HARMONY GENERAL

(A BRIEF THEORY MANUAL)

By John Amato
Table of Contents Page
Co!" F#n$t%on an" Ha!&on%$ Mo'e&ent ( ) *
(+table an" Unstable !esol#t%on,)
Ma-o! . M%no! T!%a"s
(Ps/$olog%$al Effe$t of Ma-o! an" M%no!0
M#s%$ an" E&ot%on) * 1 2
Nat#!al an" Ha!&on%$ M%no!
(C!o&at%$ . 3%aton%$ +$ales4 3o&5 6
t
. te A#g5 2
t
!esol#t%on4
T!%tone s#bst%t#t%ons4 Ha!&on%7e" s$ale) 2)6
Ha!&on%$ Ma-o! 8
3o#ble Ha!&on%$ Ma-o! +$ale 9
3o#ble Ha!&on%$ M%no! +$ale (:
Melo"%$ +$ales (M%no!)
(As$en"%ng . 3es$en"%ng Melo"%$ &%no! s$ales) ((
Melo"%$ Ma-o! +$ale (;
Te <a77 M%no!
(Melo"%$ M%no!=Ma-o! +$ale) (*
Mo"al +$ales (*
Alte!e" +$ales (> 1 (8
Pentaton%$s . Bl#es +$ales (9
E?ot%$ +$ales ;:);9
Ca"en$e
(Ca"en$e Ca!ts) ;9)*>
Mo"#lat%on *@)>>
A""en"#& on AMelo"%$ M%no!B . I&C!o'%sat%on >>
H#&&%ng Yo#! +olo >9
Co#nte!Co%nt (b!%ef "ef%n%t%ons) @:
HARMONIC THEORY
By John Amato
0
A
special thanks goes out to Andrew Milne for his musical knowledge and guided assistance in providing rationale
and definition in musical physics and other theoretical areas.
Ha!&on%$ Mo'e&ent o! P!og!ess%on (Ca"en$e)D Chords in any key have a tendency or movement to gravitate
down a perfect fifth upward or a perfect fourth downward.
E?a&Cle (D
II 1 I ) E (te II chord starts the progression and rests on the I chord.) The II chord wants to move to the
chord! and the E chord wants to move to the I chord. "tarting the progression on the ## chord! delays the movement
to the rest chord I.
E?a&Cle ;D
I 1 EI 1 II 1 E (The # chord starts this progression. The EI acts as a su$. %or the I and moves naturally to
the II chord which acts as a su$. %or the IE chord and wants to move toward the E chord! evoking a greater
movement to te I chord.
3o&%nant +e'ent Mo'e&entD All &ominant '
th.
Chords may move down a perfect fifth or up a perfect fourth.
E?a&Cle (D
(UCFa!" one alf steC)

E
I
CHOR3 FUNCTION
I (sta$lishes the key center and chord of rest. All other chords gravitate toward that chord.
II Moves toward the E chord (down a perfect fifth or up a perfect fourth). "ometimes acts as a
su$stitute for the IE chord.
III Acts as a su$stitute for the I chord. "ometimes it progresses to the EI chord.
IE )sed as a temporary new key center. "ometimes it acts as a su$stitute for the II chord and
progresses to the E chord.
E *rogresses to the I chord and creates tension $ecause it is the most unsta$le of the diatonic chords.
The E chord evokes a greater sense of movement that the other si+ chords.
EI Acts as su$stitute for the I chord and progresses to the II chord (down a perfect fifth or up a
perfect fourth).
EII Acts as a su$stitute for the E chord and progresses to the I chord.
1
36 G
( $ = fG ) ( b = g)
E?a&Cle ;D
(downward a half step, classical theory calls this the augmented -
th
movement! enharmonically the same as
the dominant seventh.)
bII E
Ab6 G
( $ = gb ) ( b = g )
E?a&Cle ;aD
E IE
Ab6 3b
( gb = $ ) ( f = "b )
E?a&Cle ;bD
E bI
36 3b
( $ = fG ) ( f = "b )
T!%tone +#bst%t#t%onD The distance $etween the *
!"
5 an" b6t. chord degrees of the dominant seventh chord is
called a Tritone.
E?a&Cle (D 36 (E) an" Ab6 (bII) a!e %nte!$angeable0 a$t%ng as s#bst%t#t%ons fo! ea$ ote!5 Bot $o!"s
se!'e as a t!%tone s#bst%t#t%ons &o'%ng toFa!" te I $o!" (G&a-56)

E bII I
36 )) Ab6 ) G&a-6
(fG = $) (gb = $) (fG = b)
E?a&Cle ;D
E bII I
Ab6 1 36 ) 3b&a-6
(gb = $ ) (fG = $) (f = $)
MA<OR AN3 MINOR +CALE+
The two scales in music in music are considered to have a ma.or or minor sonority (sound)! and are called Major
and Minor. These scales are derived $y dividing tones in eight divisions starting from a root position to its octave
(eight notes a$ove the inclusive root). #f we have a chromatic scale it would $e twelve notes a$ove the inclusive
root. The diatonic scale consists of the eight tones derived from the chromatic scale discussed earlier. All
su$se/uent harmonic structures (triads) are $uilt off of the Major and Minor scale system.
2
HUE+TION, 0hat makes a Major scale and Minor scale have their different sonorities (sounds)1
AN+IERD #t lies within Harmonic Roots. The intervals of the octave! the perfect fifth and the ma.or third are
rooted intervals. They have a root tone at the $ottom and a tone which is subsidiary (or supplementary) to this root
at the top.
E?a&CleD C Ma-o! 2 C (root) E (ma.or third) G (perfect fifth).
3f these tones, C 1 E 1 G! it is the root tone of C (I) which most effectively carries! or represents the pitch of the
interval as a whole. 0hen these three notes are played whole or clustered you can hear the sound of 4ma.or5ness6
$ecause the upper triad partials are in relation to the Tonic root! in this case! C! and the su$se/uent sound /uality is
said to $e! 4Ma.or6.
Both the third (E) and the fifth (G) act as su$sidiary! secondary! or supplemental tim$ral enhancements of the root
tone (C)0 the Tonic! or root tone. The third and fifth tones are said to $e partially unified and in a sta$le /uality to
the root tone.
+table an" Unstable In'e!s%ons5
#nverted partials (*
!"
an" @
t
) $ecome unsta$le and tend to seek resolution to their nearest rooted interval neigh$or
when they are in a lower position that the root! or when the root is higher than its su$sidiary).
E?a&CleD
() E ) G ) C (C 5 7
st
inversion) C( o! Ca
;) G ) C ) E (C 5 8
nd
inversion) C; o! Cb
+table Resol#t%onD
#n (+ample (7) the fourth degree resolves to the first inversion C ( (its closest rooted interval neigh$or),
F (F)A)C) C( (E)G)C) This resolution naturally moves from a perfect fourth to a ma.or third.
#n (+ample (8) the minor si+th degree resolves to the second inversion C; resolves to (its closest interval
neigh$or),
A& (A)C) E) C; (G)C)E) This resolution naturally moves from a minor si+th to a perfect fifth.
3%ffe!en$e BetFeen Ma-o! an" M%no! T!%a"s
#t has $een a widely misunderstood concept that to make a minor triad it re/uires a root tone (C) followed
$y a minor *
!"
interval (Eb). Theoretically this is true $ecause of the interval span $etween the root and the minor
third (b*)9 however! it is not accurate as far as the physics of music is concerned. #n reality in involves the unifying
(gravitational) forces that lie $etween three notes (triad). There are $asically two ways we can unify notes,
() Ma-o! t!%a", one tone is the Root and the other two tones act as su$sidiary tones to the root.
;) M%no! t!%a", one of the tones acts as a secondary and the other two tones can $e roots to that same
tone.
Te Ma-o! T!%a"
3
A Ma.or triad is made up of a ma.or third tone and perfect fifth tone a$ove a common root! $uilding upward
from a $ass tone (root inversion). The upper notes (*
!"
. @
t
) are considered su$sidiary to the root tone in the $ass.
This creates a unifying force $ecause the lowest tone is the common root and acts as a sta$ili:ing home anchor for
the entire triad. The two upper su$sidiaries act as supplemental enhancements! coloration! support and e+tension of
the root tone. "ome music theory $ooks e+plain the ma.or triad as I 1 III 1 E. This is so! $ut it really an
oversimplification that leaves much to $e desired in terms of real comprehension and understanding of the $asics
of music theory.
To keep it simple! the Ma.or triad formula is Root0 T%!"0 Pe!fe$t F%ft5
Ps/$olog%$al Effe$t of Ma-o! an" M%no!
There are many theories $ehind what makes the ma.or triad (also includes its minor scale) $esides the arrangement
of tone intervals.
Two underlying theories that go $eyond the formulaic interval span and that touch upon the invisi$le! mental
(psychological) and spiritual effect music has on everyone the psychological effects of ma.or and minor on the
human mind as evidenced $y the emotional response these intervallic spaces and their respective tonalities have
upon the human psyche.
Ma-o! T!%a"
Moving upward from a common root tone, the major triad consists of root tone, a major third, and a perfect
fifth.
This creates a unifying force $ecause the lowest tone is the common root and acts as a sta$ili:ing home anchor for
the entire triad. The two upper su$sidiaries act as supplemental enhancements! coloration! support and e+tension of
the root tone.
() the complement! enrichment! or enhancement of the one through the sacrifice and re$irth of the two in
the one.
;) the unification of the two! otherwise independent identities through their common sacrifice and re$irth
in the one.
M%no! T!%a"
Moving downward from its fifth degree the minor triad consists of a perfect fifth and a major third (that is
starting from the roots fifth degree moving downward a major third.)
() complement! enrichment! or enhancement of the two through the sacrifice and re$irth of the one in the
two.
;) the unification of the two! otherwise independent identities through their common enhancement.
4
This unifies the three tones $ecause the fifth is the common su$sidiary and so serves $oth to support and strengthen
$oth the other two tones. #t is the ne+us (connection or link $etween) of two otherwise independent identities.
M#s%$al E&ot%on
The psychological effects of the ma.or and minor triads! and their respective tonalities! can $e understood as the
emotional effects! or conse/uence of these of the gravitational (musical physics) relationship and correlation
$etween these intervals said to $e ma.or and minor.
Ma-o! T!%a" E&ot%onal ResConse
he major triad revo!ves around the ideas and concomitant emotions of order, purit", devotion, su#mission and
worship. $ndeed, music can #e, and is, a most spiritua! e%ercise and force.
M%no! T!%a" E&ot%onal ResConse
he minor triad revo!ves around the ideas and the concomitant emotions of sacrifices, a!truism, comp!e%it" and
partnership.
Ma-o! an" M%no! Tonal Cente!s
There are two tonal centers within the Major scale, the tonal center of I (C Major)! and the &atura! minor EI (A
&%no!) which esta$lishes the relative minor. This creates two tonally effective scales derived from the same parent
center in the ma.or scale! or the diatonic prime. This means that there are only two tonally effective scales to $e
taken from the diatonic prime ; the ma.or scale and the natural minor (or Aeolian) scale.
#n C Major! the si+th degree is the relative minor (A minor)! also known as the natural minor (or 'eo!ian) scale.
There are eight tonal harmonic scales. The following scales will $e e+amined in detail! and will $e treated under
the prime scales from which they are derived,
#t is from the natural minor that we derive the following eight ma.or and minor scales,
< The &iatonic scales
The Ma.or scale
The Aeolian (=atural minor)
< The >armonic minor scale
< The >armonic ma.or scale
< The Melodic scales
The (ascending) melodic minor scale
The (descending) melodic minor scale
< The &ou$le >armonic scales
The &ou$le >armonic ma.or scale
The &ou$le >armonic minor scale
5
C!o&at%$ +$ale (tFel'e tone)D C ; C? 5 & ; &? 5 ( ; (? (%); %? 5 @ ; @? 5 A ; A?(B$) ; B ; B? (C)
3%aton%$ +$ale (e%gt tone)D Applies the following step intervals to the Chromatic "cale,
whole step A whole step A half step A whole step A whole step A whole step A half step.
C Ma-o! Ha!&on%7e" +$ale
"tarting at any chromatic root! chords (triads) are $uilt from the root (#) plus the B
rd
. (###) and the perfect C
th
(E).
E?a&Cle (D
C & E % G A B
$ ## $$$ # ( # ##
(ach note in a diatonic scale has a corresponding chord in a progression of &iatonic chords (see opening chart),
C 3 E F G A B
I II III IE E EI EII
,noF letJs a!&on%7e te s$ale "eg!ees,5
C &a-o! 3 &%no! E &%no! F &a-o! G "o&%nant A &%no! B &%no! b6 (alf "%&5)
I II (%%) III (%%%) IE E EI('%) EII('%%)
T!%a"s
C 3& E& F G A& B&%nb@
>)Pa!t Co!"s
C&a-6 3&6 E&6 F&a-6 G6 A&6 B&6b@
B/ aCCl/%ng !o&an n#&e!als to te $o!"s of a a!&on%7e" s$ale a $o&Ca!%son of $o!" C!og!ess%ons $an
be &a"e5
>)Pa!t Co!"s
C&a-6 3&6 E&6 F&a-6 G6 A&6 B&6b@ (BK)
I II III IE E EI EII
6
I L Ton%$
II L +#Ce!ton%$
III L Me"%ant
IE L +#b"o&%nant
E L 3o&%nant
EI L +#b&e"%ant
EII L Lea"%ng Tone
Te Nat#!al M%no!D
C L A &%no! (A is the si+th degree of C! or Aeol%an mode)
C 3 E F G A B C
The harmonic progression derived from the diatonic scale degrees will $e discussed in the MO3E+ section.
Te Ha!&on%$ M%no!
=umerically the harmonic minor scale and its accompanying chordal progression is,
NotesD ( ; b* > @ b2 6
Co!"sD I %%
:
b%%% %' E bEI '%%
:
E?a&CleD A B C 3 E F GG (Ab)
Co&&on $o!" na&es (fo! C!a$t%$al #se)D
( (I)D A &%n=&a- 6 (A 1 C 1 E 1 GG)
; (%%)D B "%& 6 (B 1 3 1 F 1 Ab)
* (b%%%)D C Ma- 6M@ (C 1 E 1 GG ) B)
> (%')D 3 &%n 6 (3 1 F 1 A 1 C)
@ (E)D E6 (E 1 GG ) B 1 3)
2 ('%)D F Ma-6 (F 1 A 1 C 1 E)
6 ('%%)D Ab 3%& 6 (Ab 1 B 1 3 1 F)

