVm, VI. The Vm and bVII which contain the character minor 7th (G) are also underlined.
A Aeolian
A‹
& ˙
˙˙
I
Bº
˙˙
˙
IIº
C
˙˙
˙
III
D‹
E‹
˙˙
˙
˙˙
˙
IVm
Vm
VI
˙˙
˙
F
G
w
w
w
bVII
Here are the seventh chords of A aeolian with roman numeral analysis.
All of these contain the minor 6th and minor 7th, and they are all used in aeolian progressions -although the
IIm7(b5) is rare.
A Aeolian
A‹7
& ˙˙
˙˙
Im7
B‹7(b5)
˙˙
˙˙
IIm7(b5)
CŒ„Š7
D‹7
bIIImaj7
IVm7
˙˙
˙˙
˙˙
˙˙
E‹7
˙˙
˙˙
Vm7
FŒ„Š7
˙˙
˙˙
bVImaj7
G7
w
w
w
w
bVII7
There are many examples of the Aeolian mode in popular music - the Im/bVII/bVI/bVII sequence is common,
as well as peices built around Im, IVm and Vm.
Here are a few examples of the Aeolian mode in popular music
The X-Files Theme - melody in A Aeolian.
All Along the Watchtower - Jimi Hendrix
(C#m - Bm - A all from C# Aeolian - although the guitar is tuned down a semitone)
Ain't No Sunshine- Bill Withers is built around Am7, Dm7 and Em7 (all from A Aeolian)
Stairway to Heaven (Led Zeppelin) outro solo has the repeated chords Am G F G from A Aeolian.
The Sound of Silence (Simon and Garfunkel) is in Eb Aeolian. (with chords Im bVII bVII and III)
Monday, 28 February 2011
Modal Interchange
Monday, 28 February 2011
©2010 Mermikides
Pentatonics are hugely important scales in a wide range of musical styles.
There are many 5 note scales in use, but the two most common are the
major pentatonic and minor pentatonic and are shown below.
MAJOR PENTATONIC
C major pentatonic (C D E G A) (R,2,3,5,6)
& w
Root
w
Maj 2nd
w
Maj 3rd
w
Perfect 5th
w
Maj 6th
The major pentatonic is like a major scale but without the 4th and 7th.
Note that the omitted 4th and 7th scale degrees are the ones with semitone relationships against a tonic triad,
and the source of the most harmonic motion in the major scale. With the 4th and 7th omitted, the major pentatonic
is a very neutral, singable and familiar scale.
The major pentatonic has 5 modes, the most common starts on the last note (the A here) and is called
the minor pentatonic
So the notes of C major pentatonic (C D E G A) are the same as A minor pentatonic (A C D E G)
MINOR PENTATONIC
A major pentatonic (A C D E G) (R,2,3,5,6)
& w
Root
w
Min 3rd
w
Perfect 4th
w
Perfect 5th
w
Min 7th
The minor pentatonic is like a natural minor (aeolian) but without the 2nd or 6th (which have
semitone relationships against a tonic minor triad) With the 2nd and 6th omitted, the minor pentatonic
is an extremely useful, effective and commonly used scale.
Monday, 28 February 2011
Comparing Major and Minor Pentatonic
It is useful to compare major and minor pentatonic scales in parallel here is C major pentatonic side by side with C minor pentatonic.
C major pentatonic
& œ
R
Monday, 28 February 2011
œ
2
œ
3
C minor pentatonic
œ
5
œ
6
œ bœ
R
b3
œ
4
œ bœ
5
b7
2
PENTATONIC SCALES AND THE MODES
The major scale has 7 modes, 3 major (ionian, lydian, mixolydian) 3 minor (dorian, phrygian and aeolian)
and 1 dimished (locrian). Interestingly the 3 major modes all contain the major pentatonic, and
only differ in terms of there 4th and 7th degrees. Similarly, the 3 minor modes all have the minor pentatonic
in common, with their 2nd and 6th degrees differing.
