May 2011 Archives

D flat major seventh, D minor - second inversion, E minor seventh add eleventh, A minor seven add eleven - second inversion, F major seven, F sharp dominant seventh augmented, G minor sixth, G sharp dominant ninth to G sharp thirteenth, A major augmented to A major, B minor seventh flat five, C major nine, C sharp major add six add nine add sharp eleven, D sharp suspended add six add nine. 

Now in Roman Numerals:

bIImaj7,  ii,  iii7/11,  vi7/11, IVmaj7,  #IV7+,  v6, 

#V9 to #V13, VImaj+ to VImaj,  vii7b5,  Imaj9, #I/6/9/#11, #IIsus4/6/9

Notice how the chords move chromatically ascending in tone while still harmonically supporting the melody. 

Now analyze the chords in relation to the melody so you can use these techniques for your own compositions. 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.

F sharp major sharp eleven, F major, E dominant seventh sharp eleventh, E flat major seven sharp fifth, E flat dominant ninth, D dominant seventh, D flat dominant seventh sharp ninth, C major seventh, B dominant seventh to B dominant seventh sharp five, D minor - second inversion, A flat major ninth add sharp eleven, C minor sixth - second inversion, D flat major seven suspended four - four in bass (also could be viewed as a Polychord as G flat suspended ninth and B flat minor ninth, ninth in soprano, root in bass played both chords played simultaneously) 

Now in Roman Numerals:

IV/#11,  IV,  III7/#11,  bIIImaj7+, bIII9,  II7,  bII7#9, I, VII7 to Vii7/#11,  ii,  bVImaj9/#11,  i6, bIImaj7/11

Notice how the chords move chromatically descending in tone while still harmonically supporting the melody. In the first chord measure one the C note is the sharp eleven, in the F major chord that follows the A note in the melody is the third of F major.The C note goes from being the melody note to being the fifth of the second chord.

Now analyze the chords in relation to the melody so you can use these techniques for your own compositions. 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