Reading vertically from left to right here are the created chords: (based upon the original melody Example 1)
C major - second inversion, A minor seventh no third - second inversion, G major five suspended fourth in bass resolving to third in bass, (bar 2) D minor no fifth - second inversion descending scale wise to D minor add nine - suspended fourth in bass descending scale wise to F major sixth, C major - first inversion moving to C major sixth in bass, (bar 3) C major suspended fourth - first inversion (in treble clef) add fifth, C major seventh - suspended fourth (in bass clef) add nine, E flat minor add nine, to root, E flat minor major seven add sharp eleventh - third inversion, (bar 4) B flat major seventh - first inversion to B flat major sixth, B flat major sixth augmented, A dominant seventh, D major seven suspended fourth add flat nine - second inversion, sixteenth note arpeggio = A dominant seventh (treble clef) against F major sixth sharp five - bass clef = polytonality, A flat major, A flat major seventh - third inversion (bar 5) E minor seventh, A sharp major, ascending chromatic scale, B major seventh, ascending chromatic scale resolves B five, (bar 6) C major, sixteenth note arpeggio = C6, C6, C, Csus4, C/9, C/#9, C, C/9, C, C/G, C/D, C, C/D, C/D#, C/E, C, bass clef = C major, C first inversion, C augmented, C augmented suspended fourth, C major - second inversion, C unison.
Now in Roman Numerals:
I, vi, V, V, (bar 2) ii, ii/9, IV6, I, I, (bar3) Isus4, Imaj7/9, biii/9, biii, biiimaj7/#11, (bar 4) bVIImaj7, bVII6, bVII6+, VI7, IImaj7sus4/b9, arpeggio TC = VI7, arpeggio BC = IV6, (bar 5) iii7, #VI, D cs to B note, (bar 6) I. cs= chromatic scale TC= treble clef BC= bass clef
Notice in bar three the C major suspended fourth starts in the treble clef resolves then switch's to the bass clef, this mimics what was done in the first measure with the G suspended fourth except it remained in the bass clef. In bar three the E flat minor gives a nice temporary key change (tonicization). In bar four the B flat major sixth augmented to the A dominant seventh temporary goes in to D harmonic minor (partial diatonic see:2010.01.23: Harmonic function of chords - How do we use chords and scales in songs? Part I part 3).
By resolving to the D major (instead of the D minor or D harmonic minor) this is a Picardy third. (see blog: 2010.01.24: Harmonic function of chords - How do we use chords and scales in songs? Part II) In bar six notice how the counterpoint melodies work to create a final resolve.
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
