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Voice Leading Part VII

By
Vince Lauria
on June 29, 2010 6:41 PM | | Comments (0)
Contrary Motion: 
If the bass moves up - the treble moves down.
If the bass moves down - the treble moves up. 
Now lets do with passing tones from the C major scale

First examples will all be in C major (4 note chords) using Contrary Motion: 
(notes are written lowest tone on left to highest tone on right)

C, E, G, B    (C major seventh)   passing scale tones play after chord      A, B, C

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

C, E, A, C    (F major seventh - second inversion) incomplete                       C, B, A

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

C, E, G, C   (C major seventh) incomplete

Imaj7, V7, IVmaj7, V7, Imaj7 progression.


G, C, E, B   (C major seventh - second inversion)                                           C, D, E

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

A, C, F, A    (D minor seventh second inversion) incomplete                        A, B, C

G, E, A, C    (A minor seventh - fouth inversion)                                               E, D, C

B, C, E, B   (C major seventh fourth inversion) incomplete                             

Imaj7, V7, ii7, vi7, Imaj7 progression.

 

F, A, C, E    (F major seventh)                                                                              E, F, G

E, B, C, G   (C major seventh - first inversion)                                                  B, A, G

G, D, F, B   (G dominant seventh )                                                                      A, G, F

C, D, F, A   (D minor seventh - fourth inversion)                                              A, C, D

A, E, C, F   (F major seventh - first inversion)                                                   F, E, D

B, G, C  E  (C major seventh - fourth inversion)                                               

IVmaj7, Imaj7, V7, ii7, IVmaj7, 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, D

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

D, F, A, B    (B minor seventh flat fifth first inversion)                                   C, D

C, F, A, E    (F major seventh - second inversion)                                        D, C

E, G, C, B   (C major seventh - first inversion)                                               

Imaj7, V7, vii7b5, IVmaj7, Imaj7 progression.

 

D, F, A, C     (D minor seventh)                                                                       C, D

C, G, A, E     (A minor seventh - first inversion)                                            E, D

D, E, G, B     (E minor seventh - fourth inversion)                                        B, C

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

C, E, G, A    (A minor seventh - second inversion)

ii7, vi7, iii7, V7, vi7 progression.

 

C, G, B, E    (C major seventh)                                                                        D, E

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

A, F, C, E    (F major seventh)                                                                          E, D

C, E, G, B    (C major seventh)

Imaj7, V7, IVmaj7, Imaj7 progression.

 

C, E, G, B     (C major seventh)                                                                       E, F, G

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

C, D, A, F,    (D minor seventh - fourth inversion)                                         A, B, C

A, F, C, E     (F major seventh - first inversion)                                              E, G, F

C, E, B, C    (C major seventh - second inversion) incomplete

Imaj7, V7, ii7, IVmaj7, Imaj7 progression.


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

Remember to experiment and create at least three variations using these same principles.




All materials copy-write 2010. For personal use only.

Vince Lauria Sun and Earth Music  

Voice Leading Part VI

By
Vince Lauria
on June 23, 2010 4:56 AM | | Comments (0)
Contrary Motion: 
If the bass moves up - the treble moves down.
If the bass moves down - the treble moves up. 


First examples will all be in C major (4 note chords) using Contrary Motion: 
(notes are written lowest tone on left to highest tone on right)

C, E, G, B    (C major seventh)

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

C, E, A, C    (F major seventh - second inversion) incomplete

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

C, E, G, C   (C major seventh) incomplete

Imaj7, V7, IVmaj7, V7, Imaj7 progression.


G, C, E, B   (C major seventh - second inversion)

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

A, C, F, A    (D minor seventh second inversion) incomplete

G, E, A, C    (A minor seventh - fouth inversion) 

B, C, E, B   (C major seventh fourth inversion) incomplete

Imaj7, V7, ii7, vi7, Imaj7 progression.

 

F, A, C, E    (F major seventh)

E, B, C, G   (C major seventh - first inversion)

G, D, F, B   (G dominant seventh )

C, D, F, A   (D minor seventh - fourth inversion)

A, E, C, F   (F major seventh - first inversion)

B, G, C  E  (C major seventh - fourth inversion)

IVmaj7, Imaj7, V7, ii7, IVmaj7, 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)

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

D, F, A, B    (B minor seventh flat fifth first inversion)

C, F, A, E    (F major seventh - second inversion)

E, G, C, B   (C major seventh - first inversion)

Imaj7, V7, vii7b5, IVmaj7, Imaj7 progression.

