From The Composer's Chair: November 2010 Archives

Using Pedal Tones in Diatonic Chord Progressions Part X

By Vince Lauria on November 30, 2010 7:09 AM | No Comments

Using the C harmonic major scale and its family of chords do the following progressions.

Using quarter notes playing the low pedal tone (C) then play the chords using one

whole note per chord.

Repeat each line four times to make one measure. Do this for all examples.

C (lower octave) - C, E (two note chord - incomplete)

C - B, D

C - Ab, C

C - G, C

(I, Vsus4, VI+, V progression)

Now repeat this entire example ten times. Then move by half step intervals higher in tone (C#) then increase metronome to 110 BPM. Do this by half steps (chromatic scale) to

D, Eb, E, F, F#, G, Ab, A, Bb and B increasing speed by ten BPM for each ascending key.

Do this for all examples given on page.

C - C, E

C - D, F

C - F, Ab

C - E, G

(I, ii, iv, I progression)

C - Ab, C

C - G, B

C - F, Ab

C - G, B

(VI+, Vsus4, iv, V progression)

C - D, F

C - C, E

C - B, D

C - C, E

(ii7b5, I, Vsus4, I progression)

C - F, Ab

C - E, G

C - B, D

C - C, E

(iv, I, Vsus4, I progression)

Ab - C, E

G - C, E

F - C, D

(VI+, I, iv6)

This time the C is the pedal tone.

Experiment making different notes in the chords the pedal tone.

Also create three different progressions (combinations) for each example given.

Now transpose these to each position (register) of your instrument, then to all 15 keys.

All materials copyright 2010. For personal use only.
Vince Lauria Sun and Earth Music

Using Pedal Tones in Diatonic Chord Progressions Part IX

By Vince Lauria on November 28, 2010 5:41 PM | No Comments

Using the C harmonic major scale and its family of chords do the following progressions.

Low tones on left to higher tones on right.

The last note will be the pedal tone, except where noted.

Play as chords or arpeggio style.

C, E, G C major

B, E, G E minor second inversion

B, F, G G dominant seventh - incomplete

C, E, G C major

(I, iii, V7, I progression)

Ab, C, E, Ab A flat augmented

F, C, F, Ab F minor

D, C, F, Ab D minor seventh flat fifth

G, B, F, Ab G dominant seventh add flat nine - incomplete

(VI+, iv, ii7b5, V/b9 progression)

E, G, B E minor

D, G, B G major second inversion

C, G, B C major seventh - incomplete

B, E, B E minor second inversion - incomplete

(iii, V, I, iii progression)

C, G, C C major - incomplete

C, G, B C major seventh - incomplete

C, F, Ab F minor second inversion

C, E, G C major

(I, Imaj7, iv, I progression)

Notice the C note is the pedal tone in the low register. Experiment making different notes in the chord the pedal tone.

G, B, C C major seventh second inversion - incomplete

F, B, C F minor sharp eleven (also sharp four)

F, Ab, C F minor

E, G, C C major first inversion

(I, iv#11, iv, I progression)

Now repeat all examples ten times. Then move by half step intervals higher in tone (C#) then increase metronome to 110 BPM. Do this by half steps (chromatic scale) to

D, Eb, E, F, F#, G, Ab, A, Bb and B increasing speed by ten BPM for each ascending key.

Do this same procedure for all chord progressions given

Now transpose these to each position (register) of your instrument, then to all 15 keys.

All materials copyright 2010. For personal use only.
Vince Lauria Sun and Earth Music

Using Pedal Tones in Diatonic Chord Progressions Part VIII

By Vince Lauria on November 28, 2010 8:02 AM | No Comments

Using the C jazz melodic minor scale (ascending same as descending) and its family of chords do the following progressions.

Using four quarter notes playing the low pedal tone (C) then play chords using one

whole note per chord.

Do this for all examples.

C (note low octave) - C, Eb (two note chord - incomplete)

C - A, D

C - G, B

C - F, A

C - Eb, G

(i, IV6, V, IV, i progression)

Now repeat this entire example ten times. Then move by half step intervals - higher in tone (C#) then increase metronome to 110 BPM. Do this by half steps (chromatic scale) to

D, Eb, E, F, F#, G, Ab, A, Bb and B increasing speed by ten BPM for each ascending key.