Delated as all minor scales are to the si+th degree EI (=atural minor! Delative minor)! the >armonic minor is well
known to classical composers for is strong harmonic structureEknown for its harmonic foundation of minor mode
music. >owever! $ecause of the large interval span $etween the augmented second found $etween its si+th (EI)
and seventh (EII) degrees.
The tonality of the harmonic minor scale! $ecause of the aug. second $etween the EI and EII! is not smooth and
orderly and produces an unsta$le effect upon the ear. Because of this! the harmonic minor scale is avoided for its
melodic contri$ution to harmony9 however! its foremost strength lies in its strong harmonic foundation as a minor
harmonic structure. 0e will see with the Melodic minor how it offers more sta$ility within its melodic line. The
>armonic minor is also known around the world as the Jewish! the Mohammedan! and the Ma.or *hrygian scales.
Te Ha!&on%$ Ma-o! +$ale
7
The >armonic ma.or scale is num$ered as follows,
NotesD ( ; * > @ b2 6
Co!"sD I %%
:
%%% %' E bEIM b'%%
:
E?a&CleD C 3 E F G Ab B
Co&&on $o!" na&es (fo! C!a$t%$al #se)D
( (I)D C Ma- 6 (C)E)G)B)
; (%%)D 3 &%n6b@ (alf)"%&) (3)F)Ab)C)
* (%%%)D E &%n6 (E)G)B)3)
> (%')D F &%n6 (3 1 F 1 A 1 C)
@ (E)D G6 (G)B)3)F)
2 (b'%)D Ab &a-6M@ (F 1 A 1 C 1 E)
6 ('%%)D B "%&6 (B)3)F)Ab)
This scale is often su$stituted for the ma.or scale $ecause it strengthens the tonality. #t is also very effective
$ecause of its non5confusing and decisive I $o!" (Ma-6)Nthis makes it a very sta$le scale. >owever! this scale
is not used for an e+tended period $ecause of the two semitones $etween its @
t
an" 2
t
an" 6
t
an" 8
t
degrees. #t has four types of sounds! ma.or! minor! diminished! and augmented! making it less melodically
smooth than the diatonic scale.
Te 3o#ble Ha!&on%$ +$ales
This is the only prime scale that is not proper! $ecause of its use of three types of seconds (ma.or! minor and
augmented) it is melodically rough. #ts sound is very typical of =orthern Africa or Middle (astern origins.
#t is interesting to note that in the &ou$le >armonic "cale two triads can function as tonics, C major and )
minor. This gives us tow tonally effective modes derived from this prime scale, the dou$le harmonic ma.or and the
dou$le harmonic minor scale.
Te 3o#ble Ha!&on%$ Ma-o! +$ale
NotesD ( b; * > @ b2 6
Co!"sD I bII %%% %' E
(b@)
bEIM '%%
E?a&ClesD C 3b E F G Ab B
Co&&on $o!" na&es (fo! C!a$t%$al #se)D
( (I)D C Ma-6 (C)E)G)B)
; (bII)D 3b Ma-6 (3b)F)Ab)C)
* (%%%)D E &%n2 (E)G)B)3b)
> (%')D F &%n=&a-6 (F)Ab)C)E)
@ (E)D G6b@ (G)B)3b)F)
2 (b'%)D AbM@ (Ab)C)E)
6 (b%%6)D 3b6=B (B)3b)F)Ab)
This scale is usually used as a temporary alteration of the standard ma.or. #t consists of a strong tonic
8
function! $ut should $e avoided for fre/uent use over more sta$le harmonic structures due to parallel fifths
and augmented seconds ($etween $8 and $B! and $etween $- and $') intervals. #t can provide some
interesting e+otic sounds though as it can provide a source for creative e+ploration.
=ote the /uite e+traordinary cadence of,
E?a&Cle (D %%% 1 bII 1 I
In CD E& (2) 3b Ma-6 C Ma-6
E?a&Cle ;D bII a#g2 ) I
IN CD 3b Ma-6 C Ma-6
E?a&Cle ; a$ove was earlier e+plained as the classical augmented si+th! also known as the @erman! %rench or
#talian "i+th chord. #n .a:: theory it is also call the Altered Dominant. #n all instances! this cadence is mostly
used as a secondary cadence! resolving to IE o! E in the scale (see (+ample B $elow)
E?a&Cle *D E )) bII )) I
In CD G6
(b@)
3b C
Te 3o#ble Ha!&on%$ M%no! +$ale
NotesD ( ; b* > @ b2 6
Co!"sD % II
:
bIIIM %' E bEI '%%
:
E?a&ClesD C 3 Eb F G Ab B
Co&&on $o!" na&es (fo! C!a$t%$al #se)D
( (%)D C &%n=&a-6 (C)Eb)G)B)
; (II
b@
)D 3 &%n6b@ (3)F)Ab)C)
* (bIII)D Eb6M@ (Eb)G)B)3b)
> (bEI)D F &%n6 (F)Ab)C)Eb)
@ (E)D G&a-6 (G)B)3)FG)
2 (bEI)D AbMa-6 (Ab)C)E)G)
6 ('%%)D B 3%&6 (B)3)F)Ab)
This scale creates the unusual cadence ofD bEI )) '%% )) %
E?a&Cle (D Ab6 B &%n(2) C &%n=&a-
This scale is particularly unusual especially $ecause of the weak resolution of its tonic % (C &%n=&a-) triad.
>owever! $ecause of its uni/ue melodic rarity it offers a curious user many possi$ilities.
Te Melo"%$ +$ales
9
The Melodic scale is very often used for its smooth sound (containing only two si:es of seconds! ma.or and minor)!
especially proper for improvisation. Two other scales used in con.unction with .a:: and improvisation is called the
Fydian dominant scale and altered scales which are discussed later.
Te Melo"%$ M%no! +$ale
NotesD ( ; b* > @ 2 6
Co!"sD % %% bIIIM EI E '%
:
'%%
:
E?a&ClesD C 3 Eb F G A B
E?a&Cle (D
As$en"%ng Melo"%$ &%no! (C &%n=&a-)D C 3 Eb F G A B
(C &%n=&a- C!%&a!/ f#n$t%on as Ton%$)
Co&&on $o!" na&es (fo! C!a$t%$al #se)D
( (%)D C &%n=&a-6 (C)Eb)G)B)
; (%%)D 3 &%n6 (3)F)A)C)
* (bIIIM)D Eb Ma-6M@ (Eb)G)B)3)
> (IE6)D F6 (F)A)C)Eb)
@ (E6)D G6 (G)B)3)F)
2 ('%:)D A &%n6b@ (A)C)Eb)G) )) so&et%&es $alle" alf)"%&%n%se"
6 ('%%:)D B &%n6b@ (B)3)F)A) )) so&et%&es $alle" alf)"%&%n%se"
The melodic minor scale has two triads capa$le of $oth acting as tonics, C &%no! and G &a-o! )) $oth function
as tonics! two /uite effective modes of the Melo"%$ scale.
E?a&Cle ;D 3es$en"%ng Melo"%$ Ma-o! (G6)D G A B C 3 Eb F
(G6 $an also f#n$t%on as Ton%$) Common chord names (for practical use),
( (I)D G6 (G)B)3)F)
; (%%)D A &%n6b@ (A)C)Eb)G) )) so&et%&es $alle" alf)"%&%n%se"
* (III)D B &%n6b@ (B)3)F)A) )) so&et%&es $alle" alf)"%&%n%se"
> (I%')D C &%n=&a-6 (C)Eb)G)B)
@ (')D 3 &%n6 (3)F)A)C)
2 ('%
:
)D Eb Ma-6M@ (Eb)G)B)3)
6 ('%%
:
)D F6 (F)A)C)Eb)
The Melodic minor consists of minor seconds (semitones) $etween the 8
nd
and B
rd
degrees and $etween the
'
th
and G
th
degrees! and wholetones (ma.or seconds) $etween all the other tones. This formula can $e
used on any note to form the melodic scale5
Te Melo"%$ Ma-o! +$ale
The melodic ma.or is like a mirror of the ascending melodic minor scale. The -
th
and '
th
degrees of the
Aeolian mode (discussed later in the Modes) are sharpened! in the melodic ma.or scale the -
th
and '
th

degrees of the diatonic ma.or scale are flattening. The use of the flattened si+th and the flattened seventh
10
produce a mellow and pleasing sound.
The use of this scale has historically and traditionally $een used as the temporary melodic su$stitute for the
harmonic minor which is more properly adapted for harmonic structural foundations.
Continued use of the %% or IE in a minor mode tend to make the tonic sound altered or function as a su$stitute
for the tonic.