 

D, F, A, C     (D minor seventh)

C, G, A, E     (A minor seventh - first inversion)

D, E, G, B     (E minor seventh - fourth inversion)

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

C, E, G, A    (A minor seventh - second inversion)

ii7, vi7, iii7, V7, vi7 progression.

 

C, G, B, E    (C major seventh)

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

A, F, C, E    (F major seventh)

C, E, G, B    (C major seventh)

Imaj7, V7, IVmaj7, Imaj7 progression.

 

C, E, G, B     (C major seventh)

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

C, D, A, F,    (D minor seventh - fourth inversion)

A, F, C, E     (F major seventh - first inversion)

C, E, B, C    (C major seventh - second inversion) incomplete

Imaj7, V7, ii7, IVmaj7, Imaj7 progression.


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






All materials copy-write 2010. For personal use only.

Vince Lauria Sun and Earth Music  

Dominant Seventh Chord - Functioning and Non-Functioning

By
Vince Lauria
on April 6, 2010 6:30 AM | | Comments (0)
When a dominant chord is played with a series of other chords like:
I, vi, ii , V7 in the key of C major: C maj //// Am //// Dm //// G7 ////
this is a functioning dominant seventh. Usually just for one measure or less.
The natural tension tones for G dominant seventh are: G7, G9, G11, G13.
G7  = R, 3, 5, b7           =  G, B, D, F
G9  = R, 3, 5, b7, 9       =  G, B, D, F, A 
G11 = R, 3, 5, b7, 9, 11, = G, B, D, F, A, C
G13 = R, 3, 5, b7, 9, 11, 13 = G, B, D, F, A, C, E 

When the dominant seventh is played for many measures it is non-functioning.
You can chose to use the natural tensions or altered tensions.
An altered tension means to sharp or flat the 5th or the 9th degree of the dominant chord.
G7b5  = R, 3, b5, b7              = G, B, Db, Bb
G7#5  = R, 3, #5, b7              = G, B, D#, Bb
G9b5  = R, 3, b5, b7, 9          = G, B, Db, Bb, A
G9#5  = R, 3, #5, b7, 9          = G, B, D#, Bb, A
G11b5 = R, 3, b5, b7, 9, 11    = G, B, Db, Bb, A, C
G11#5 = R, 3, #5, b7, 9, 11    = G, B, D#, Bb, A, C
G13b5 = R, 3, b5, b7, 9,11,13 = G, B, Db, Bb, A, C, E
G13#5 = R, 3, #5, b7, 9,11,13 = G, B, D#, Bb, A, C, E

G7b9  =  R, 3, 5, b7, b9
G7#9  =  R, 3, 5, b7, #9
G11b9 = R, 3, 5, b7, b9,11
G11#9 = R, 3, 5, b7, #9, 11
G13b9  = R, 3, 5, b7, b9,11,13
G13#9  = R, 3, 5, b7, #9, 11,13

Assignment record the following progressions then substitute functioning and non-functioning dominate seventh chords.

Original =     C maj //// Am //// Dm //// G7 ////
Substitute =  C maj //// Am //// Dm //// G9 ////

Original =     C maj //// Em //// F maj //// G7 ////
Substitute =  C maj //// Em //// F maj //// G7b5 ////

Original =     Dm //// G7 //// C maj //// Am7 ////
Substitute =  Dm //// G9#5 //// C maj //// Am9 ////
You can also use any diatonic substations from the family of chords (see archives - Diatonic Substitutions - Part 1 and 2). I used this here by replacing the A minor seventh with a A minor ninth.

Original =     Em //// Am //// Dm //// G7 //// C maj 7 ////
Substitute = Em //// Am //// Dm //// G13 // G7#5 // C maj 9 ////

Original =     F maj //// G maj //// Am //// G maj //// F maj //// G maj //// Am ////
Substitute = F maj //// G maj/9 //// Am //// G9#5 //// F maj7 //// G7 //// C/G ////
Also you can use the slash chords see: Slash Chords (five lessons previous).



All materials copy-write 2010. For personal use only.

Vince Lauria Sun and Earth Music.