Do this for all examples given on page.

C - C, Eb

C - F, A

C - B, D

C - A, Eb

C- G, Eb

(i, IV, Vsus4, vio, i progression)

C - A, C

C - G, B

C - F, A

C - D, A

C - D, G

(vio, V, iv, iim7, Vsus4 progression)

C - C, Eb

C - B, Eb

C - A, Eb

C - B, Eb

(i, imaj7, vio, imaj7 progression)

C - D, F

C - C, Eb

C - B, D

C - Ab, C

C - G, C

(ii, i, Vsus4, IV, i progression)

A - C, Eb

G - C, Eb

F - C, D

G - C, Eb

(vio, i, IV6, i)

This time the C is the pedal tone.

Experiment making different notes in the chords the pedal tone.

Also create three different progressions (combinations) for each example given.

Now transpose these to each position (register) of your instrument, then to all 15 keys.

All materials copyright 2010. For personal use only.
Vince Lauria Sun and Earth Music

Using Pedal Tones in Diatonic Chord Progressions Part VII

By Vince Lauria on November 27, 2010 7:05 AM | No Comments

Using the C jazz melodic minor scale (ascending same as descending) and its family of chords do the following progressions.

Low tones on left to higher tones on right. The last note in chord will be the pedal tone.

Play as chords or arpeggio style.

C, Eb, G C minor

B, D, G G major first inversion

A, C, G A minor seventh flat five - incomplete

G, D, G G major - incomplete

(i, V, vi7b5, V progression)

A, C, Eb, G A minor seventh flat fifth

G, B, F, G G dominant seventh

D, C, F, G D minor seventh

G, B, F, G G dominant seventh

C, C, Eb, G C minor

(vi7b5, V7, ii7, Vb9, i progression)

F, A, C F major

Eb, A, C A minor seventh flat five

D, F, C D minor seventh - incomplete

B, G, B G major first inversion

C, Eb, G C minor

(IV, vi7b5, ii7, V progression) pedal tone is not used in last two chord so chord may resolve.

C, G, C C minor - incomplete

C, G, B C minor major seventh - incomplete

C, F, A F major

C, Eb, G C minor

(i, imaj7, IV, i progression) pedal tone is lowest note in this example (C).

G, B, D G major

F, B, D G dominant seventh third inversion - incomplete

Eb, A, D F dominant thirteenth third inversion - incomplete

D, G, D G major - incomplete

(V, V7, IV13, V progression)

Now repeat all example ten times. Then move by half step intervals higher in tone (C#) then increase metronome to 110 BPM. Do this by half steps (chromatic scale) to

D, Eb, E, F, F#, G, Ab, A, Bb and B increasing speed by ten BPM for each ascending key.

Now transpose these to each position (register) of your instrument, then to all 15 keys.

All materials copyright 2010. For personal use only.
Vince Lauria Sun and Earth Music

Using Pedal Tones in Diatonic Chord Progressions Part VI

By Vince Lauria on November 26, 2010 2:00 AM | No Comments

Using the C harmonic minor scale and its family of chords do the following progressions.

Using four quarter notes playing the low pedal tone (C) then play chords using one

whole note per chord.

Do this for all examples.

C (note low octave) - C, Eb (two note chord - incomplete)

C - Ab, D

C - G, B

C - Eb, G

(i, iv6, V, i progression)

Now repeat this entire example ten times. Then move by half step intervals - higher in tone (C#) then increase metronome to 110 BPM. Do this by half steps (chromatic scale) to

D, Eb, E, F, F#, G, Ab, A, Bb and B increasing speed by ten BPM for each ascending key.

Do this for all examples given on page.

C - C, Eb

C - F, Ab

C - B, D

C - Ab, Eb

C - G, Eb

(i, iv, Vsus4, VI, i progression)

C - Ab, C

C - G, B

C - F, Ab

C - D, Ab

C - D, G

(VI, V, iv, iim7b5, Vsus4 progression)

C - C, Eb

C - B, Eb

C - Ab, Eb

C - B, Eb

(i, imaj7, VI, imaj7 progression)

C - D, F

C - C, Eb

C - B, D

C - Ab, C

C - G, C

(iio, i, Vsus4, iv, i progression)

Ab - C, Eb

G - C, Eb

F - C, D

G - C, Eb

(VI, I, iv6, i)

This time the C is the pedal tone.

