In this next series of lessons I will demonstrate some of the most common techniques of combining melody with common chord progressions. 

Now using the C Double Harmonic Minor Scale.

This is created from the iv chord of the Double Harmonic Major Scale.

I am using this scale for some of the themes in my latest film project "Chills".

It's family of chords has wonderful altered chords!

 

The scale intervals are:

major 2^nd, minor 3^rd, sharp 4^th, perfect 5^th, minor 6^th and major 7^th.

The number formulas is:  R/1, 2, b3, #4, 5, b6, 7

Note names: F, G, Ab, B, C, Db, E, F

 

The three note family of chords in the key of C are:

F, Ab, C = F minor                          i chord

G, B, Db = G major flat five        IIb5 chord

Ab, C, E = A flat augmented       bIII+ chord

B, Db, F = B suspended flat five   bII7 chord

C, E, G, =    C major                      V chord

Db, F, Ab =  D flat major             bVI chord

E, G, B = E minor                          vii chord

 

The four note family of chords are:

F, Ab, C, E =      F minor major seventh                               imaj7 chord

G, B, Db, F =     G dominant seventh flat five                        II7b5 chord

Ab, C, E, G =      A flat major seventh augmented            IIImaj7+ chord

B, Db, F, Ab =    D flat dominant seventh-third inversion         bII7 chord

C, E, G, B =       C major seventh                                       Vmaj7 chord

Db, F, Ab, C =   D flat major seventh                               bVImaj7 chord

E, G, B, Db =     E minor sixth                                                vii6 chord

 

 

The following piece is created entirely from the notes of the Double Harmonic minor scale and its family of chords.

 

Figure out the chord progression and then write it in roman numerals. 

 

Observe the techniques and incorporate in your own compositions. 

Figure out all chords, their voicing's and the melody's interval 

relationship to the chords and itself. Also any counterpoint.

 

Remember the scale formula and created chord types are always the same for all keys.

(this is true of every scale and its created chord types).

 

 

Now using this same chord progression create three variations of your own.

 

Always transpose all examples and your own examples to each position 

(register) of your instrument (octave). Once your 

comfortable in one key transpose to all 15 keys.

Also get accustomed to writing out all your ideas on the musical staff. 

 

 

 

All materials for personal use only.

Vince Lauria Sun and Earth Music

Copyright © 2012

In this next series of lessons I will demonstrate some of the most common techniques of combining melody with common chord progressions. 

Now using the C Double Harmonic Major Scale. It is also called the Byzantine scale and the Arabic scale. It also a Spanish flavor because of the minor 2^nd interval. It has two augmented 2^nd intervals. I am using this scale for some of the themes in my latest film project "Chills".

It's family of chords has wonderful altered chords!

 

The scale intervals are:

minor 2^nd, major 3^rd, perfect 4^th, perfect 5^th, minor 6^th and major 7^th.

The number formulas is:  R/1, b2, 3, 4, 5, b6, 7

 

The three note family of chords in the key of C are:

C, E, G, =    C major                    I chord

Db, F, Ab =  D flat major              bII chord

E, G, B =     E minor                    iii chord

F, Ab, C =    F minor                    iv chord

G, B, Db =   G major flat five        Vb5 chord

Ab, C, E =   A flat augmented       VI+ chord

B, Db, F =   Db/B seventh            bII7 chord or viiobb3

(also can be viewed as B suspended flat five. The vii chord of double harmonic major is interesting because it is commonly written as a bII7 with the flat seventh in bass and no fifth.

(third inversion flat seventh in bass (B) is the lowest sounding tone in the chord)

So you have a flat II major seventh and a flat II dominant seventh within the same scale.

The four note family of chords are:

C, E, G, B =       C major seventh                                  Imaj7 chord

Db, F, Ab, C =   D flat major seventh                             bIImaj7 chord

E, G, B, Db =     E minor sixth                                       iii6 chord

F, Ab, C, E =      F minor major seventh                         ivmaj7 chord

G, B, Db, F =     G dominant seveth flat five                   V7b5 chord

Ab, C, E, G =      A flat major seventh augmented           VImaj7+ chord

B, Db, F, Ab =    D flat dominant seventh -third inversion  bII7 chord

The following piece is created entirely from the notes of the 

C double harmonic major scale and its family of chords.

Figure out the chord progression and then write it in roman numerals. 

 

Observe the techniques and incorporate in your own compositions. 

Figure out all chords, their voicing's and the melody's interval 

relationship to the chords and itself.

 

Remember the scale formula and created chord types are always the same for all keys.

(this is true of every scale and its created chord types).

 

 

Now using this same chord progression create three variations of your own.

 

Always transpose all examples and your own examples to each position 

(register) of your instrument (octave). Once your 

comfortable in one key transpose to all 15 keys.

Also get accustomed to writing out all your ideas on the musical staff. 

 

 

 

All materials for personal use only.

Vince Lauria Sun and Earth Music

Copyright © 2011

In this next series of lessons I will demonstrate some of the most common techniques

of combining melody with common chord progressions. 

Now combining the C Harmonic Major Scale family of chords and chromatic passing notes. 

I created a melody using the C harmonic major scale, its family of chords 

and the chromatic scale. 

Figure out the chord progression and then write it in roman numerals. 

Determine what chords are within the family of chords and what are not. 

Observe the techniques and incorporate in your own compositions. 

Figure out all chords, their voicing's and the melody's interval 

relationship to the chords and itself.

Harmonic Major Family of Chords:

In this next series of lessons I will demonstrate some of the most common techniques

of combining melody with common chord progressions. 

Now combining the C Harmonic Minor Scale family of chords and chromatic passing notes. 

I created a melody using the C harmonic minor scale, its family of chords 

and the chromatic scale. 

Figure out the chord progression and then write it in roman numerals. 

Determine what chords are within the family of chords and what are not. 

Observe the techniques and incorporate in your own compositions. 

Figure out all chords, their voicing's and the melody's interval 

relationship to the chords and itself.

Harmonic Minor Family of Chords:

In this next series of lessons I will demonstrate some of the most common techniques

of combining melody with common chord progressions. 

Now using the C Harmonic Major Scale.

I use a simple two note melody in C harmonic major except bar four 

In this next series of lessons I will demonstrate some of the most common techniques of melody variations. 

In this next series of lessons I will demonstrate some of the most common techniques of melody variations. 

Also called exploiting a Motive, Theme, Line, Riff or Cantus firmus.   

Original melody:

Stretto is similar to Imitation except same melody is in close succession. 

Stretto from Italian meaning 'tight' or 'close'.

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

In this next series of lessons I will demonstrate some of the most common techniques of melody variations. 

Also called exploiting a Motive, Theme, Line, Riff or Cantus firmus.   

Original melody:

Same melody - four voice (point) counterpoint in C Natural Minor. 

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