August 2010 Archives

Voice Leading Part XVIII - with chromatic passing tones

By
Vince Lauria
on August 27, 2010 5:31 AM | | Comments (0)
Chromatic passing tones are notes outside of the scale - non diatonic.
Adds nice color and tension to voice leading.

Normal Progression: 
Find common tone and move other voices scale wise.
This can be ascending or descending.

The following examples will all be in C major (4 note chords) using Normal Progressions:
Descending chord progressions. (notes are written lowest tone on left to highest tone on right)
C, G, B, E    (C major seventh)
C, G, B, Eb   (C minor major seventh)
B, F, G, D    (G dominant seventh - first inversion)
B, F, G, Db   (G dominant seventh flat fifth - first inversion) 
A, E, F, C     (F major seventh - first inversion)
A, E, F, B     (F major seventh flat fifth - first inversion) also called sharp eleven (#11)
G, C, E, A    (A minor - third inversion)
Imaj7, V7, V7b5, IVmaj7, IVmaj7b5, vi7 progression.

G, C, E, B    (C major seventh - second inversion)
G, C, Eb, B  (C minor major seventh - second inversion)
F, B, D, G    (G dominant seventh - third inversion)
F, A, C, D     (D minor seventh - first inversion)
F, Ab, C, D   (D minor seventh flat fifth - first inversion)
E, G, B, D    (E minor seventh) 
Sometimes the 5th or 3rd (or root) of a chord is omitted often called "incomplete".
Imaj7, imaj7, V7, ii7, ii7b5, iii7 progression.

F, A, C, E     (F major seventh)
F, Ab, C, E   (F minor major seventh)
E, G, B, C    (C major seventh - first inversion)
D, F, G, B    (G dominant seventh - second inversion)
Db,F, G, B   (G dominant seventh flat fifth - second inversion)
C, D, F, A    (D minor seventh - third inversion)
B, D, F, A    (D minor sixth - third inversion)
A, C, E, F,   (F major seventh - first inversion)
Ab, C, E, F   (F minor seventh - first inversion)
G, B, C, E    (C major seventh - second inversion)
IVmaj7, iv7, Imaj7, V7, V7b5, ii7, ii6, IVmaj7, iv7, Imaj7 progression.
Some of these chords are difficult to play on guitar. Suggestion when overdubbing or playing with another guitarist - split chord into two separate parts. Also experiment changing octaves of notes within chord-higher or lower in tone.


C, G, B, E    (C major seventh)
C, Gb, B, E  (C major seventh flat fifth)
B, F, G, D    (G dominant seventh - first inversion)
B, E, G, D    (G dominant sixth - first inversion)
B, D, F, A     (B minor seventh flat fifth)
Bb, D, F, A   (Bb major seventh)
A, C, E, F     (F major seventh - first inversion)
Ab, C, E, F    (F minor seventh - first inversion)
G, B, C, E    (C major seventh - second inversion)
Imaj7, Imaj7b5, V7, V6, vii7b5, bVIImaj7, IVmaj7, iv7, Imaj7 progression.

D, F, A, C   (D minor seventh)
D, F, Ab, C  (D minor seventh flat fifth)
C, E, G, A   (A minor seventh - first inversion)
C, Eb, G, A  (A minor seventh flat fifth - first inversion)
B, D, E, G   (E minor seventh - second inversion)
G, B, D, F   (G dominant seventh)
E, G, C, E   (A minor seventh - second inversion)
ii7, ii7b5, vi7, vi7b5, iii7, V7, vi7 progression.

G, C, E, B     (C major seventh - second inversion)
Gb, C, E, B   (C major seventh flat fifth - second inversion)
F, B, D, G     (G dominant seventh - third inversion)
F, Bb, D, G   (G minor seventh - third inversion)
F, A, C, E     (F major seventh)
E, G, B, C     (C major seventh - first inversion)
Imaj7, Imaj7b5, V7, v7, IVmaj7, Imaj7 progression.

E, G, C, B    (C major seventh - first inversion)
E, Gb,C, B    (C major seventh flat fifth - first inversion)
D, F, B, G    (G dominant seventh - second inversion)
Db, F, B, G   (G dominant seventh flat fifth - second inversion)
C, D, A, F,    (D minor seventh - third inversion)
A, C, F, E     (F major seventh - first inversion)
Ab, C, F, E    (F minor seventh - first inversion)
G, B, E, C    (C major seventh - second inversion)
Imaj7, Imaj7b5, V7, V7b5, ii7, IVmaj7, iv7, Imaj7 progression.