Experiment making different notes in the chords the pedal tone.

Also create three different progressions (combinations) for each example given.

Now transpose these to each position (register) of your instrument, then to all 15 keys.

All materials copyright 2010. For personal use only.
Vince Lauria Sun and Earth Music

Using Pedal Tones in Diatonic Chord Progressions Part V

By Vince Lauria on November 24, 2010 6:44 AM | No Comments

Using the C harmonic minor scale and its family of chords do the following progressions.

Low tones on left to higher tones on right. The last note in chord will be the pedal tone.

Play as chords or arpeggio style.

C, Eb, G C minor

B, D, G G major first inversion

Ab, C, G Ab major seventh - incomplete

G, D, G G major - incomplete

(i, V, VI, V progression)

Ab, C, Eb, Ab Ab major

F, C, F, Ab F minor

Ab, D, F, Ab D diminished second inversion

G, B, F, Ab G seventh flat nine

C, C, Eb, G C minor

(VI, iv, iio, Vb9, i progression) pedal tone is not used in last chord so chord may resolve.

F, Ab, C F minor

Eb, Ab, C A flat major second inversion

D, Ab, C D minor seventh flat fifth - incomplete

(iv, VImaj7, ii7b5, progression)

C, G, C C minor - incomplete

C, G, B C minor major seventh - incomplete

C, F, Ab F minor

C, Eb, G C minor

(i, imaj7, iv, i progression) pedal tone is lowest note in this example (C).

G, B, D G major

F, B, D G dominant seventh third inversion

Eb, Ab, D Ab major sharp eleventh second inversion - incomplete

D, G, D G major - incomplete

(V, V7, VI#11, V progression)

Now repeat all example ten times. Then move by half step intervals higher in tone (C#) then increase metronome to 110 BPM. Do this by half steps (chromatic scale) to

D, Eb, E, F, F#, G, Ab, A, Bb and B increasing speed by ten BPM for each ascending key.

Now transpose these to each position (register) of your instrument, then to all 15 keys.

All materials copyright 2010. For personal use only.
Vince Lauria Sun and Earth Music

Using Pedal Tones in Diatonic Chord Progressions Part IV

By Vince Lauria on November 21, 2010 8:14 AM | No Comments

Using the C natural minor scale and its family of chords do the following progressions.

Using quarter notes playing the low pedal tone (C) then play the chords using one

whole note per chord.

Repeat each line four times to make one measure. Do this for all examples.

C (note low octave) - C, Eb (two note chord - incomplete)

C - Bb, D

C - Ab, C

C - Bb, D

(i, v, iv, v progression)

Now repeat this entire example ten times. Then move by half step intervals - higher in tone (C#) then increase metronome to 110 BPM. Do this by half steps (chromatic scale) to

D, Eb, E, F, F#, G, Ab, A, Bb and B increasing speed by ten BPM for each ascending key.

Do this for all examples given on page.

C - C, Eb

C - D, F

C - Eb,G

C - D, F

(i, iio, III, iio progression)

C - Ab,C

C - G, Bb

C - F, Ab

C - G, Bb

(VI, v, iv, v progression)

C - C, Eb

C - Bb, Eb

C - Ab, Eb

C - Bb, Eb

(i, im7, im6, im7 progression)

C - D, F

C - C, Eb

C - C, D

C - C, Eb

(iio, i, vsus4, i progression)

Ab - C, Eb

G - C, Eb

F - C, D

G - C, Eb

(VI, I, iv6, i)

This time the C is the pedal tone.

Experiment making different notes in the chords the pedal tone.

Also create three different progressions (combinations) for each example given.

Now transpose these to each position (register) of your instrument, then to all 15 keys.

All materials copyright 2010. For personal use only.
Vince Lauria Sun and Earth Music

Using Pedal Tones in Diatonic Chord Progressions Part III

By Vince Lauria on November 20, 2010 9:53 AM | No Comments

Using the C natural minor scale and its family of chords do the following progressions.

Low tones on left to higher tones on right. The last note in chord will be the pedal tone.

Play as chords or arpeggio style.