Classical composers have mostly ignored this scale possi$ly $ecause of the traditional use of the E chord as ma.or!
for with the Melodic minor! the ' chord is minor. #n other words! for the E (') to function in relation to the tonic I
or %! it can $e very effective as &%no!D %n CD G &%n65
This is a very usea$le scale with .ust a slightly unsta$le tonic function on I5
NotesD ( ; * > @ b2 b6
Co!"sD I %%
:
%%%
:
%' ' bEIM bEII
E?a&ClesD C 3 E F G Ab Bb
Co&&on $o!" na&es (fo! C!a$t%$al #se)D
( (%)D C6 (C)E)G)Bb)
; (%%)D 3 &%n6b@ (3)F)Ab)C) )) so&et%&es $alle" alf)"%&%n%se"
* (b%%%)D E &%n6b@ (E)G)Bb)3) )) so&et%&es $alle" alf)"%&%n%se"
> (%')D F &%n=&a-6 (F)Ab)C)Eb)
@ (')D G &%n6 (G)B)3)F)
2 (b'%M)D Ab Ma-6M@ (Ab)C)E)G)
6 (b'%%)D Bb6 (Bb)3)F)Ab)
An interesting note here is that the usual leading tone $eing the 6 (which resolves to ()0 in the case of the Melodic
Ma.or! the b2 resolves to the fifth of the tonic (in CD Ab G) This leading tone is also found in the su$dominant
(%')0 in this case the su$dominant takes on the role that is usually reserved $y the dominant in the ma.or and minor
scales.
<a77 M%no! 1 (also known as the Melo"%$ M%no! +$ale)
This scale uses the ascending portion of the Melodic Minor, C 3 Eb F G A B
#t functions as the natural minor (Aeolian! =atural! or Delative) with a raised EI and EII steps! or as a Ma.or scale
with a lowered *
!"
degree.
NotesD ( ; b* > @ 2 6
Co!"sD % %%
:
%%%
M
IE E EIM EII
E?a&ClesD C 3 Eb F G A B
11
Co&&on $o!" na&es (fo! C!a$t%$al #se)D
( (%)D C &%n=&a-6 (C)Eb)G)B)
; (%%)D 3 &%n6 (3)F)Ab)C)
* (bIIIM)D Eb Ma-6M@ (E)B)G)B)3)
> (IE)D F6 (F)A)C)Eb)
@ (')D G6 (G)B)3)F)
2 ('%M)D A &%n6)@ (A)C)E)G) )) so&et%&es $alle" alf)"%&%n%se"
6 (b'%%)D B &%n6)@ (Bb)3)F)A) )) so&et%&es $alle" alf)"%&%n%se"
MO3AL +CALE+
The Modal scalesH are derived from the &iatonic scale. (ach note of the diatonic scale $ecomes the Ton%$ I
function of its own scale. #ts use is very effective as an improvisational tool when soling over chord progressions.
E?a&Cle (D 3 Ma-6 3 Ion%an (ton%$ I of 3 s$ale)
E?a&Cle ;D Ab &%n6 Ab 3o!%an (se$on" of Gb s$ale)
E?a&Cle *D G &%n6 G P!/g%an (third of ($ scale)
E?a&Cle >D F Ma-6 F L/"%an (fo#!t of C s$ale)
E?a&Cle @D C6 (E of F) C M%?ol/"%an (fifth of % scale)
E?a&Cle 2D E &%n6 E Aeol%an (s%?t of G s$ale)
E?a&Cle 6D B &%n6
)@
B Lo$!%an (se'ent of C s$ale)
I L Ma-o!
%(%%0 %%%0 %'0 '%) L &%no!
MO3AL +CALE NAME OEY (Pa!ent +$ale) +CALE NUMBER . CHOR3 TYPE
C Ion%an C (C)3)E)F)G)A)B) I L C Ma-6
C 3o!%an Bb (C)3)Eb)F)G)A)Bb) %%L C &%n 6
C P!/g%an Ab (C)3b)Eb)F)G)Ab)Bb) %%% L C &%n 6
C L/"%an G (C)3)E)FG)G)A)B)) IE L C Ma-6
C M%?ol/"%an F (C)3)E) F)G)A)Bb) E L C6
C Aeol%an Eb (C)3)Eb)F)G)Ab)Bb) '% L C &%n 6
C Lo$!%an 3b (C)3b)Eb)F)Gb)Ab)Bb) '%% L C &%n6b@
PIHEN AN3 HOI TO U+E THE+E MO3AL +CALE+ IILL BE 3I+CU++E3 IN THE +ECTION ON
CA3ENCE+ . PROGRE++ION+5
ALTERE3 +CALE+
12
Below is an e+ample of an altered scale. #t uses ' different notes per octave! .ust like a normal ma.or scale
would function. #t is made up of tone and semitone steps. #n this case the steps are in a slightly different order than
we would see in a ma.or scale. The altered scale goes $y various different names that we will discuss! most
commonly Imelodic minorI (given $elow as a refresher).
Te C <a77 M%no! +$ale 1 (sta!t%ng on te %% "eg!ee)
<a77 M%no! 1 (also known as the Melo"%$ M%no!=Ma-o! s$ale)
Te abo'e s$ale offe!s &an/ %nte!est%ng n#an$es to a -a77 $o&Cos%t%on #s%ng sa/ te folloF%ng C!og!ess%onD
= C &%n=&a-6 = A &%n6b@ = 3 &%n6 G6 = C &%n=&a-6 =
This scale uses the ascending portion of the Melodic Minor, C 3 Eb F G A B
#t functions as the natural minor (Aeolian! =atural! or Delative) with a raised EI and EII steps! or as a Ma.or scale
with a lowered B
rd
degree.
NotesD ( ; b* > @ 2 6
Co!"sD % %%
:
%%%M IE E EIM EII
E?a&ClesD C 3 Eb F G A B
Co&&on $o!" na&es (fo! C!a$t%$al #se)D
( (%)D C &%n=&a-6 (C)Eb)G)B)
; (%%)D 3 &%n6 (3)F)Ab)C)
* (bIIIM)D Eb Ma-6M@ (E)B)G)B)3)
> (IE)D F6 (F)A)C)Eb)
@ (')D G6 (G)B)3)F)
2 ('%M)D A &%n6)@ (A)C)E)G) )) so&et%&es $alle" alf)"%&%n%se"
6 (b'%%)D B &%n6)@ (Bb)3)F)A) )) so&et%&es $alle" alf)"%&%n%se"
The use of altered scales is to offer variety (some spice) of melodic enhancement (solos and fills) used most
effectively in improvisation ; a common use for altered scales e+ists in the .a:: voca$ulary.
The following e+amples of altered scales can $e used over the listed chord types and families (this is not a
complete list),
()5 C L/"%an A#g&ennte" (see A""en"#&0 Cage >>)
) *
!"
Mo"e of te <a77 &%no! (see abo'e)D
13
Compared to! and derived from! C Ma-o! (A Melodic minor), C $eing the fourth (#) degree of @! and @? $eing
the augmented fifth degree of the C <a77 &%n%o!. This scale! C L/"%an A#g&ente" contains the same notes as the
A <a77 &%no!5
E?5a&Cle (5
C 1 3 1 E 1 FG ) GG ) A 1 B 1 C
I 1 II 1 III ) GIE ) ME 1 EI ) EII 1 EIII
< to $e played /uite effectively over the following harmonies,
C Ma-6M@
A &%n=&a-6
36G((
FG &%n6b@
E6M@
GG &%n6b@
E?5a&Cle ;5
Compared to! and derived from! F Ma-o! (& Melodic minor), % $eing the fourth (#) degree C! and C? $eing the
augmented fifth degree of te F<a77 &%n%o!.
F 1 G 1 A 1 B 1 CG ) 3 1 E 1 F
I 1 II 1 III ) GIE ) ME 1 EI) EII 1 EIII
< to $e played /uite effectively over the following harmonies,
F Ma-6M@
3 &%n=&a-6
G6G((
B &%n6b@0
A6M@
CG &%n6b@
;)5 C L/"%an b6 +$ale
C 1 3 1 E 1 FG ) G 1 A 1 Bb 1 C
I 1II 1 III ) GIE 1 E 1 EI 1 bEII ) EIII
Compared to! and derived from! G Ma-o!! C $eing the fourth (#) degree of @! and B$ the raised '
th
degree of the
C L/"%an. =3T(, the C L/"%an b6 scale contains the same notes as the G <a77 M%no! (Melodic MinorJMa.or
scale).
< to $e played /uite effectively over the following harmonies,
C6G((
36M@
E &%n6b@
FG &%n6b@
14
G &%n=&a-6
Bb Ma-6M@
*)5 C Lo$!%an Ra%se" ; +$ale (G;)
5 6
t
Mo"e of te 3b Ma-o! s$ale F%t a G; ( see te Mo"al s$ales %f #ns#!e of "eg!ees)D
C 1 3 1 Eb 1 F 1 Gb 1 Ab 1 Bb 1 C
I 1 II 1 bIII 1 IE 1 bE 1 bEI 1 bEII ) EIII
< to $e played /uite effectively over the following harmonies,
C &%n6b@
3 &%n6b@
Eb &%n6
F &%n6
Gb Ma-6M@
Ab6
Bb6M@
>)5 C +#Ce! Lo$!%an
5 3e!%'e" f!o& te 6
t
&o"e of te 3b Melo"%$ &%no!
C 1 3b 1 Eb 1 Fb (E) 1 Gb 1 Ab 1 Bb 1 C
I 1 bII 1 bIII 1 bIE(III) 1 bE ) bEI ) bEII ) EIII
E?a&Cle (D t%s &o"al s$ale !eC!esents te 6
t
s$ale of C Melo"%$ &%no!D B &%n6
b@
(o! so&et%&es B alf
"%&56)
< to $e played /uite effectively over the following harmonies,
C &%n6b@
3b &%n=&a-6
Eb &%n6
Fb (E)Ma-6M@
Gb6
Ab6
Bb &%n6b@
C6b@G@
C6b9G9
A M%no! Oe/ Co!" P!og!ess%on 'e!/ $o&&on %n <a77 tat f%ts Fell F%t te abo'e alte!e" s$ales %sD
= I &%n=&a-6 = EI &%n6b@ = II &%n6b@ = E6b9 =
C &%n=&a-6 )) A &%n6b@ )) 3 &%n6b@ 1 G6b9
C +#Ce! Lo$!%an %s a 6
t
&o"e of te 3b <a77 &%no! (see <a77 &%no! abo'e)D
E?a&Cle (D 3b <a77 M%no! L 3b ) Eb 1 Fb(E) 1 Gb ) Ab ) Bb ) C
15
I %%
:
%%%M IE E EIM EII
@)5 C 3%&%n%se" s$ale
C 1 3 1 Eb 1 F 1 FG ) GG ) A 1 B 1 C
I 1 II 1 bIII 1 IE ) G(E ) EM )EI 1 EII 1 EIII
< to $e played /uite effectively over the following harmonies,
C "%&6
Eb "%&6
FG "%&6
A "%&6
C6b@
F6
B alf "%&6
2)5 C Iole Tone s$ale
C 1 3 1 E 1 F ) GG ) AG 1 BG
I 1 II 1 III 1 IE ) EM )EI 1 EIIM
< to $e played /uite effectively over the following harmonies,
C6b@
C6M@
C6M@b@
6)5 C Half=Iole 3%&%n%se" s$ale
C 1 CG ) 3G ) E 1 FG ) G 1 A 1 Bb 1 C
I 1 GI )) GII 1 III 1 GIE 1 E 1 EI 1 bEII 1 EIII