Chord Substitutions - Part 6

By
Vince Lauria
on February 28, 2010 10:06 AM | | Comments (0)
Replace a Major, Major Seventh, Minor, Minor Seventh, Diminished, Minor Seventh Flat Fifth with a Diminished Seventh Chord:  

Original progression: C //// Em //// Dm //// G7 ////
New progression:      Cdim7 //// Em //// Dm //// G7 ////

Original progression: C //// Fmaj7 //// Dm //// G7 ////
New progression:      C //// Fdim //// Dm //// G7 ////

Original progression: C //// Fmaj7 //// Dm //// G7 ////
New progression:      C //// Fmaj7 //// Ddim7 //// G7 ////

Original progression: C //// Am7 //// Dm //// G7 ////
New progression:      C //// Adim7 //// Dm //// G7 ////

Original progression: C //// Fmaj7 //// Bo //// G7 ////
New progression:      C //// Fmaj7 //// Bdim7  //// G7 ////

Original progression: C //// Bm7b5 //// Am //// G ////
New progression:      C //// Bdim7 //// Am //// G ////

More examples using this technique:

Original progression: Cmaj7 //// Dm7 //// Em7 //// Dm7 //// Cmaj7 ////
New progression:     Cmaj7 //// C#dim7 //// Dm7 //// D#dim7 //// Em7 //// D#dim7 //// Dm7 //// Cmaj7 ////

Original progression: C //// Fmaj7 //// Bo //// Em //// Am //// Dm //// G //// C ////
New progression:      C //// Fdim7 //// Bm7b5 //// Em //// Adim7 //// Dm // Ddim7 // C ////
(you can also start on the original chord then make it into a Diminished Seventh)

Original progression: C //// Em //// F //// C ////
New progression:      C //// Em //// F // Fdim7 // C ////

Original progression: Dm //// G7 //// C //// 
New progression:      Dm //// Ddim7 //// C ////


Substitute the ii or IV chords with the Neapolitan sixth chord.
Also similar to earlier chord substitutions it is a flat II chord in first inversion.
Example given in key of C major:

Original progression: Dm //// G7 //// C //// 
New progression:      Db/F //// G7 //// C ///









As always transpose to all keys!
Also try any and all of your own combinations then work on them to improve!


All materials copy-write 2010. For personal use only.
Vince Lauria Sun and Earth Music.



Chord Substitutions - Part 5

By
Vince Lauria
on February 27, 2010 9:18 AM | | Comments (0)
Replace a Minor Seventh chord with a Minor Seventh Flat Fifth chord:

Original progression: C //// Dm7 //// G7 //// C ////
New progression:      C //// Dm7b5 //// G7 //// C //// 

Original progression: C //// Em7 //// F //// G7 //// C ////
New progression:      C //// Em7b5 //// F //// G7 //// C ////

Also start with the original chord then add the Minor Seventh Flat Fifth:

Original progression: C //// Am7 //// G7 //// C ////
New progression:      C //// Am7//Am7b5 //// G7 //// C6 ////

The sixth chord gives some extra flavor. 
Always work with these principles until they sound right to you.

Original progression: C //// Em7 //// Am7 //// G7 ////
New progression:      C //// Em7//Em7b5 //// Am7 //// G7 //// 


Replace any chord with a Diminished Seventh one half step (fret) below root:

Original progression: C //// G7 //// Am7 //// F //// G//// C ////
New progression:      C //// G7 //// G#dim7 //// Am7 //// F //// F#dim7 //// G//// Bdim7 //// C ////


Original progression: Am //// G //// Dm //// F //// C ////
New progression:      Am //// G //// C#dim7 //// Dm //// Edim7 //// F //// Bdim7 //// C ////

Replace the Four Chord (IV) with a minor (iv) four chord:

Original progression: C //// Em //// F //// C ////
New progression:       C //// Em //// F //// Fm //// C ////

Original progression: C //// G //// F //// C ////
New progression:       C //// G //// F //// Fm //// C ////

As always transpose to all keys!



All materials copy-write 2010. For personal use only.
Vince Lauria Sun and Earth Music.

Chord Substitutions - Part 4

By
Vince Lauria
on February 25, 2010 9:46 PM | | Comments (0)
A Minor Seventh chord can be replaced with a Dominant Seventh Chord:

Original progression: C //// Am7 //// F //// G7 //// C ////
New progression:       C //// A7 //// F //// G7 //// C ////

Also it works the other way a Dominant Seventh chord can be replaced with a Minor Seventh Chord:

Original progression: C //// G7//// F //// Dm //// G7 //// C ////
New progression:       C //// Gm7 //// F //// Dm //// G7 //// C ////

Also the Minor Seventh Chord can be replaced by the Dominant Seven/Sixth Chord and then return back to the Minor Seventh Chord:

Original progression: C //// G7//// F //// Dm7 //// G7 //// C ////
New progression:      C //// G7 //// F //// Dm7 //// D7/6 //// Dm7 //// G7 //// C ////



Also the Dominant Seventh Chord (V7) can be replaced with the Diminished Seventh Chord starting on the seventh scale degree. Many times this is used to resolve to the (I) Major chord:

Original progression: C //// G7//// F //// Dm //// G7 //// C ////
New progression:       C //// G7 //// F //// Dm //// Bdim7 //// C ////

G Dominant Seventh  = R, 3rd, 5th, b7th   - the notes are = G, B, D, F  
B Diminished Seventh = R, b3, b5th, bb7th - the notes are = B, D, F, Ab
The B Diminished also can be thought of as G7b9 first inversion. (3rd in bass) 
The A flat replaces the G note.