C, Eb, G C minor

Bb, Eb, G Eb major second inversion

Ab, Eb, G Ab major seventh - incomplete

G, D, G G major - incomplete

(i, III, VI, v progression)

Ab, C, Eb, Ab Ab major

F, C, F, Ab F minor

Eb, Bb, Eb, Ab Eb major sus4

Eb, Bb, Eb, G Eb major

(VI, iv, IIIsus4, III progression) pedal tone is not used in last chord so chord may resolve.

F, Ab, C F minor

Eb, Ab, C A flat major second inversion

D, F, C D minor seventh flat fifth - incomplete

(iv, VImaj7, ii7b5, progression)

C, G, C C minor - incomplete

C, G, Bb C minor seventh - incomplete

C, F, Ab F minor

C, Eb, G C minor

(i, i7, iv, i progression) pedal tone is lowest note in this example (C).

G, Bb, D G minor

F, Bb, D B flat major second inversion

Eb, Ab, D Ab major sharp eleventh second inversion - incomplete

D, G, D G minor - incomplete

(v, VII, VI#11, v progression)

Now repeat all example ten times. Then move by half step intervals higher in tone (C#) then increase metronome to 110 BPM. Do this by half steps (chromatic scale) to

D, Eb, E, F, F#, G, Ab, A, Bb and B increasing speed by ten BPM for each ascending key.

Now transpose these to each position (register) of your instrument, then to all 15 keys.

All materials copyright 2010. For personal use only.
Vince Lauria Sun and Earth Music

Using Pedal Tones in Diatonic Chord Progressions Part II

By Vince Lauria on November 17, 2010 12:17 PM | No Comments

Using the C major scale and its family of chords do the following progressions.

Using quarter notes playing the low pedal tone (C) then play the chords using one

whole note per chord.

Repeat each line four times to make one measure. Do this for all examples.

C (note low octave) - C, E (two note chord - incomplete)

C - B, D

C - A, C

C - B, D

(I, V, vi, V progression)

Now repeat this entire example ten times. Then move by half step intervals higher in tone (C#) then increase metronome to 110 BPM. Do this by half steps (chromatic scale) to

D, Eb, E, F, F#, G, Ab, A, Bb and B increasing speed by ten BPM for each ascending key.

Do this for all examples given on page.

C - C, E

C - D, F

C - E, G

C - D, F

(I, ii, iii, ii progression)

C - A, C

C - G, B

C - F, A

C - G, B

(vi, Vsus4, IV, V progression)

C - C, E

C - B, E

C - A, E

C - B, E

(I, Imaj7, Imaj6, Imaj7 progression)

C - D, F

C - C, E

C - B, D

C - C, E

(ii, I, V, I progression)

A - C, E

G - C, E

F - C, D

(vi, I, IVmaj6)

This time the C is the pedal tone.

Experiment making different notes in the chords the pedal tone.

Also create three different progressions (combinations) for each example given.

Now transpose these to each position (register) of your instrument, then to all 15 keys.

All materials copyright 2010. For personal use only.
Vince Lauria Sun and Earth Music

Using Pedal Tones in Diatonic Chord Progressions Part I

By Vince Lauria on November 15, 2010 8:58 AM | No Comments

Using the C major scale and its family of chords do the following progressions.

Low tones on left to higher tones on right. The G note will be the pedal tone.

Play as chords or arpeggio style.

C, E, G C major

B, E, G E minor second inversion

A, E, G A minor seventh - incomplete

G, E, G G major add sixth - incomplete

(I, iii, vi7, V/6 progression)

C, C, G C major - incomplete

F, F, G F major add nine - incomplete

A, C, G A minor seventh - incomplete

F, F, G F major add nine - incomplete

(I, IV, vi, IV progression)

E, G, B E minor

D, G, B G major second inversion

C, G, B C major seventh - incomplete

D, G, B G major second inversion

(iii, V, I, V progression)

C, G, C C major - incomplete

C, G, B C major seventh - incomplete

C, F, A F major

C, G, B C major seventh - incomplete

(I, Imaj7, IV, Imaj7 progression)

E, A, C A minor second inversion

D, G, C G major sus4

C, F, C F major - incomplete

D, G, C G major sus4

(vi, V, IV, V progression)

Now repeat all example ten times. Then move by half step intervals higher in tone (C#) then increase metronome to 110 BPM. Do this by half steps (chromatic scale) to

D, Eb, E, F, F#, G, Ab, A, Bb and B increasing speed by ten BPM for each ascending key.