< to $e played /uite effectively over the following harmonies,
C6G9
C6b@G9
C6b@b9
C6b@b9G9
8)5 CG 3%&%n%se" Iole Tone s$ale
CG ) 3G ) E 1 FG ) G 1 A 1 Bb 1 C
I 1 GII 1 III 1 GIE 1 bE 1 bEI 1 bEII 1 bIQ o! (bI)

16
< to $e played /uite effectively over the following harmonies,
C6G9
C6b@G9
C6b@b9
C6b@b9G9
9)5 C Pentaton%$ +$aleD
*entatonic scales are made up of five tones They are also widely used in .a::! $lues! country and $luegrass
music. This fact makes pentatonic scales a very important part of modern and traditional music. There are ma.or
and minor pentatonics.
C 1 3 1 E 1 G 1 A
I ) II ) III ) E ) EI
T%s s$ale Fo!Rs 'e!/ Fell o'e! $o!" C!og!ess%ons tat a!e base" C!%&a!%l/ on &a-o! $o!"s5 T!/ %t o'e!
E?a&Cle (5
I 1 IE 1 E ) I0 E 1 IE 1 I 1 E
C 1 F 1 G 1 C0 G 1 F 1 C ) G
E?a&Cle ;5
I 1 %' ) IE ) E ) I
C 1 F& 1 F 1 G ) C
(:)5 Bl#e Notes %n CD C 1 Eb 1 Gb
I 1 bIII ) bE
(()5 C Bl#es Pentaton%$ (C M%no! Pentaton%$)D C 1 Eb 1 F 1 G 1 Bb 1 C
This scale works well for chord progressions $ased on minor chords.
E?a&Cle (D
%' 1 %% 1 %%% 1 %'
F& 1 3 &%n6b@ 1 Eb Ma-6 ) F&
E?a&Cle ;D
%% 1 %%% 1 IE ) %%5
3 &%n6b@ ) Eb Ma-6 ) F ) 3 &%n6b@
NOTED Yo# $an also #se &%no! Centaton%$ s$ales o'e! so&e &a-o! $o!" C!og!ess%ons to C!o"#$e a Sbl#es/S
so#n"5 TaRe $a!e F%t te b* Fen /o# t!/ %t t%s Fa/5 Te b* $an so#n" o#t of Cla$e o'e! a &a-o! $o!"5 A
Fa/ to a'o%" t%s %s to Cla/ te b* as a sl#!0 gl%ssan"o0 o! legato as a Cass%ng tone %nto te * abo'e o! to te
se$on" o! n%nt beloF0 e'ent#all/ lan" %ngon te !oot5 Tat %s a $lass%$ bl#es l%$R5
17
E?a&Cle *D Use C Bl#es Pentaton%$ (C M%no! Pentaton%$)D C 1 Eb 1 F 1 G 1 Bb 1 C
I 1 IE 1 E ) I
C 1 F 1 G ) C
E?a&Cle >D
E 1 IE 1 I 1 E
G ) F ) C ) G
(;)5 C Bl#es +$aleD C 1 Eb 1 F 1 Gb 1 G 1 Bb 1 C
I ) bIII ) IE ) bE ) E ) bEII 1 EIII
EQOTIC +CALE+
() Te O$taton%$ +$ale 1 ( b; b* T* G> @ 2 b6 8
C 3b Eb E FG G A Bb C
18
In Ieste!n &#s%$ Fe a'e &a-o! an" &%no! s$ales $ons%st%ng of se'en notes0 an" f%'e notes fo! Centaton%$
s$ales0 an" tFel'e notes fo! $!o&at%$ s$ale5 In te s$ale beloF $alle" AO$taton%$B0 Fe a'e e%gt notesD
CHOR3+ to Cla/ o'e!D C &%n0 C&6b@0 C&20 3" 3%&0 E 3%&0 G 3%&0 Bb 3%&0 Eb60 Eb(*0 Eb6b90 Eb6b@b90
Eb6G((0 Eb6G90 FG 3%&0 FG0 FG20 FG60 FG6 s#s>0 FG6b90 FG6G90 FG6b@0 A &%n0 A&%n60 A&6b@0 A 3%&0 A6b90
A6b@
;) Te <eF%s0 Moa&&e"an0 Ma-o! P!/g%an +$ales 1 ( ; b* > @ b2 6 8
A B C 3 E F GG A
T%s s$ale %s a$t#all/ te Ha!&on%$ &%no! s$ale5
CHOR3+ to Cla/ o'e!D A &%n0 A&%n=&a-60 A &%nG@0 B&%n6b@0 C&a-6M@0 3&60 E0 E60 E6 s#s>0 E6b90 E6M@0
F Ma-60 GG 3%&
*) Te +Can%s G/Cs/ +$ale 1 @ b2 6 ( ; b* > @
E F GG A B C 3 E
T%s s$ale %s "e!%'e" f!o& te f%ft "eg!ee of te Ha!&on%$ &%no! s$aleD
CHOR3+ to Cla/ o'e!D A &%n0 A&%n=&a-60 A &%nG@0 B&%n6b@0 C&a-6M@0 3 &%n0 3&60 E60 E6 s#s>0 E6b90
E6M@0 F Ma-6
>) Te 3o#ble Ha!&on%$ +$ale (G/Cs/0 B/7ant%ne) 1 ( b; * > @ b2 6 8
A Bb CG 3 E F GG A
CHOR3+ to Cla/ o'e!D A0 A Ma-60 A Ma-6M@0 Bb0 Bb60 Bb6b@0 Bb Ma-60 CG &%n0 CG &%n20 3 &%n0 3
&%n=&a-60 E6b@0 E6b@b90 E(*b@0 F Ma-6M@
@) Te H#nga!%an M%no! +$ale 1 ( ; b* G> @ b2 6 8
A B C 3G E F GG A
CHOR3+ to Cla/ o'e!D A &%n0 A &%n=&a-60 B6b@0 B6 s#s>(b@)0 B(*b@0 C Ma-6M@0 E0 E Ma-60 F Ma-60 GG
&%n0 GG &%n2
2) Te H#nga!%an G/Cs/ +$ale 1 ( ; b* G> @ b2 b6 8
A B C 3G E F G A
19
CHOR3+ to Cla/ o'e!D A &%n0 A &%n60 B6b@0 C Ma-60 E &%n0 E &%n=&a-60 Eb Ma-6M@0 F Ma-60 G6M@0
G(*M@
6) Te H#nga!%an Ma-o! +$ale 1 ( G;(b*) T* G> @ 2 b6 8
A BG(C) CG 3G E FG G A
CHOR3+ to Cla/ o'e!D A Ma-60 C20 Eb 3%&60 FG60 FG(*0 FG &%n6b@0 G2=>(n*)
8) Te Pe!s%an +$ale 1 ( b; * > b@ b2 6 8
A Bb CG 3 3G EG(F) GG A
CHOR3+ to Cla/ o'e!D A Ma-6G@0 Bb Ma-60 CG20 CG2=90 3 &%n0 3 &%n=&a-60 F6M@
9) Te Eg/Ct%an +$ale (F%'e note Pentaton%$ +$ale) ) ( ; > @ b6 8
A B 3 E G A
CHOR3+ to Cla/ o'e!D A@0 A> (n*)0 A s#s60 A((0 A9 (n*)0 B s#s6 (n@)0 G0 G20 G2=90 E &%n0 E &%n60 3@0 3>
(n*)0 3 s#s6(n*)
(:) Te A!ab%an (Ma-o! Lo$!%an) 1 ( ; * > b@ b2 b6 8
A B CG 3 3G EG G A
CHOR3+ to Cla/ o'e!D A6G((0 A(((n@)0 B &%n6b@0 CG6G((0 CG6b90 CG6b@b90 3 &%n0 3 &%n=&a-60 F6M@0 G0
G60
(() Te O!%ental +$ale 1 ( b; * > b@ 2 b6 8
A Bb CG 3 Eb FG G A
CHOR3+ to Cla/ o'e!D A6b@0 A(*b@0 A(((n@)0 Bb Ma-6M@0 3 Ma-60 Eb Ma-60 FG &%n0 FG &%n20 G &%n0 G
&%n=&a-6
(;) Te C%nese (Mongol%an)0 also $alle" te UCo#nt!/ Pentaton%$J #se" %n $o#nt!/ an" Feste!n &#s%$
( ; * @ 2 8
20
A B CG E FG A
CHOR3+ to Cla/ o'e!D A0 A20 A90 A2=90 B (n*)0 B6 s#s>0 E (n*)0 E s#s>0 (n*)0 E2=9 (n*) FG &%n0 FG &%n6
(*) Te <aCanese (O#&o%) +$ale 1 ( b; > @ b2 8
A Bb 3 E F A
CHOR3+ to Cla/ o'e!D A@ (n*)0 Bb Ma-60 3 &%n
(>) Te IFato +$ale 1 ( b; > b@ b6 8
A Bb 3 Eb G A
CHOR3+ to Cla/ o'e!D A6 (n@) A6 s#s> (n@)0 3@0 3 s#s> (n*)0 G &%n0 Bb (n@)0 Bb Ma-6(n@)0 Eb Ma-6
(@) Te H%!a-os% +$ale 1 ( ; b* @ b2 b6 8
A B C E F G A
CHOR3+ to Cla/ o'e!D A &%n0 A &%n60 A &%n90 B6 s#s> (n*)0 B s#s (n*)0 C Ma-60 E &%n0 F Ma-60 G2 (n@)0 G6
(n@)
(2) Te OoR%n-os% +$ale 1 ( b; > @ b6 8
A Bb 3 E G A
CHOR3+ to Cla/ o'e!D A6 (n*) A6 s#s> (n*)0 Bb (n@)0 Bb Ma-6(n@)0 3@0 3 s#s> (n*)0 E &%n6b@0 G &%n0 G
&%n20
(6) Te L/"%an M%no! +$ale 1 ( ; * G> @ b2 b6 8
A B CG 3G E F G A
CHOR3+ to Cla/ o'e!D A0 A60 A90 A6M@0 B6b@0 CG&%n6b@0 Eb6M@0 E &%n=&a-60 F6M@0 G6M@
(8) Te P!o&ete#s +$ale 1 ( ; * G@ b6 8
21
A B CG EG(F) G A
CHOR3+ to Cla/ o'e!D A6M@0 A9 (n@)0 G6 o! 9 (n@)
(9) Te NeaCol%tan M%no! +$ale 1 ( b; b* > @ b2 6 8
A Bb C 3 E F GG A
CHOR3+ to Cla/ o'e!D A &%n0 A &%n=&a-60 Bb Ma-60 C6M@0 3 &%n0 3 &%n60 E6b@0 F Ma-60 GG 3%&6
;:) Te NeaCol%tan Ma-o! +$ale 1 ( b; b* > @ 2 6 8
A Bb C 3 E FG GG A
CHOR3+ to Cla/ o'e!D A &%n0 A &%n20 A&%n=&a-60 Bb Ma-6M@0 C6M@0 30 360 36M@0 E6b@0 GG &%n6b@