Also for all scales the Family of Chords within that scale can used in scale-wise order:

Original progression: C //// //// G //// G7 //// C //// ////
New progression:      C // Dm// Em// F// G //// G7 //// C //// ////

Same idea not in scale-wise order:

Original progression: C //// //// G //// G7 //// C //// ////
New progression:      Cmaj7 //// Am // G// Em //// G7 //// C //// ////

Remember that the bottom line to all these techniques is to experiment and find what YOU like best. They are a path but you must walk that path and work hard to discover the great sounds that await you! 

 


As always transpose to all keys!



All materials copy-write 2010. For personal use only.
Vince Lauria Sun and Earth Music.

Chord Substitutions - Part 3

By
Vince Lauria
on February 22, 2010 8:22 AM | | Comments (0)
Flat Five Substitution:
Substitute a Dominant Seventh Chord with another Dominant Seventh Chord 
where the root is a flat fifth (diminished) apart:                   

Original progression: Dm7 //// G7 //// Cmaj7 ////
New progression:     Dm7 //// Db7 //// Cmaj7 ////

The D Flat Dominant seventh was substituted for the G dominant seventh. The D Flat Dominant Seventh is a flat fifth interval distance from the G seventh. Also called a tritone interval. A distance of three whole steps. Tri means three, Tone in this case means three whole step. G to A, A to B, B to D flat.


Original progression: Em7 //// Dm7 //// Cmaj7 ////
New progression:     Em7 //// Dm7 //// Db7/6 //// Cmaj7 ////

Original progression: Em7 //// A7 //// Dm7 //// G7 //// Cmaj7 ////
New progression:      Em7 //// Eb7 //// Dm7 //// Db7 //// Cmaj7 ////

Original progression: Em7 //// A7 //// Dm7 //// G7 //// Cmaj7 ////
New progression:      Em7#5 //// A7#9 //// Dm7 //// G11 //// Cmaj7 ////
Notice how the C note is used as a pedal tone throughout the cord changes.  

Em7#5 = R, b3, b7, #5 =  E, G, D, C
A7#9    = R,  3, b7, #9 =  A, C#, G, C 
Dm7     = R, b3, 5, b7 =   D, F, A, C
G11      = R, b7, 9, 11 =   G, F, A, C
C maj 7 = R, 3, 5, 7, R = C, E, G, B, C  
 
Notice how the C note remains throughout each chord change.


Chord Substitutions - Part 2

By
Vince Lauria
on February 19, 2010 10:55 AM | | Comments (0)
Any dominant seventh chord can be preceded by a minor seventh chord a fifth higher in tone.

(C major, C maj and C are the same thing)

Original progression: Cmaj //// Am //// F //// G7 ////
New progression:      C //// Am //// F //// Dm //// G7 ////


Any major, minor or dominant seventh chord may be preceded 
with a dominant seventh chord a fifth higher in tone.

Original progression: C //// Am //// F //// G7 //// C ////
New progression:      C //// Am //// C7 //// F //// G7 //// C ////

Original progression: C //// Am //// F //// G7 //// C ////
New progression:      C //// E7 //// Am //// F //// G7 //// C ////

Original progression: C //// Am //// F //// G7 //// C ////
New progression:      C //// Am //// F //// D7 //// G7 //// C ////

Original progression: G //// G7 //// C //// 
New progression:      G //// Dm7 //// G13 //// G7#5 //// C ////                                                    
(or you can end with any diatonic substation for C major like C maj 6/9)


Now lets combine both techniques:


Original progression: C //// Am //// F //// G7 //// C ////
New progression:      C //// E7 //// Am //// F //// Dm7 //// G7 //// C ////

Original progression: C //// Am //// F //// G7 //// C ////
New progression:      C //// E7 //// Am //// C7 //// F //// G7 //// C ////




As always transpose to all keys!






All materials copy-write 2010. For personal use only.
Vince Lauria Sun and Earth Music.