Do this for all examples given on page.

Now transpose these to each position (register) of your instrument, then to all 15 keys.

All materials copyright 2010. For personal use only.
Vince Lauria Sun and Earth Music

Symmetrical Substitution Chords

By Vince Lauria on November 12, 2010 8:55 AM | No Comments

The diminished seventh chord repeats itself every minor third interval

ascending and descending in tone.

C diminished seventh = C, Eb, Gb, A (shorthand = Co7)

Eb diminished seventh = Eb, Gb, A, C (shorthand = Ebo7)

Gb diminished seventh = Gb, A, C, Eb (shorthand = Gbo7)

A diminished seventh = A, C, Eb, Gb (shorthand = Ao7)

C diminished seventh = C, Eb, Gb, A (shorthand = Co7) octave repeat

The augmented chord repeats itself every major third ascending and descending.

G augmented = G, B, D# (shorthand = G+)

B augmented = B, D#, G (shorthand = B+)

D# augmented = D#,G, B, (shorthand = D#+)

G augmented = G, B, D# (shorthand = G+) octave repeat

Try the following examples first in C major:

Original: D minor seventh //// C major seventh //// G dominant seventh ////

or Dm7 //// Cmaj7 //// G7 ///// or ii7 //// V7 //// Imaj7 //// in C major.

Symmetrical Substitution Chord Diminished Seventh:

Dm7 //// D#o7 //// G7 //// Cmaj7 ////

ii7 //// #iio7 //// V7 //// Imaj7 //// (remember you can play D#o7, F#o7, Ao7, Co7 also)

Symmetrical Substitution Diminished Seventh chord played half step above dominant chord:

Dm7 //// G#o7 //// Bo7 //// Do7 //// G7 //// Cmaj7 ////

ii7 //// #vo7 //// viio7 //// iio7 //// V7 //// Imaj7 ////

Original: D minor seventh //// G dominant seventh //// C major seventh ////

or Dm7 //// Cmaj7 //// G7 ///// or ii7 //// V7 //// Imaj7 //// in C major.

Symmetrical Substitution Major Seven Augmented Chord:

Dm7 //// Fmaj7+ //// G7 //// Cmaj7 ////

ii7 //// IV+ //// V7 //// Imaj7 ////

Symmetrical Substitution Major Augmented Chord:

Dm7 //// G7 //// Gmaj+ //// Bmaj+ //// Ebmaj+ //// Cmaj7 ////

Also try all the above examples with C as the pedal tone.

Now transpose these to each position (register) of your instrument, then to all 15 keys.

Then apply this same concept to all scales and modes.

For a more in depth study of symmetrical scales purchase
"Symmetrical Scales For Jazz Improvisation" By Masaya Yamaguchi.

All materials copyright 2010. For personal use only.
Vince Lauria Sun and Earth Music

Parallel And Functional Harmonies

By Vince Lauria on November 10, 2010 8:01 AM | No Comments

A harmony is when more than one note is played at the same time.

A parallel harmony follows the melody in a parallel motion. Functional harmonies ascend and descending in major or minor thirds and fifths following the scale intervals.

This technique is an easy way to fill out a melody with little effort.

Great for rock guitar solos!

Lowest tone on left moving to highest tone on right.

Use half note duration for each note (melody and harmony).

Original melody in C major: C, G, F, E, F, G.

Parallel harmony in thirds: E, B, A, Ab, A, B.

Functional harmony in thirds: E, B, A, G, A, B.

Parallel harmony in fifths: G, D, C, B, C, D

Functional harmony in fifths: G, D, C, B, C, D.

The harmony can stay on the same tone: A, A, A, A, A, A

The above A was below the original C it can also be an octave above original C.

Also use the B,D,E,F and G as the same tone. Each note gives a different tension

and feel to the original melody.

Original melody in C natural minor: C, G, F, Eb, F, G.

Parallel harmony in minor thirds: Eb, Bb, Ab, Gb, Ab, Bb.

Functional harmony in thirds: Eb, Bb, Ab, G, Ab, Bb.

Parallel harmony in flat fifths: Gb, Db, Cb, A, Cb, Db

Functional harmony in fifths: G, D, C, Bb, C, D.