;() Te En%g&at%$ +$ale 1 ( b; * G> G@ b6 6 8
A Bb CG 3G EG(F) G GG A
CHOR3+ to Cla/ o'e!D A6M@0 A Ma-6M@0 Bb &%n0 Bb &%n20 Bb &%n60 CG0 CG20 CG2=90 Eb0 Eb60 Eb6G((0
F6M@0 G &%n6M@0 GG s#s> (n*)0 GG2=9 (n*)

;;) Te +Can%s E%gt Tone +$ale 1 ( b; b* T* > b@ b2 b6 8
A Bb C 3b 3 Eb F G A
CHOR3+ to Cla/ o'e!D A &%n6b@0 A &%n(((n@)0 Bb &%n0 Bb &%n=&a-60 Bb Ma-60 C &%n0 C&%n60 3b2=9 (n@)0
3 &%n0 3 &%n60 Eb Ma-60 Eb60 Eb6b@0 F0 F60 F6M@0 F6s#s>0 G &%n0 G &%n60 G &%n6b@
;*) Te Pelog +$ale 1 ( b; b* @ b6 8
A Bb C E G A
CHOR3+ to Cla/ o'e!D A &%n0 A &%n60 C0 C20 C60 C(*0 G &%n (n@)
;>) Te O'e!tone +$ale ) ( ; * > @ b2 b6 8
22
A B CG 3 E F G A
CHOR3+ to Cla/ o'e!D A0 A60 A90 A((0 A6 s#s>0 A6b(*0 B &%n6b@0 CG &%n6b@0 3 &%n0 3 &%n20 3 &%n60 E
&%n0 E &%n20 E &%n60 F Ma-6M@0 G0 G20 G6
;@) Te Lea"%ng Iole ToneD ) ( ; * G> G@ b6 6 8
A B CG 3G EG(F) G GG A
CHOR3+ to Cla/ o'e!D A6M0 A9b(*0 B6b@0 B6(*b@0 CG60 Eb6M@0 F6M@0 G6M@0 GG &%n0 GG &%n2

;2) Te Bal%nese +$ale ) ( b; b* @ b2 8
A Bb C E F A
CHOR3+ to Cla/ o'e!D A &%n0 Bb Ma-6 (n*)0 C2 (n@)0 C6 (n@) C(* (n@)0 F Ma-6
;6) Te <a'anese +$ale 1 ( b; b* > @ 2 6 8
A Bb C 3 E FG GG A
CHOR3+ to Cla/ o'e!D A &%n0 A &%n=&a-60 A &%n20 Bb Ma-6M@0 C6M@0 360 390 36M@0 36b(*0 E6b@
;8) Te Aeol%an +$ale (also Nat#!al o! Relat%'e M%no!) 1
( ; b* > @ b2 b6 8
A B C 3 E F G A
CHOR3+ to Cla/ o'e!D A &%n0 A &%n60 A &%n90 A &%n((0 B &%n6b@0 C0 C20 C2=90 C Ma-60 3 &%n0 3
&%n60 E &%n0 E &%n60 F0 F20 F Ma-60 G0 G20 G60 G(*

;9) Te HaFa%%an +$ale 1 ( ; b* > (g!a$e note) @ 2 6 8
A B C 3 (g!a$e note) E FG GG A
CHOR3+ to Cla/ o'e!D A &%n0 A &%n=&a-60 B &%n60 B &%n20 C Ma-6M@0 30 320 32=90 3(*0 36G((0 E60 E90
E6M@0 E6 s#s>0 FG &%n6b@0 GG 3%&6
23
*:) Te <eF%s +$ale 1 ( b; * > @ b2 b6 8
A Bb CG 3 E F G A
CHOR3+ to Cla/ o'e!D A0 A60 A6b(*0 A((0 Bb Ma-60 CG 3%&60 3 &%n0 3 &%n=&a-60 E &%n6b@0 F Ma-6M@0 G
&%n0 G &%n20 G &%n60 G 3%&60 E 3%&60 Bb 3%&6
*() Te Et%oC%an +$ale 1 E?5(5 ( ; b* > @ b2 b6 8

A B C 3 E F G A
CHOR3+ to Cla/ o'e! E?a&Cle (D A &%n0 A &%n60 A &%n90 A &%n((0 B &%n6b@0 C0 C20 C2=90 3 &%n0 3 &%n20
3 &%n60 3 &%n90 E &%n0 E &%n60 E &%n((0 E &%n6M@0 F Ma-60 F Ma-90 F Ma-6(*0 G0 G20 G2=90 G60 G90 G(*0
G6 s#s>
Te *!"0 2t0 an" 6t $an also be sa!C 1 as %n E?a&Cle ; beloFD
*() Te Et%oC%an +$aleD E?5 ;5 ( ; * > @ 2 b6 8