Chord Substitutions - Part 1

By
Vince Lauria
on February 17, 2010 10:44 AM | | Comments (0)
Any chord can be preceded using a dominant seventh chord a half step above its root.

Original progression:  C maj //// Am //// Dm //// G7 //// C maj ////
New progression:       C maj //// Bb7 //// Am //// Eb7 //// Dm //// G7 //// C maj ////


Also you can combine diatonic substitutions with this half step dominant technique.

Original progression:  C maj //// Em //// Dm //// G7 //// C maj ////
New progression:       C maj add9 //// F13 //// Em7 //// Eb7 //// Dm11 //// G9 //// C maj9


Any chord can be preceded using the same chord type a half step above its root.

Original progression: C maj //// Am //// Dm //// G7 //// C maj ////
New progression:      C maj //// Bbm // Am // Ebm // Dm //  G7 //// C maj ////

Now combining all three techniques.

Original progression: C maj //// Am //// Dm //// G7 //// C maj ////
New progression: C maj7 //// Bbm7/11 //// Am9 //// Eb9 //// Dm add9 //// G6 // G // C6 ////




As always transpose to all keys!






All materials copy-write 2010. For personal use only.
Vince Lauria Sun and Earth Music.

Harmonic function of chords - How do we use chords and scales in songs? Part VI

By
Vince Lauria
on February 6, 2010 9:05 AM | | Comments (0)
9. The following chord progressions are very common and create a feeling of movement.

Progression 1.  
A minor, A minor major seventh, A minor seventh, A minor sixth (also called D ninth first inversion). 

The above progression sometimes has the additional chords: F major, E major or E dominant seventh. Usually one scale is used over ALL these chords. The most common scale choice is A minor pentatonic which is: A,C, D, E, G, A.                         (R, b3, 4, 5, b7, R/8) 
This avoids having to change scale types for each chord.

But for those who want to change the scale for each chord over Am play:
A Dorian minor = A, B, C, D, E, F#, G, A         (R, 2, b3, 4, 5, 6, b7, R/8)
A Natural minor = A, B, C, D, E, F, G, A          (R, 2, b3, 4, 5, b6, b7, R/8)

Over Am maj7 play:
A Harmonic minor = A, B, C, D, E, F, G#, A    (R, 2, b3, 4, 5, b6, 7, 8/R)  
A Melodic minor =   A, B, C, D, E, F#, G#, A   (R, 2, b3, 4, 5, 6, 7, R/8)

Over Am7 play:
A Dorian minor = A, B, C, D, E, F#, G, A         (R, 2, b3, 4, 5, 6, b7, R/8)
A Natural minor = A, B, C, D, E, F, G, A         (R, 2, b3, 4, 5, b6, b7, R/8)

Over Am6 play:
A Dorian minor = A, B, C, D, E, F#, G, A        (R, 2, b3, 4, 5, 6, b7, R/8)

Over F major play:
A Natural minor = A, B, C, D, E, F, G, A         (R, 2, b3, 4, 5, b6, b7, R/8)

Over E major or E dominant seventh play:
A Harmonic minor = A, B, C, D, E, F, G#, A    (R, 2, b3, 4, 5, b6, 7, 8/R) 
A Mixolydian =        A, B, C#, D, E, F#, G, A   (R, 2, 3, 4, 5, 6, b7, R/8)


Progression 2.
Am, Am7, D/F# (D major first inversion) Fmaj
Over Am, Am7, D major play A dorian. 
Over F major play A natural minor.

Progression 3.
Am, G maj, F maj, E7
Over Am, G, F, play A natural minor
Over E major or E dominant seventh play A mixolydian A, B, C#,D, E, F#, G, A 
Fifth mode of D major scale. Or play A harmonic minor starting on the E or fifth scale degree.
(Phrygian Dominant - Mode 5 of Harmonic Minor)

Progression 4.
Am, Am#5, Am6, Am7.
Over A minor and A minor sharp fifth (flat 6th) play A natural minor.
Over Aminor sixth and A minor seventh play A doian minor.

Progression 5.
A maj, Amaj#5, Amaj6, A7.
Over A major play the A major scale (A,B,C#,D,E,F#,G#,A)
Over the A major sharp fifth play the F# harmonic minor scale (Ionian #5 - Mode 3 of Harmonic Minor) F#, G#, A, B, C#, D, E#(F), F#


Record the given examples with the indicated scales using quarter then eighth notes.
Remember you can record the chord progressions or have a friend play them.




All materials copy-write 2010. For personal use only.
Vince Lauria Sun and Earth Music.

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