F major, E minor add fourth, E dominant seventh, D flat major - no fifth, D major seventh, D major, A major - no third, B flat major seventh sharp eleventh - third inversion, A major six nine, A minor major seven sharp eleven add double flat sixth, A major six nine, G dominant seventh add six add nine, G dominant seventh add sixth, A minor seventh augmented, A minor seventh, D minor, D minor seventh - third inversion, G dominant seventh to G dominant ninth - first inversion, F minor sixth add nine, G seventh flat nine - third inversion, C major add nine. 

Now in Roman Numerals:

IV,  iiisus4,  III7,  bII,  IImaj7,  VI,  bVII#11,  VImaj6/9, vimaj7/11/bb6,  VImaj6/9,  V7/6/9,  V7/6,  vi7+, vi7, ii, ii7, V7, V9, iv6/9  V7/b9,  I/9

Note that the iiisus4 chord can lead either to a major or minor resolve. Notice in bar three how the low A and high E pedal tones create an interesting chord set. The movement in bar four D minor to D minor seventh to G seventh see the bass notes connect scale wise (D, C, B), this makes for a smooth transition. In bar five the four minor chord (Fm6/9) is often substituted for dramatic effect, I view it as the four chord of the Natural Major Scale. The final i chord with the added suspended ninth gives a nice lift to the final chord.

Now analyze the chords in relation to the melody. Also how the chords create their own melody and simultaneously create a new melodic feeling in relation to the original melody. It is essential to not only learn the example but absorb the ideas and create your own examples utilizing these technique.

Transpose above examples to each position (register) of your instrument, then once your comfortable in one key transpose to all 15 keys. Then do same idea using all scales/modes (same) covered so far. Also create three of your own melodies and apply this technique.

As always transpose to all fifteen keys.

Remember to write out you ideas on the musical staff.

If you do not read or write music consider getting a book and learning how to.

All materials for personal use only.

Vince Lauria Sun and Earth Music

Copyright © 2011

Reading from left to right here are the chords that the single melodies create:

A minor ninth - second inversion, E flat dominant seventh add sharp eleventh - 

(flat five substitution), D minor ninth - second inversion no third, 

G sharp sixth, seventh - second inversion, D minor add sharp eleventh - in bass, 

E major six nine, A minor eleventh - no fifth, A dominant seventh sharp fifth - 

second inversion, A dominant seventh - second inversion, D major add eleventh, 

G dominant seventh suspended fourth, G major - first inversion, 

C major seventh. 

Notice how the final chord C major is the relative major to A minor.

Now in Roman Numerals:

i/9,  bV7/#11,  iv/9,  #VII/6/7,  iv/#11, V/6/9,  IIIsus9/6,  I7+,  I7,  IV/11,  

VIIsus4,  VII,  Imaj7.

Now analyze the chords in relation to the melody. Also how the bass notes create their own melody and simultaneously create a new melodic feeling in relation to the chords. It is essential to not only learn the example but absorb the ideas and create your own examples utilizing these technique.

Now transpose above examples to each position (register) of your instrument, then once your comfortable in one key transpose to all 15 keys. Then do same idea using all scales/modes (same) covered so far. Also create three of your own melodies and apply this technique.

As always transpose to all fifteen keys. 

Remember to write out you ideas on the musical staff. 

If you do not read or write music consider getting a book and learning how to.

All materials for personal use only.

Vince Lauria Sun and Earth Music

Copyright © 2011