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 

Voice Leading Part XVII - with chromatic passing tones

By
Vince Lauria
on August 8, 2010 6:44 PM | | Comments (0)
Chromatic passing tones are notes outside of the scale - non diatonic.
Adds nice color and tension to voice leading.

Normal Progression: 
Find common tone and move other voices scale wise.
This can be ascending or descending.


The following examples will all be in C major (4 note chords) using Normal Progressions:
Ascending chord progressions. (notes are written lowest tone on left to highest tone on right)
C, E, G, B      (C major seventh)
C, F, G, B      (C major seventh suspended fourth)
C, F#, A, C    (D seventh - third inversion)
B, G, B, D     (G dominant seventh - first inversion)   incomplete
B, F, B, D#    (G dominant seventh augmented - second inversion) incomplete
C, G, B, E      (C major seventh)  
Imaj7, Imaj7sus4, IIV, V7, V7+, Imaj7 progression.

Sometimes the 5th or 3rd (or root) of a chord is omitted often called "incomplete".


E, G, C, E       (C major - first inversion) 
E, G#, C, E     (C major augmented - first inversion)
F, A, C, E       (F major seventh)
F, B, D, G       (G dominant seventh - third inversion)
F, B, D#, G     (G dominant seventh augmented - third inversion)
G, C, E, B       (C major seventh - second inversion)
Imaj7, Imaj7+, IVmaj7, V7, V7+, Imaj7 progression.

C, G, B, E       (C major seventh)
Db, G, B, E      (C sharp minor seventh flat five) 
D, G, B, F       (G dominant seventh - second inversion)
E, B, C, G       (C major seventh - first inversion)
E, B, C#, G      (C sharp minor seventh flat five - first inversion)
F, B, D, G       (G dominant seventh - third inversion)
F, B, Eb, G      (G dominant seventh augmented - third inversion)
G, C, E, C       (C major - second inversion)
Imaj7, bii7b5, V7, Imaj7, bii7b5, V7, V7+, Imaj7 progression.

E, B, C, G      (C major seventh - first inversion)
F, B, C, G      (C major seventh suspended fourth - first inversion)
F, B, D, G      (G dominant seventh - third inversion)
F, B, D#, G    (G dominant seventh augmented - third inversion)
G, C, E, A     (A minor seventh - third inversion)
A, E, F, C     (F major seventh - first inversion)
Imaj7, Imaj7sus4, V7, V7+, vi7, IVmaj7,  progression.

F, A, C. E         (F major seventh)
A, E, G, C        (A minor seventh)
A, E, G, C#      (A dominant seventh)
A, F, C, D,       (D minor seventh - second inversion)
A#, F#, C, D     (D dominant seventh augmented - second inversion)
D, G. B, F        (G dominant seventh - second inversion)
E, B, C, G        (C major seventh - first inversion)
IVmaj7, vi7, VI7, ii7, II7, V7, Imaj7  progression.

C, E, G, B        (C major seventh)
C, E, G#, C      (C augmented)
C, F, A, E        (F major seventh - second inversion)
D, A, C, F        (D minor seventh)
F, B, D, G        (G dominant seventh - third inversion)
F, B, D#, G      (G dominant seventh augmented - third inversion)
G, D, E, B        (E minor seventh - first inversion)
G, D, F, B        (G dominant seventh)
G, E, A, C        (A minor seventh - third inversion)
G, E, A, C#       (A dominant seventh - third inversion)
A, F, C, E         (F major seventh - first inversion)
C, B, E, G         (C major seventh)
Imaj7, Imaj7+,  IVmaj7, ii7, V7, V7+, iii7, V7, vi7, VI7, IVmaj7, Imaj7 progression.



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



Voice Leading Part XVI - with chromatic passing tones

By
Vince Lauria
on August 8, 2010 7:51 AM | | Comments (0)
Chromatic passing tones are notes outside of the scale - non diatonic.
Adds nice color and tension to voice leading.

Normal Progression: 
Find common tone and move other voices scale wise.
This can be ascending or descending.

First examples will all be in C major (3 note chords) using Normal Progressions:
Descending chord progressions.(notes are written lowest tone on left to highest tone on right)

C, E, G     (C major)
B, D, G     (G major - first inversion)
Bb, D, G   (G minor - first inversion)
A, C, F     (F major - first inversion)
Ab, C, F   (F minor - first inversion)
G, C, E     (C major - second inversion)
I, V, v, IV, iv, I progression.