A B CG 3 E FG G A
CHOR3+ to Cla/ o'e! E?a&Cle ;D A0 A20 A60 A6 s#s>0 A90 A((0 A(*0 B &%n0 B &%n60 B &%n6M@0 CG &%n6b@0
30 320 32=90 3 Ma-60 E &%n0 E &%n60 E &%n((0 E &%n20 E &%n6M@0 F Ma-60 F Ma-90 F Ma-6(*0 G0 G20
G2=90 G Ma-60 G Ma--90 G Ma-(*
*;) Te +Can%s +$ale 1 (sa&e as te Nat#!al M%no!0 Relat%'e &%no! an" Et%oC%an +$ale)
( ; b* > @ b2 b6 8
A B C 3 E F G A
CHOR3+ to Cla/ o'e!D CHOR3+ to Cla/ o'e! E?a&Cle (D A &%n0 A &%n60 A &%n90 A &%n((0 B &%n6b@0 C0
C20 C2=90 3 &%n0 3 &%n20 3 &%n60 3 &%n90 E &%n0 E &%n60 E &%n((0 E &%n6M@0 F Ma-60 F Ma-90 F Ma-6(*0
G0 G20 G2=90 G60 G90 G(*0 G6 s#s>
**) Eg/Ct%anD F%'e Tone +$ale 1 ( ; > @ b6 8
A B 3 E G A
CHOR3+ to Cla/ o'e!D A (n*)0 A6 (n*)0 A9 (n*)0 A@0 A((0 3@0 3 s#s (n*)0 E@0 E s#s0 (n*)0 G0 G20 G2=90 B
&%n(( (n@)
24
*>) Te C%nese TFel'e Tone +$ale (tFo t/Ces) 1
E?5 (D ( ; * @ 2 8
A B CG E FG A
CHOR3+ to Cla/ o'e!D A0 A20 A2=90 A90 A(*0 B6 (n*)0 B6 s#s>0 B9 s#s>0 B((0 CG &%n6 (n@)0 CG &%n((0 FG
&%n0 FG &%n60 FG &%n((
E?5 ;D ( * G> @ 6 8
E GG AG B 3G E
CHOR3+ to Cla/ o'e! E?5 ;D E0 E Ma-60 GG &%n0 B (n@)0 B Ma-6 (n@)0 Eb s#s>
*@) Te H%n"#stan +$ale 1 ( ; * > @ b2 b6 8
A B CG 3 E F G A
T%s s$ale %s te sa&e as te O'e!tone s$ale5
CHOR3+ to Cla/ o'e!D A0 A60 A90 A((0 A6 s#s>0 A6b(*0 B &%n6b@0 CG &%n6b@0 3 &%n0 3 &%n20 3 &%n60 E
&%n0 E &%n20 E &%n60 F Ma-6M@0 G0 G20 G6
*2) Te 3%&%n%se" A!ab%an +$ale 1 ( ; b* > b@ G@ 2 6 8
A B C 3 Eb F FG GG A
CHOR3+ to Cla/ o'e!D A 3%&60 B &%n6b@0 B 3%&60 C 3%&60 3 &%n0 3 &%n60 360 320 3(*0 36G((0 Eb 3%&60
F60 FG 3%&60 GG 3%&6
*6) Te +$!%ab%n +$ale 1 ( b; * @ 2 8
A Bb CG E FG A
CHOR3+ to Cla/ o'e!D A0 A20 CG &%n (n@)
*8) Te R%t#sen +$ale 1 ( ; > @ 2 8
A B 3 E FG A
25
CHOR3+ to Cla/ o'e!D A (n*)0 A2 (n*)0 A(* (n*)0 A@0 A((0 B &%n0 B &%n60 30 3@0 3 s#s> (n*)0 E@0 E6 (n*)0
E9 (n*)0 E s#s>0 (n*)0 FG &%n (n@)0 FG &%n6 (n2)0 FG &%n(( (n@)
*9) Te P%ong%o +$ale 1 ( ; > @ b2 b6 8
A B 3 E F G A
T%s %s te sa&e s$ale as te +Can%s s$ale0 o! te Nat#!al (Relat%'e) &%no!5
CHOR3+ to Cla/ o'e!D CHOR3+ to Cla/ o'e! E?a&Cle (D A &%n0 A &%n60 A &%n90 A &%n((0 B &%n6b@0 C0
C20 C2=90 3 &%n0 3 &%n20 3 &%n60 3 &%n90 E &%n0 E &%n60 E &%n((0 E &%n6M@0 F Ma-60 F Ma-90 F Ma-6(*0
G0 G20 G2=90 G60 G90 G(*0 G6 s#s>
>:) Te +/&&et!%$al +$ale 1 ( b; b* > G@ 2 b6 8
A Bb C 3 F FG G A
CHOR3+ to Cla/ o'e!D A &%n (n@)0 A &%n2 (n@)0 A &%n6 (n@)0 A &%n(( (n@)0 Bb Ma-60 Bb20 Bb Ma-6M@0 C@0
C2 (n*)0 C2=9 (n*)0 C s#s>0 30 360 36M@0 3((0 F0 F20 F s#s>0 F2=90 FG &%nb@0 G &%n6b@0 G &%n((
>()5 C +#Ce! Lo$!%an +$ale ) 3e!%'e" f!o& te 6
t
&o"e of te 3b Melo"%$ &%no!
( b; b* T* G> M@ b6 8
A Bb C CG 3G EG(F) G A
CHOR3+ to Cla/ o'e!D A &%n6b0 A6b@b90 A6b@G@0 A6b@b(*0 A6b9G90 Bb &%n=&a-60 C &%n0 C &%n20 C &%n60
CG Ma-6M@0 Eb0 Eb20 Eb2=90 Eb60 Eb6G((0 F0 F20 F2=90 F60 F6 s#s>0 F((0 F6M@0 G &%n6b@0 G &%n6M@
CA3ENCE
Musical cadence is defined as a progression of chords moving to a harmonic close or point of rest. A return to a
tonal center is called a cadence. "ome of the more common cadences are called authentic cadence, which is heard
at the end or close of almost al popular music. The final chord in a progression gives a sense of rest! completion! or
resolution! and has come to $e knows as the tonic triad.
T/Ces of Ca"en$eD
A#tent%$ Ca"en$e
26
Authentic cadence is the musical progression of harmonies with the dominant chord immediately
C!e$e"%ng te ton%$ $o!"5
A5 Pe!fe$t
B5 I&Ce!fe$t
Pe!fe$t Ca"en$e is constantly authentic. #t utili:es a E 1 I o! E 1 % chord progression with $oth chords in the root
position and the highest note is the tonic.
E?5 (D IE ) IC ) E 1 I
F 1 C=g 1 G6 1 C
I&Ce!fe$t Ca"en$e is authentic cadence also. The triads do not have to $e in root position! and the tonic is not the
highest note. This cadence is more apt to a weaker sense of rest or completion as compared to *erfect cadence.
E?5 ;D E$ 1 I
G6=3 1 C
Plagal Ca"en$e
*lagal Cadence is the musical progression of harmonies in a range from the fourth $elow to the fifth a$ove
its final tone! or $eing a cadence with the su$dominant chord immediately preceding the tonic chord, IE ))V I or
whose penult is %' and final of %. The p!aga! cadence has come to $e known as the AA&enB cadence $ecause it is
heard most often in the endings of church hymns, IE 1 %%% 1 %% 1 I (F 1 E& 1 3& 1 C)5
Plagal cadenced can also occur when the penult is the su$dominant, %% 1 I (3 &%n ) C)5 "ome e+perts say that any
chord containing the tonic degree can $e used as a Clagal cadence, IE 1 I0 %' 1 %0 %' 1 I0 IE 1 I0 bEI 1 %5 The '% is
avoided in the Clagal cadence. This cadence usually follows a perfect cadence (E 1 I o! E ) %) where a decisive
ending is followed $y a more su$tle chordal e+change! which prepares the ear for decoration! enhancement! or
general musicality of adventure.
Half Ca"en$e
"ame as Authentic cadence $ut it is not complete in its direction toward the E chord. There may $e a
temporary interrupted or pause! say $y the I
2
> $o!"0 C2=A (C2 with A in the $ass). This type of cadence
temporarily interrupts! suspends! or delays the resolution! completion! or rest in the I $o!" (ton%$)5
K two more forms of cadence and weLre done with itK..
3e$eCt%'e an" Inte!!#Cte" Ca"en$e
Both of these types of cadence are the same as authentic! $ut rather than resolving from E to I o! I0 they
resolve to another chord
E?5 (D E to '% (G6 A &%n)5
3e$eCt%'e
#n (+. 7 a$ove! the E (G6) resolves to '% (A &%n) $ecause the vi is very a$le to function as a tonic chord ('%
fo! I)0 making the %' a good su$stitute for the I chord. The %' chord! in this case! provides effective rest!
27
completion! or rest in comparison to its parent tonic I chord. Because of this su$tle tonal nuance of replacement or
su$stitution! this cadence is said to $e deceptive $ecause the ear e+pects to hear one thing $ut it is delivered
something slightly different $ut akin to what it e+pected to hear. 3ther e+amples are
E?5 ;D IEB 1 I
6
F=A C6
E?5 *D %%%
6
1 I
E&%n6 C
Inte!!#Cte"
The cadence of chords is said to $e interrupted when it carries no relationship to its parent! or intended
tonic. #n music this occurs when the chord progression suddenly changes tonality and instead of resolving or
seeking rest or completion! it moves to an entirely different place in harmony. 0e say that the cadence has then
$een interrupted. =ote that $oth of these cadences! *eceptive and $nterrupted can $e synonymous with each other
and can $e used interchangea$ly in conventional music.
TFo . T!ee Co!" Ca"en$e
T!ee)Co!" Ca"en$e
Chords containing less than four note harmonies will usually have a three5chord cadence such as EI)E)I0 or
%%)E)I0 o! %')E)I5 Three5chord cadences involve ma.or and minor triads only! there are no use of altered!
diminished! and augmented chords in this cadence.
3f these three chords! they are named the antepenu!t, or the first triad! the penu!t, or the second triad! and the
fina!, or last triad. #n harmony the goal is to set up a harmonic tension $etween the anteCen#lt and the Cen#lt in
order for the final chord to resolve! rest or complete the resolution! there$y creating sta$ility.
TFo)Co!" Ca"en$e
Chords consisting of more than ma.or and minor triads usually will revolve around two chord cadences
such as E6 1 I0 o! bEII6 1 I0 o! E6)I0 and will contain harmonies added a$ove the $asic triad! such as sevenths!
augmented! and diminished intervals. The cadence of two5chords here is $etween a Cen#lt! and a final. )sually we
will hear the Cen#lt chord as a dominant seventh! augmented si+th! diminished or augmented type of chord.
The following charts show effective use of Three5Chord and Two5Chord cadential progressions used within the
eight categories of scales introduced a$ove. %or purposes of review the chart $elow represents the eight categories
of scales we have in 0estern music along with their respective cadential progressions.
28
CHART OF EIGHT +CALE CATEGORIE+ IN IE+TERN MU+IC (IN OEY OF C)
+CALE I (%) (b)II (%%) (b)III (%%%) IE (%') E (') EI ('%) (b)EII
('%%)
EIII ('%%%)