The harmony can stay on the same tone: C, C, C, C, C, C

The above C is one octave above the original C it can also be an octave below the original C.

This is like a pedal tone.

Also use the A.B,D,E,F and G as the same tone. Each note gives a different tension

and feel to the original melody.

Original melody in C harmonic minor: C, Ab, G, F, G, Ab.

Parallel harmony in minor thirds: Eb, C, B, A, B, C.

Functional harmony in thirds: Eb, C, B, Ab, B, C.

Parallel harmony in flat fifths: Gb, D, Db, B, Db, D

Functional harmony in fifths: G, Eb, D, C, D, Eb.

The harmony can stay on the same tone: D, D, D, D, D, D

The above D is one octave above the original C it can also be an octave below the original C.

Also use the B,C,E,F and G as the same tone. Each note gives a different tension

and feel to the original melody.

Now transpose these to each position (register) of your instrument, then to all 15 keys.

Then apply this same concept to all scales and modes.

All materials copyright 2010. For personal use only.
Vince Lauria Sun and Earth Music

Pedal Tone

By Vince Lauria on November 8, 2010 7:00 AM | No Comments

A note that is repeated while other notes around it change.

A tone that is usually a root or fifth in the bass or lower register.

Many times the inverted pedal tone is used.

This is when the pedal tone is not in the bass or lower register.

A great technique used often by rock, jazz and film composers.

First example will be using pedal tone.

Starting in C major play continuous quarter notes on middle C.

C //// //// //// //// //// //// //// ////

Then playing one octave higher in tone play chords using whole notes.

The lowest tone is on the left moving to the higher tones on the right.

C,E,G, //// C,F,A, //// D,G,B, //// C,F,A, //// A,C,E, //// G,B,D, //// F,A,C, //// E,G,C, ////

Now same idea in C natural minor:

Starting in C natural minor play continuous quarter notes on middle C.

C //// //// //// //// //// //// //// ////

Then playing one octave higher in tone play chords using whole notes.

C,Eb,G, //// C,F,Ab //// Bb,D,F //// Bb,Eb,G //// Ab,C,Eb //// G,Bb,D //// F,Bb,D //// G,C,Eb ////

Now same idea in C harmonic minor minor:

Starting in C natural minor play continuous quarter notes on middle C.

C //// //// //// //// //// //// //// ////

Then playing one octave higher in tone play chords using whole notes.

C,Eb,G, //// C,F,Ab //// D,F,Ab //// D,G,B //// Eb,G,C //// F,Ab,D //// G,B,D //// G,C,Eb ////

Starting in the key of C major play the following examples:

The following examples will be played two octaves above middle C.

The highest tone is on the left moving to the lower tones on the right.

This is using inverted pedal.

The C is same exact pitch (pedal tone) each time.

C,B - C,A - C,G.

Repeat this melody at 100 BPM then moving to 220 BPM by five's. 105,110,115 BPM etc.

Now same idea in C natural minor:

C,Bb - C,Ab - C,G.

Repeat this melody at 100 BPM then moving to 220 BPM by five's. 105,110,115 BPM etc.

Now same idea in C harmonic minor:

C,B - C,Ab - C,G.

Now transpose these to each position (register) of your instrument, then to all 15 keys.

Then apply this same concept to all scales and modes.

All materials copyright 2010. For personal use only.
Vince Lauria Sun and Earth Music

November 2010 Archives

Using Pedal Tones in Diatonic Chord Progressions Part X

Using Pedal Tones in Diatonic Chord Progressions Part IX

Using Pedal Tones in Diatonic Chord Progressions Part VIII

Using Pedal Tones in Diatonic Chord Progressions Part VII

Using Pedal Tones in Diatonic Chord Progressions Part VI

Using Pedal Tones in Diatonic Chord Progressions Part V

Using Pedal Tones in Diatonic Chord Progressions Part IV

Using Pedal Tones in Diatonic Chord Progressions Part III

Using Pedal Tones in Diatonic Chord Progressions Part II

Using Pedal Tones in Diatonic Chord Progressions Part I

Symmetrical Substitution Chords

Parallel And Functional Harmonies

Pedal Tone

Search

About this Archive

Categories

Monthly Archives

Pages