C major pentatonic
&
œ
œ
R
2
œ
3
œ
œ
5
6
Add 4th and 7th
(Perfect 4th, Major 7th)
C Ionian
&
Monday, 28 February 2011
œ
œ
œ
œ
œ œ œ
R 2 3
4
5 6
7
(Augmented 4th, Major 7th)
(Perfect 4th, Minor 7th)
C Lydian
C Mixolydian
œ
œ
œ
#
œ
œ œ œ
bœ
œ
œ
œ
œ œ œ
R 2 3 #4 5
6
7
R 2 3
4
5 6
b7
C minor pentatonic
&
œ bœ
R
b3
œ
4
œ bœ
5
b7
Add 2nd and 6th
(major 2nd, major 6th)
C Dorian
& œ œ bœ œ œ œ bœ
R 2 b3 4
Monday, 28 February 2011
5 6
b7
(minor 2nd, minor 6th)
(major 2nd, minor 6th)
C Phrygian
C Aeolian
b
œ
b
œ
œ
œ
œ bœ bœ
b
œ
b
œ
œ
œ
œ œ bœ
R b2 3 4
5 b6 b7
R 2 3
4
5 b6 b7
4
Major and Minor Blues Hexatonic scale
The major and minor pentatonic scales may be embellished with an added note
(making 6-note - or hexatonic -scales) These added notes gives the 'blues' scale
an idiomatic bluesy quality.
Major Blues
The Major Blues 6-note scale is created by adding a sharpened
2nd (minor 3rd) interval between the 2rd and 3rd degree.
This gives the scale an idiomatic minor 3rd as well as major 3rd.
&
Monday, 28 February 2011
C Major Blues
œ
R
œ
2
#œ
#2/b3
œ
3
œ
5
œ
6
Minor Blues
On page 1 we created a minor pentatonic scale by starting a major pentatonic
from the last scale degree. We can do the same thing to the mMajor Blues, to
create the minor blues scale. This is a minor pentatonic scale with an
idiomatic raised 4th (flattened 5th).
A Minor Blues
œ
œ
R
b3
4
& œ
#œ
œ
œ
#4/b5
5
b7
The blues scales are embellished versions of their pentatonic counterpoints creating
an idiomatic bluesy quality. They might be used wherever the pentatonic scale is - as
described on page 3. So for example a progression in B minor can be melodicized with
B minor blues, a G major progression with G major blues and a Dminor7 chord with
D minor blues.
Monday, 28 February 2011
Parallelism
Some harmonic progressions include one chord type (usually a 5, major triad or dom7 chord)
that is moved in a 'block' to create non-diatonic progressions. Often this can be best explained
as the 'block' harmonisation of a scale - often pentatonic -(regardless of diatonicism)
Here are some examples.
MAJOR CHORDS on MINOR PENTATONIC
'Knock on Wood' Floyd/Cropper
œœj ˙˙ ™™
nn œœj
‰ nœœ ‰ œœ ˙˙ ™™™
œœ ˙˙ ™
nœ
nœ
E
G
˙˙ ™™
˙˙ ™™
˙˙ ™™
####
&
A
˙˙ ™™
˙˙ ™™
˙™
˙™
B
D
n œœ
‰ nœœœ
nœJ
B
œœ
#
‰ œœœ
œJ
˙˙ ™™
˙˙ ™™
˙™
˙™
Parallel Major chords on an E minor pentatonic scale
POWER CHORDS ON A MINOR BLUES SCALE
'Smoke on the Water' Deep Purple
G5
B¨5
C5
G5
B¨5
D¨5 C5
G5
B¨5
C5
B¨5
G5
b j ‰ œj ‰ œ ‰ j ‰ œj ‰ bœ œ Œ
j ‰ œj ‰ œ ‰ œj ‰ j
b
& œœ œ œ
œœ
œœ ˙˙ ™™
œ b œJ œ
œ
nœœ œ œ
Parallel Power chords (inverted root and 5th) outlining part of a G minor blues scale.