Ma-o! C Ma-6 3 &%n6 E&%n6 F Ma-6 G6 A &%n6 B &%n6b@ C Ma-6
Aeol%an C &%n6 3 &%n6b@ Eb Ma-6 F &%n6 G &%n6 Ab Ma-6 Bb6 C &%n6
Ha!&on%$
M%no!
C &%n=&a-
6
3b 3%& 6 Eb Ma-6M@ F &%n6 G6 Ab Ma-6 B 3%& 6 C &%n=&a-
6
Ha!&on%$
Ma-o!
C Ma-6 3 &%n6b@ E &%n6 F &%n6 G6 Ab Ma-6M@ B 3%&6 C Ma-6
As$en"%ng
Melo"%$
M%no!
C
&%n=&a-6
3 &%n6 Eb Ma-6M@ F6 G6 A &%n6b@ B &%n6b@ C
&%n=&a-6
3es$en"%ng
Melo"%$
Ma-o!
C6 3 &%n6b@ E &%n6b@ F &%n=&a-6 G &%n6 Ab Ma-6M@ Bb6 C6
3o#ble
Ha!&on%$
Ma-o!
C Ma-6 3b Ma-6 E &%n2 F &%n=&a-6 G6b@ AbM@ 3b6=B C Ma-6
3o#ble
Ha!&on%$
M%no!
C
&%n=&a-6
3 &%n6b@ Eb6M@ F &%n6 G&a-6 Ab Ma-6 B 3%&6 C
&%n=&a-6
29
THREE)CHOR3 CA3ENCE PROGRE++ION+ (IN C)
(REFER TO CHART ABOEE FOR CHOR3AL PROGRE++ION+)
Te &ost C!e'alent an" effe$t%'e $o!" C!og!ess%ons aCCea! to te left an" toC &ost 5 5 5
Ma-o!
IE 1 E ) I
FMa6)G6)CMa-6
%% 1 E 1 I
3&6)G6)CMa-6
E 1 %% ) I
G6)3&6)CMa-6
Aeol%an
E 1 IE ) I
G6)F&a-6)CMa-6
' 1 %' 1 %
G&6)AbMa-6)C&6
%%% ) %% 1 I
E&6)3&6)CMa-6
bEII 1 %' 1 %
Bb6)F&6)C&%n6
%%% 1 IE 1 I
E&6)F&a-6)CMa-6
bEI 1 bEII ) I
AbMa-6)Bb)C&%n6
Ha!&on%$ M%no!
%' 1 bEII 1 I
C&%n6)Bb6)C&%n6
%' 1 E 1 I
F&%n6)G6)C&%n=&a-6
bEI 1 ' 1 %
AbMa-6)G&%n6)
C&%n6
E 1 %' 1 I
G6)F&%n6)C&%n=&a-6
Ha!&on%$ Ma-o!
%' 1 ' 1 %
F&%n6)G&%n6)
C&%n6
bEI 1 E ) I
AbMa-6)G6)
C&%n=&a-6
%' 1 E 1 I
F&%n6 ) G6 ) C&a-6
E 1 %' 1 I
G6 ) F&%n6 ) C&a-6
%%% 1 %' ) I
30
E&%n6 ) F&%n6 )
C&a-6
As$en"%ng Melo"%$
M%no!
3es$en"%ng Melo"%$
Ma-o!
3o#ble Ha!&on%$
Ma-o!
3o#ble Ha!&on%$
M%no!
IE 1 E 1 %
F6)G6)C&%n=&a-6
' 1 %' 1 I
G&%n6)F&%n=&a-6)
C6
%%% 1 bII 1 I
E&%n2)3bMa-6)
C&a-6
bEI 1 '%% 1 I
AbMa-6)B 3%&6)
C&%n=&a<6
%% 1 E ) I
3&%n6)G6)
C&%n=&a-6
bEII 1 %' 1 I
Bb6 ) F&%n=&a-6 )
C6
TIO)CHOR3 CA3ENCE PROGRE++ION+ (IN C)
(REFER TO CHART ABOEE FOR CHOR3AL PROGRE++ION+)
Te &ost C!e'alent an" effe$t%'e $o!" C!og!ess%ons aCCea! to te left an" toC &ost 5 5 5
Ma-o!=Ha!&on%$
Ma-o!
E6 ) I
G6)CMa-6
%% 1 E 1 I
3&6)G6)CMa-6
E 1 %% ) I
G6)3&6)CMa-6
Aeol%an
E 1 IE ) I
G6)F&a-6)CMa-6
bEII 1 %
Bb6 1 C&%n6
%%% ) %% 1 I
E&6)3&6)CMa-6
bEII 1 %' 1 %
Bb6)F&6)C&%n6
%%% 1 IE 1 I bEI 1 bEII ) I Ha!&on%$ M%no! 3es$en"%ng Melo"%$
31
E&6)F&a-6)CMa-6 AbMa-6)Bb)C&%n6 Ma-o!
%' 1 bEII 1 I
C&%n6)Bb6)C&%n6
E6 1 %
G6 1 C&%n=&a-6
bEII6 ) I
Bb6 1 C6
bEI 1 ' 1 %
AbMa-6)G&%n6)
C&%n6
E 1 %' 1 I
G6)F&%n6)C&%n=&a-6
3o#ble Ha!&on%$
Ma-o!
%' 1 ' 1 %
F&%n6)G&%n6)
C&%n6
bEI 1 E ) I
AbMa-6)G6)
C&%n=&a-6
bII a#g2 1 I
3b a#g2 1 C&a-6
(3b6 ) C&a-6)
E?ot%$ . Ote!
+$ales
E?ot%$ . Ote!
+$ales
E?ot%$ . Ote!
+$ales
E?ot%$ . Ote!
+$ales
E?ot%$ . Ote!
+$ales
bII a#g2 1 I
3b a#g2 1
C&a-6
(3b6 ) C&a-6)
IE a#g2 ) I
F a#g2 1 C&a-6
(F6 ) C&a-6)
EII6 1 I
B6 1 C&a-6
III6 ) I
E6 1 C&a-6
bE6 1 I
Gb6 1 C&a-6
MO3ULATION
#n music we have many types of modulation used for smooth transitions in tonal center changes and also
used for a$rupt and rough changes. The e+amples given $elow are only a $rief e+planation of modulation and do
not represent all of the various types of modulation that e+ist in modern music.
0ithin music we have two forms of modulation, $etween two different tonal $ente!s! and $etween two different
tonal t/Ces (&a-o! an" &%no!)5 A good e+ample of this can $e a modulation from the ma.or tonality of G to,
(5 3 &a-o!5 >ere we have a different tonal $ente!! $ut the same tonal t/Ce.
;5 " &%no!5 >ere we have the same tonal $ente!! $ut a different tonal t/Ce5
*5 $ &%no!5 >ere we have a different tonal $ente!! and a different tonal t/Ce!
Co&&on)Note an" Note)+%&%la! Oe/s
By counting the num$er of notes two chords in a progression have in common we come up with a very
$asic relationship $etween keys! chord types and tonal center. The closest related keys! as compared $y the
distance $etween the notes! are the re!ative major and minor keys $ecause they share all seven notes.
E?5 (D Te Re/ of C an" te Re/ of A &%no! sa!e 6 $o&&on notes o#t of 6
32
C &a-o!D C 3 E F G A B
a &%no!D A B C 3 E F G
E?5 ;D Te Re/s C &a-o!0 G &a-o!0 an" e &%no! sa!e 2 $o&&on notes o#t of 6D $0 "0 e0 g0 a0 b
E?5 *D Te Re/s of G &a-o! ($0 "0 e0 g0 a)0 F &a-o! ($0 "0 e0 g0 a)0 e &%no! ($0 "0 e0 g0 a)0 an" " &%no! ($0 "0 e0 g0
a) a!e te ne?t $losel/ !elate" Re/s to C &a-o! F%t @ $o&&on tones5
Te folloF%ng $a!t soFs te !elat%ons%C of $o&&on notes betFeen e'e!/ Re/ to C Ma-o! an" a &%no!5
Te toC &ost Re/s $onta%n te &ost $o&&on notes0 an" f#!te! "oFn te $a!t soFs Re/s less !elate" to C
&a-o! an" a &%no!D
M%no! Oe/s (b) Ma-o! Oe/s (G) No5 of notes %n
$o&&on F%t
C o! a
Ma-o! Oe/s (G) M%no! Oe/s (G)
" F 2 G e
g B
b
@ 3 b
$ E
b
> A fG
f A
b
* E $G
b
b
3
b
; B gG
e
b
G
b
( FG "G
An/ of tese Re/s an" $o!" t/Ces $an &o"#late 'e!/ eas%l/ "#e to $o&&on tones sa!e" F%t C &a-o! an"
a &%no!0 b#t te $o&&on tones (toC of $a!t) to botto& of $a!t &o"#late eas%est an" s&ootest5
Co&&on $o!" &o"#lat%on
Common chord modulation moves from the original key to the destination key (usually a $losel/ !elate"
Re/) $y way of a chord $oth keys share. %or e+ample0 G &a-o! and 3 &a-o! share M chords in common, GMa-0
B&%n0 3Ma-0 E&%n5 "ee $elow and chart a$ove. The I $o!" %n G Ma-o!Ea G &a-o! $o!"Eis also the IE
chord in 3 &a-o!! so I %n G &a-o! and IE %n 3 &a-o! are aligned on the chart.
G Ma-o!D I %% %%% IE E '% '%%K
3 Ma-o!D IE E '% '%%K I %% %%%
P%'ot Co!"
A common way to smoothly modulate is to use a pivot chord! a chord found common to the $oth keys. The
pivot chord originates as a mem$er of the original key $ut then is interrupted! or /uitted as a mem$er of the new
key where another cadential progression is esta$lished.
#n the e+ample $elow we will modulate from G &a-o! to e &%no!D
E?5 (D G 1 C 1 3 1 e 1 FG 1 b
33
G &a-o! 1 C &a-o! 1 3 &a-o! 1 e &%no! 1 FG &a-o! 1 b &%no!
>ere we have e &%no! as the pivotal chord. #t originates as '% of G &a-o! $ut is stopped! or /uitted (re5named) as
%' when it arrives! or enters in the new cadential progression %' 1 E 1 I of b &%no!5
Pa!allel Oe/s
There is a similarity $etween two ma.or and minor keys! or parallel keys of say C &a-o! and $ &%no!5 Both
keys share the common notes of $0 "0 f0 g0 and are thus heard very similar. These two keys are said to $e para!!e!
even though they share only M notes. But what is important is that they $oth share the C ton%$ and a common E
$o!" (G
6
)5
A 'e!/ effe$t%'e Fa/ to &o"#late betFeen Ca!allel Re/s %s to #se te $o&&on "o&%nant $o!" as te C%'otD
E?5 (D A &a-o! 1 3 &a-o! 1 E6 1 A &%no! 1 3 &%no! 1 E6 1 A &a-o!
I IE E % %' E I
Co&&on)tone &o"#lat%on
Common5tone modulation uses a sustained or repeated pitch from the old key as a $ridge $etween it and the new
key. )sually! this pitch will $e held alone $efore the music continues in the new key. %or e+ample! a held F from a
section in Bb &a-o! could $e used to transition to F &a-o!0 o! 3b Ma-o!! etc.! etc.!
C!o&at%$ &o"#lat%on
A chromatic modulation is so named $ecause a se$on"a!/ "o&%nant or other chromatically alte!e" $o!" is used
to lead one voice $!o&at%$all/ up or down on the way to the new key. (#n standard four5part chorale5style
writing! this chromatic line will $e in one voice.) %or e+ample! a chromatic modulation from C &a-o! to " &%no!,
Ol" Oe/ NeF Oe/
C Ma-o! (I)D IE E=%% %% 3 &%no! (%)
F Ma-o! A Ma-o! 3 &%no!
#n this case! the IE chord! F Ma-o!! would $e spelled F)A)C0 E=%%0 A Ma-o!0 A)CG)E0 and the %% chord! dm! 3)F)A5
Thus the chromaticism! C)CG)30 along the three chords9 this could easily $e part5written so those notes all
occurred in one voice.
Ena!&on%$ Mo"#lat%on
The following types of modulation fall within the method of enharmonic e/uivalents! or the same chords
named differently as their roles the key act differently.
As discussed earlier! the "o&%nant se'ent chord can also $e re5named as an a#g&ente" 2 depending on its role
in the key. %or purposes of review see $elow,
3o&%nant +e'ent Mo'e&entD All &ominant '
th.
Chords may move down a perfect fifth or up a perfect fourth.
34
E?a&Cle (D
(UCFa!" one alf steC)
E I
36 G
( $ = fG ) ( b = g)
E?a&Cle ;D
(movement downward a half step, classical theory calls this the a#g&ente" 2
t
movement! enharmonically
the same as the dominant seventh.)