G, C, E    (C major - second inversion)
G, C, Eb   (C minor - second inversion)
G, B, D    (G major)
G, Bb, D   (G minor)
F, A, D    (D minor - first inversion)
F, A, C    (F major)
I, i, V, v, ii, IV progression.  
(remember all techniques are meant to open new doors, take the time to experiment to learn and digest what is presented here - then create what you personally like. 
Many times new ideas seem awkward this is primarily because you are unfamiliar with them. Some of the greatest bands and composers were not liked initiatively but went on to be accepted and loved). 

F, A, C       (F major)
F, Ab, C     (F minor)
E, G, C      (C major - first inversion)
Eb, Gb, C  (C diminished - first inversion)
D, F, A      (D minor)
C, F, Ab    (F minor - second inversion)
C, E, G     (C major)
IV, iv, I, io, ii, iv, I progression.

C, E, G     (C major)
B, D, G     (G major - first inversion)
Bb, D, F    (Bb major)
A, C, F     (F major - first inversion)
Ab, C, F    (F minor - first inversion)
G, C, E     (C major - second inversion)
I, V, bVII, IV, iv, I progression.

D, F, A      (D minor)
Db, F, A    (D flat augmented)
C, E, A      (A minor - first inversion)
B, E, G      (E minor - second inversion)
Bb, E, G    (E diminished - second inversion)
A, C, F      (F major - first inversion)
ii, bII+, vi, iii, iiio, IV progression.

G, C, E        (C major - second inversion)
G, C, Eb      (C minor - second inversion)
G, B, D        (G major)
G, Bb, Db    (G diminished)
F, A, C        (F major)
F, Ab, C      (F minor)
E, G, C       (C major - first inversion)
I, i, V, vo, IV, iv, I progression.

E, G, C    (C major - first inversion)
E, G, B    (C major seventh - first inversion)
D, G, Bb  (G minor - second inversion)
D, F, A    (D minor)
C, F, Ab   (F minor - second inversion)
C, E, G    (C major)
I, Imaj7,v, ii, iv, I progression.


Many of these chords can be called different names. This is called synonyms.
This will be covered in a later lesson. 


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.



Voice Leading Part XV - with chromatic passing tones

By
Vince Lauria
on August 6, 2010 7:04 PM | | Comments (0)

Chromatic passing tones are notes outside of the scale - non diatonic.
Adds nice color and tension to voice leading.

Normal Progression: 
Find common tone and move other voices scale wise.
This can be ascending or descending.

Examples are in C major (3 note chords) using Normal Progressions:
Ascending chord progressions. (notes are written lowest tone on left to highest tone on right)
These chords are all created from the C Major Scale: C, D, E, F, G, A, B, C.
C, E, G      (C major)
C, E  G#,   (C augmented)  augmented is same thing as sharp fifth
C, F, A      (F major)
C, F, A#    (F suspended fourth)
D, G, B     (G major - second inversion)
E, G, C     (C major - first inversion)
I, IV+, IV, IVsus4, V, I progression.

E, G, C    (C major - first inversion)
E, G#, C  (C augmented - first inversion) 
F, A, C    (F major)
F, A#, C  (F suspended sharp fourth) 
G, B, D   (G major)
G, C, E   (C major - second inversion)
I, IV+, IV, IVsus4, V, I  progression.

C, E, G    (C major)
C#,E, G    (C major flat ninth) 
D, G, B    (G major - second inversion)
D#, G, B  (G major augmented - second inversion)
E, G, C    (C major - first inversion)
F, G, C    (C suspended fourth - first inversion) 
G, B, D    (G major)
G, C, E    (C major - second inversion)
I, Ib9, V, V+, I, Isus4, V, I progression.

C, E, G    (C major)
C, F#, G   (C suspended sharp fourth)  sometimes
 called sharp eleventh or flat fifth
D, G, B    (G major - second inversion)
D, G#, B  (G major flat ninth - second inversion)
E, A, C    (A minor - second inversion)
F, A, C    (F major)
I, Isus#4, V, Vb9, vi, IV,  progression.

F, A, C   (F major)
A, C, E   (A minor)
A, C#, E  (A major)
A, D, F   (D minor- second inversion)
A#, D, F  (D minor augmented -second inversion)
B, D, G   (G major - first inversion)
C, D, G   (G major suspended fourth - first inversion)
C, E, G   (C major)
IV, vi, VImaj, ii, ii+, V, Vsus4, I  progression.

C, E, G   (C major)
C, F, A   (F major - second inversion)
D, F, A   (D minor)
D, F, A#  (D minor augmented)
D, G, B   (G major - second inversion)
E, G, B   (E minor)
E, G, C   (E minor augmented)
E, A, C   (A minor - second inversion)
F, A, C   (F major)
G, C, E   (C major - second inversion)
I, IV, ii, ii+, V, iii, iii+, vi, IV, I progression.