CHROMATIC PARALLEL MAJOR CHORDS
'I'm A Man' Steve Winwood
G
#### nw
& nn w
w
nw
w
F©
F
#˙˙˙
˙
˙
nnnn˙˙˙˙
n˙
Parallel major chords moving down chromatically
Monday, 28 February 2011
E
w
w
w
w
w
w
'Sgt. Peppers Lonely Hearts Club Band' (Chorus) - Beatles
#
G7
B¨7
C7
& nœ œ Œ bœœ œœ Œ
œœ œœ
bœ œ
G7
bœœ œœ Œ nœ œ Œ
œ œ
n œœ œœ
C7
bœœ œœ œœ œœ œœ œœ œœ œœ
œ œ œ œ œ œ œ œ
Parallel dominant 7 chords on part of G minor pentatonic (G, Bb, C).
POWER CHORDS ON CHROMATIC and OTHER SCALES
'Enter Sandman' -Metallica
F5 E5
G5 E5 F©5 E5 F©5 G5 F©5 E5
# E5
‰ j
& œ
œ
œ
œ
œ
n œœ œœ œœ œœ œœ œœ œœ n œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ # œœ œ œœ œ œœ œœ œœ œœ b œ œ n œœ
>
Parallel 5th chords on implied modes. Bars 1-2: phrygian. Bar 3: aeolian mode. Bar 4: locrian/minor blues.
'Them Bones' - Alice in Chains
& b 78 œ œ œ bœ œ œ n œ œ œ œ ‰
œœ œœ œœ b œœ œœ œœ nn œœ œœ œœ œœ
D5
E¨5
E5
F5
Parallel 5th chords on D, Eb, E, F chromatic notes.
Monday, 28 February 2011
D5
E¨5
E5
F5
‰
œ
b
œ
œ
œ
n
œ
œ
œ
œœ œœ œœ b œ œ œ n œ œ œ œ
œ œ œ bœ œ œ nœ œ œ œ
Upper structure triads
• Em/C Bm/C D/C Major/Lydian implication
• F/G Mixolydian/Sus implication
• Fm/G Phrygian Dominant/Sus implication
• C/D Em/D Minor/Dorian implication
• F/E Dm/E Phrygian implication
• Db/G Altered implication
Monday, 28 February 2011
Monday, 28 February 2011
Monday, 28 February 2011
4
Monday, 28 February 2011
Monday, 28 February 2011
229
Monday, 28 February 2011
Blame It On The Boogie
9
Jackson 5
Arr. E. Peasgood
Disco 115bpm
Clean
b
e. e. . . e e
r≈ r≈ r≈e e e e. e. . . e e
r≈ r≈ r≈e e e
™
™
b
‰
‰
b
e
n
e
.
.
.
.
&
e e e. e. e. e. e
e e e. e. e. e. e e ne
Intro
b e. e. . . e e
r≈ r≈ r≈e e e e. e. . . e e
r r r
™
b
‰
& b
e e . . e. e. e. e. e e ne
e e . . e. e. e. e. ‰ ™ e ≈ e ≈ne ≈neJ ™
A
b
& b b ™™ V V V V
Cm7
V V V V
Eb7
(Verse)
b
&b b V V V V
V V V V
Cm7
B
Eb7
b
&b b V V V V
Eb6
(Chorus)
b
&b b V V V V
Eb6
C
V V V V
Db9sus
V V V V
A¨7
V ™ V ‰ VJ +
Ab7
V ™ V ‰ VJ +
Ab/Bb
V V V V
V V V V
Eb7
V V V V
Eb7
V V V V
Eb7
b
& b b VJ ‰ Œ VJ ‰ Œ VJ ‰ Œ ‰ VJ ≈ VJ ™ VJ ‰ Œ VJ ‰ Œ VJ ‰ Œ ‰ VJ ≈ VJ ™ VJ ‰ Œ VJ ‰ Œ
Eb7
(Bridge)
Monday, 28 February 2011
V V V V
Db9sus
V V V V
Cm7
Cm7
Fm7
Ab/Bb
Eb7
Cm7
Fm7
Ab/Bb
Eb7
Cm7
™™
393
Monday, 28 February 2011
Monday, 28 February 2011