C, E, G     (C major)
C, E, G#   (C major augmented)
C, E, A    (A minor - first inversion)
D, F, A    (D minor)
D, F, A#   (D minor augmented)
D, F, B     (B diminished - first inversion)
E, G, B     (E minor)
E, G, C    (C major - first inversion)
F, A, C    (F major)
F, A, D    (D minor - first inversion)
F, A#, D   (D minor augmented - first inversion)
G, B, D    (G major)
G, C, E    (C major - second inversion)
I, I+, vi, ii, ii+, viio, iii, I, IV, ii, ii+, V, I  progression.




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

Voice Leading Part XIV

By
Vince Lauria
on August 4, 2010 8:18 PM | | Comments (0)
The next examples are with C Harmonic Minor.

Contrary Motion: 
If the bass moves up - the treble moves down.
If the bass moves down - the treble moves up. 
All examples will be 4 note chords using Contrary Motion. 
(notes are written lowest tone on left to highest tone on right)
passing scale tones are played after chord, try to let as many chord notes ring while 
playing passing notes.


C, Eb, G, B       (C minor major seventh)                                                               B, C

B, F, G, D          (G dominant seventh - first inversion)                                        Eb, D

C, Eb, Ab, C     (F minor seventh - second inversion) incomplete                   C, B

B, F, B, D          (G dominant seventh - first inversion) incomplete                   B, G

C, G, C, Eb      (C minor) 

imaj7, V7, iv7, V7, i progression.


G, C, Eb, B       (C minor major seventh - second inversion)                            B, C

F, D, G, D         (G dominant seventh - third inversion) incomplete                 D, C

Ab, C, F, C       (D minor seventh flat fifth - second inversion) incomplete     C, D

G, Eb, Ab, Eb   (A flat major seventh - third inversion) incomplete                 D, C

B, C, Eb, G       (C minor major seventh - third inversion)                               

imaj7, V7, ii7b5, VImaj7, imaj7 progression.

  

F, Ab, C, Eb     (F minor seventh)                                                                          Eb, G

Eb, B, C, G       (C minor major seventh - first inversion)                                   G, F

F, G, B, D          (G dominant seventh - third inversion )                                     D, Eb

D, Ab, C, F       (D minor seventh flat fifth)                                                            F, Eb

Eb, F, Ab, C     (F minor seventh - third inversion)                                             C, D

C, G, B Eb       (C minor)

iv7, imaj7, V7, ii7b5, iv7, i progression.

Some of these chords are difficult to play on guitar. Suggestion when overdubbing or playing with another guitarist - split chord into two separate parts. Also experiment changing octaves of notes within chord-higher or lower in tone.

 

 

C, G, B, Eb      (C minor major seventh)                                                             D, Eb

B, G, D, F         (G dominant seventh - first inversion)                                      Eb, D

D, F, Ab, B       (B diminished seventh - first inversion)                                   C, D

C, Ab, Eb, F     (F minor seventh - second inversion)                                      F, Eb

D, F, Ab, C       (D minor seventh flat fifth)                                                          D, Eb

B, G, B, F          (G dominant seventh - first inversion) incomplete                F, Eb

C, Eb, G, C      (C minor)

imaj7, V7, viio7, iv7, ii7b5, V7, i progression.

 

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

C, G, Eb, Ab     (Ab major seventh - first inversion) incomplete                     F, D

D, Eb, G, B       (E major seventh augmented - third inversion)                     B, C

B, F, B, D         (G dominant seventh - first inversion)  incomplete                C, B

C, Eb, G, Ab    (Ab major seventh - first inversion)                                            

ii7b5, VImaj7, IIImaj7+, V7, VImaj7 progression.

 

C, G, B, Eb      (C minor major seventh)                                                              D, C

D, F. G, B         (G dominant seventh - second inversion)                                D, Eb

C, Ab, C, F       (F minor - second inversion)                                                       F, G

D, F, B, D         (G dominant seventh - second inversion) incomplete           D, Eb

C, Eb, G, C      (C minor)

imaj7, V7, iv7, V7, i progression.

 

C, Eb, G, B       (C minor major seventh)                                                             G, A

B, F, B, D         (G dominant seventh - first inversion) incomplete                   D, B

C, D, F, Ab      (D minor seventh flat fifth - third inversion)                                B, D

Ab, F, C, Eb    (F minor seventh - first inversion)                                               Eb, D  

B, D, F, B         (G dominant seventh - first inversion) incomplete                   G, B

G, Eb, G, C      (C minor - second inversion) 

imaj7, V7, ii7b5, iv7, V7, i progression.


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
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