bII E
Ab6 G
( $ = gb ) ( b = g )
E?a&Cle ;aD
E IE
Ab6 3b
( gb = $ ) ( f = "b )
E?a&Cle ;bD
E bI
36 3b
( $ = fG ) ( f = "b )
3o&%nant +e'ent Root Mo"#lat%on 1 Base" on AA#tent%$=Pe!fe$tB Ca"en$e
A common way to modulate $etween two related or mostly unrelated keys is to use a dominant seventh
chord! or altered seventh chord! or diminished chord of the target key! seeking resolution in the new tonal centerLs I
$o!" or % $o!"5 #n this way we utili:e enharmonic e/uivalents e+plained a$ove.
(+ample 7 $elow illustrates modulation from the key of C ma.or to ( ma.or utili:ing the a#g5 2 ("o&5 6
t
) b;
resolution. #n this case! the C Ma-o! chord is acting as a pivot chord from the key of C to the key of E. The B
chord acts as $oth the I chord of C $eing /uitted as bII! and then in the modulation the B chord is re5esta$lished as
of the key of (!
E?5 (D C ) A &%n6 ) 3 &%n 6 ) G ) C ) B ) E 1 CG&%n6 ) FG&6 ) B ) E
I '% %% E bII I (o! E) I EI II E I
(+ample 8 $elow illustrates modulation from the key of F &a-o! to A &a-o! utili:ing the a#g5 2 ("o&5 6
t
) b;
resolution.
E?5 ;D F 1 G&%n6 1 C6 1 B 1 E6 ) A
35
I %% bII II E I
(+ample B $elow shows how you can use most chords in a cadential progression to act as E or ' of the target key
to esta$lish a new tonal center. #n the case $elow! FG&%n6b@ ('%% of G &a-o!) acts as a E of the key of B. >ere we
started in the key of G and modulated to the key of B.
E?5 *D G Ma-6 A&6 36 B&6 FG&%n6b@ B Ma-6
I %% E %%% '%% (') I
(+ample M shows how the same '%% $o!" (FG&%n6b@) in G &a-o! can smoothly transition to 3&%n6=F in the new
key of Bb5
E?5 >D G Ma-6 A&6 36 B&6 FG&%n6b@ 3&%n6=F G&%n6 C&6 F6 BbMa-6
I %% E %%% '%% %%% '% %% E I
T!%)tone +#b5 Mo"#lat%on
"ee the section on Tri5tone su$s. Below we have a cadential progression starting in the key of F Ma-o!
followed $y a modulation to the key of B utili:ing a tritone su$ $etween C6 and FG6
E?5 ;D F 1 Bb 1 G&6 )) C6 )) FG6 1 B&a-6
I IE %% E E (of neF Re/) I
Mo!e on Ena!&on%$ EW#%'alents
7. 3o&%nant +e'ent (()*)@)b6) can $e re5named as A#g&ente" +%?t (()*)@)G2)
< C6 as E of F can also act as bII of B (see e+amples a$ove) where the new key is esta$lished.
8. A#g&ente" +%?t (()*)@)G2) can $e re5named as 3o&%nant +e'ent (()*)@)b6)
< 36 as E of A &a-o! can act as bI of 3b &a-o!.
B. A#g&ente" T!%a" (()*)G@) can $e re5named as the aug. triad $uilt a ma.or third a$ove or $elow.
< AbM (Ab)C)E) is also named CM (C)E)GG) is also named EM (E)GG)C) is also named GGM (GG)
E)BG)
M. 3%&%n%se" +e'ent (()b*)b@)bb6) can $e re5named! or re5spelled as diminished sevenths $uilt a
minor third or tritone a$ove or $elow.
G "%&6 (G)Bb)3b)E) is also named Bb 3%&6 (Bb)CG)E)G) is also named CG "%&6 (CG)E)G)
Bb) is also named E "%&6 (E)G)Bb)CG)
Rat%onale fo! Ena!&on%$ Mo"#lat%on
This method of modulation can $e very effective! $ut it can also $e used in a manner that may not produce
good musical e+ample ; the ear is the final .udge in this case.
0hen playing any chord! where one interpretation has $een made! say C6 as E of F! and then it is /uitted
enharmonically as say bII of B0 o! as bI of 3b! a new interpretation has $een made which is a very strong musical
36
statement (however su$tle one may think the modulation is! it changes tonal centers). This creates a totally new
musical path or direction for the ear. Theoretically! it may $e achieva$le or correct! however! the sound should $e
the final product and .udge for any musician. Modulations of this type can $e very radical and must $e used
.udiciously for ma+imum or minimum effect. Changes in key also affect changes in mood.
E?a&ClesD
E?5 (5 F6 can $e approached as E6 of Bb &a-o!0 or it can $e /uitted as bEIa#g2 of '.
E?5 ;5 3bM can $e approached as bIIIM of Bb &%no!0 or it can $e /uitted as EM of 3 &%no!.
E?5 *5 B "%&6 can $e approached as '%%
:6
of C &a-o!0 $ut it can $e /uitted as '%%
:6
of Gb &a-o!5
3o&%nant +e'ent0 Flat te N%nt Co!" . 3%&%n%se" +e'ent Co!"
Te 3o&%nant +e'ent $o!" %s sCelle" ()*)@)b6)b9 5
In te Re/ of CD G6 L G 1 B 1 3 1 F ) Ab
Te G6b9 $o!" $onta%ns te sa&e notes as te Ab 3%&6 (Ab 1 B 1 3 1 F)0 B 3%&6 (B 1 3 1 F 1 Ab)0
3 3%&6 (3 1 F 1 Ab 1 B)0 an" F 3%&6 (F 1 Ab 1 B 1 3)5
Te #se of te E6b9 as a C%'ot $o!" %n a Re/ &o"#lat%on %s e'e!/ effe$t%'e be$a#se %t Fo!Rs 'e!/
s&ootl/ %n $ang%ng te "%!e$t%on of tonal%t/ f!o& an/ Co%nt %n te $a"en$e5
E?5 (5 Bb &%n Eb &%n F6b9 (FG 3%&6) B Ma- (o! B &%n)
I %' E I
In t%s $ase Fe sta!t F%t Bb Ha!&on%$ &%no!0 an" %t C!og!ess to Eb &%n (%')0 %t &o'es along W#%te
s&ootl/ to te E6 of Bb &%n (F6)0 an" be$a#se of te EG %n Bb Ha!&on%$ &%no!0 Fe a'e te Gb F%$ %s
F6Js flattene" n%ntNalso !e)na&e" as FG 3%&60 A 3%&60 C 3%&60 Eb 3%&65 +o0 b/ C%$R%ng an/ one of te
3%&%n%se" alte!nat%'es0 %n t%s $ase0 FG 3%&6 C!og!esses W#%te nat#!all/ to B Ma-65 Te FG 3%&6 e!e %s
a$t%ng as E of I F%$ %s B Ma-65
Te folloF%ng e?a&Cles #t%l%7e te !e&a%n%ng "%&%n%se" se'ent eW#%'alent $o!"s to F6b95 Not%$e
tat ea$ C!og!ess%on sta!ts te sa&e0 b#t en"s %n a neF tonal $ente! 1an" !e&e&be! tat e'e!/ Re/ (tonal
$ente!) as a "%ffe!ent &oo"0 o! $olo!5
E?5 ;5 Bb &%n Eb &%n F6b9 (Ab 3%&6) 3b Ma- (o! 3b &%n)
I %' E I
E?5 *5 Bb &%n Eb &%n F6b9 (B 3%&6) E Ma- (o! E &%n)
I %' E I
E?5 >5 Bb &%n Eb &%n F6b9 (3 3%&6) G Ma- (o! G &%n)
I %' E I
37
In te folloF%ng e?a&Cle0 a "%&%n%se" $o!" (B
:6
) a$ts as te E6 $o!" (W#%tte" $o!") of te neF tonal%t/
(C &a-o!D
(G6b9)
% %' '%%
:
IE of '%%
:
E I E of I E of '% '%
Bb &%no! Eb &%no! Ab6b9 36 G C B
:6
E6 A &%n
XBb Ha!&on%$ &%no! Y XneF Re/ of C Y XneF Re/ of A &%no! Y
NOTED Te #se of Ab6b9 a$ts as bot a t!%tone s#b5 of 36 an" also as te E6 of 3 &a-o! (se$on"a!/
"o&%nan$e "%s$#sse" beloF)5 36 %n te neF tonal $ente! of C %s #se" as a se$on"a!/ "o&%nant of CJs '%
F%$ %s A &%no!5
Te Role of +e$on"a!/ 3o&%nan$e %n Mo"#lat%on5
The chord in any key is called the dominant seventh chord. #t is $uilt on the root position of the tones a
fifth a$ove the tonic root! or a fourth $elow the tonic root. #n the case of C (C)E)G)0 the dominant seventh chord is
G6 (G)B)3)F). Considering all the chords in a diatonic progression, C 1 3& 1 E& 1 F 1 G6 ) A& 1 B
:
every
chord has its fifth chordal seventh chord! however! they are not considered *ominant +eventh. The seventh
chords comprised from the II to te EI chord degrees are called +e$on"a!/ 3o&%nants5
E?a&Cle (D
3IATONI
C
CA3ENC
E
OEY OF C 3OMINANT
+EEENTH
+ECON3ARY
3OMINANT
NEI MA<OR
OEY
I C Ma-o! G6
%% 3 &%no! A6 3
%%% E &%no! B6 E
IE F Ma-o! C6 F
E G &a-o! 36 G
'% A &%no! E6 A
Te s%gn%f%$an$e of te se$on"a!/ "o&%nant as t!e&en"o#s %&Ca$t on a!&on%$ $a"en$e %n !efe!en$e to
&o"#lat%on5 In an/ &a-o! o! &%no! Re/0 a se$on"a!/ "o&%nant $an0 teo!et%$all/0 be Cla$e" F%t%n te Cat
of a "%aton%$ C!og!ess%on5 +ee e?a&Cles beloFD (I lo'e t%s t/Ce of &o"#lat%onZ)
E?a&Cle (D
I %% E E of '% '% E of %%% E of '% IE I
C 3&6 G6 E6 A& B6 E6 F C
E?a&Cle ;D
I E of '% '% E of E E E '% IE E I
38
C E6 A&6 36 G E6 A& F G C
E?a&Cle *D
I IE %%% E of %%% %% IE E of %% %% E of '% '% %% E I
C F E &%n A6 3 &%n F A6 3 &%n E6 A &%n 3 &%n G6 C
(NOTED Te #se of te $a"en$e F)A6)3 &%n also e&Clo/s AC!o&at%$ Mo"#lat%onB "%s$#sse" ea!l%e!,)
E?a&Cle >D
E &%n B &%n6 C E6 Bb6b@ A &%n6 36 Ab6b@ G Ma-6
(!eCeat)
%%% %%% of !elate" I E of '% t!%tone '% E of E t!%tone I (NeF Oe/)
C Re/ of G s#b of E6 s#b of 36
Man/0 &an/ &o!e e?a&Cles abo#n" %n t%s Fon"e!f#l tool fo! &#s%$%ans0 $o&Cose!s an" song F!%te!s5
Mo"#lat%on e?%sts as a g!eat tool fo! $!eat%'e e?C!ess%on0 an" so#l" be #se" "%s$!%&%natel/ F%t $a#t%on5
Te $!eat%'e a!t%st shou!d never sa$!%f%$e so#n"0 feel%ng0 &oo"0 an" sto!/ fo! teo!/5 Alto#g an" be$a#se
a!&on%$ teo!/ $la%&s $e!ta%n &#s%$al t!#ts to be e'%"ent0 %t "oes not &ean tat $!eat%'e l%be!t/ %s F%to#t
$!eat%'e !esCons%b%l%t/ to te a!t of &#s%$5 Consonan$e e?%sts not %n sC%te of "%ssonan$e b#t be$a#se of
"%ssonan$e0 an" "%ssonan$e e?%sts not %n oCCos%t%on to $onsonan$e b#t be$a#se elongate" st!ess F%to#t
!elease %s a!&on%$ 1 an" %n te long !#n0 I f%n" %t W#%te "%stastef#l0 %f not altogete! Ca%nf#l5 AlFa/s st!%'e
fo! a!&on%$0 &elo"%$0 an" !/t&%$ balan$e betFeen all &#s%$al fa$to!s5
Mo!e +ECON3ARY 3OMINANT THEORY
)sing the e+ample a$ove! we could su$stitute a diminished seventh chord for each of the secondary dominants in
which they act as 4passing chords6 $etween the diatonic chords (harmoni:ed scale).
E?a&Cle AD
(+3 L A+e$on"a!/ 3o&%nantB of te ne?t $o!" %n te C!og!ess%on5 In te folloF%ng e?a&Cle0 E6 Fo#l" be
te se$on"a!/ "o&%nant of A&%n64 FG6 Fo#l" be te se$on"a!/ "o&%nant of B&60 an" so on,)
Oe/ of G
G Ma-6 E6 A&6 FG6 B&6 G6 C&a-6 A6 36 B6 E&6 CG6
FG&%n6b@
# "& ii "& iii "& # "& "& vi "& viii
E?a&Cle B (noF0 letJs s&oot o#t tose +"s an" t!eat te& &o!e l%Re Cass%ng $o!"s %n an a$$o&Can%e&ent)
G Ma-6 Ab"%&6 A&6 Bb"%&6 B&6 B"%&6 C&a-6 CG"%&6 36 Eb"%&6 E&6 F"%&6
FG&%n6b@
# "& ii "& iii "& # "& "& vi "& viii
39
NOTED Iat %s !eall/ %nte!est%ng e!e %t tat te "%&%n%se" se'ent $o!"s a!e ena!&on%$ eW#%'alents te
"o&%nant se'ent flat n%ne $o!"s D Ab"%&6 (Ab B 3 F) %s te sa&e as E6b9 ( E Ab B 3 F) 1 -#st as te
Bb"%&6 (Bb 3b E G) %s te sa&e sCell%ng as te FG6b9 (FG AG CG E G) , sa&e fo! te !est of te
$o!"s5
Te folloF%ng %s an e?a&Cle of ACass%ng $o!"sB %n F%$ te se$on"a!/ "o&%nant a$ts as a $!o&at%$ &%no!
se'ent $o!" betFeen ea$ "%aton%$ $o!"D
E?a&Cle C (noF0 Fe $an also t!eat tose +3 Cass%ng $o!"s as &%no! 6ts $!o&at%$all/ Cass%ng to &%no!
6ts)
G Ma-6 Ab&%n6 A&6 Bb &%n6 B&6 C&a-6 CG &%n6 36 Eb &%n6 E&6 F&%n6 FG&%n6b@
# "& ii "& iii # "& "& vi "& viii
Any chord can $e a temporary tonic! with its own dominant preceding and pulling to it.
OL3 OEY NEI OEY (A) TEMPORARY TONIC
+e$on"a!/ 3o&%nant
C 555 (' 555 Am
# of C of vi (Am) vi of C
OL3 OEY NEI OEY (E) TEMPORARY TONIC
+e$on"a!/ 3o&%nant
C 555 B' 555 (m
# of C of iii ((m) iii of C
OL3 OEY NEI OEY (F) TEMPORARY TONIC
+e$on"a!/ 3o&%nant
C 555 C' 555 %
# of C of #(%) # of C
OL3 OEY NEI OEY (G) TEMPORARY TONIC
+e$on"a!/ 3o&%nant
C 555 &' 555 @
40
# of C of (@) of C
OL3 OEY NEI OEY (3) TEMPORARY TONIC
+e$on"a!/ 3o&%nant
C 555 A' 555 &m
# of C of ii(Am) ii of C
OL3 OEY NEI OEY (B) TEMPORARY TONIC
+e$on"a!/ 3o&%nant
C 555 %?' 555 B half dim
# of C of vii (B half dim.) vii of C
(,t%s %s #se" 'e!/ !a!el/ %n &o"e!n &#s%$,55)
A33EN3UM ON IMPROEI+ATION IITH THE MELO3IC MINOR AN3 IT+ U+E
Many students ask why is the Melodic Minor so important a concept in Ja:: #mprovisation. The special
allurement the Melodic Minor has! especially in .a::! is very often $ecause of its smooth sound
(containing only two si:es of seconds! ma.or and minor)! especially proper for improvisation.
Two other scales used in con.unction with .a:: and improvisation is called the Fydian &ominant scale
(also known as a Delated Melodic Minor) and Altered scales ... ((+ample, A Melodic Minor 2 C Fydian
&ominant . . . see (+ample - $elow...)
The Melodic minor consists of minor seconds (semitones) $etween the 8nd and Brd degrees and
$etween the 'th and Gth degrees! and wholetones (ma.or seconds) $etween all the other tones. This
formula can $e used on any note to form the melodic scale.
A Melo"%$ M%no! (A B C & ( %? @?) is the same as the C L/"%an A#g&ente" scale (C & ( %? @? A
B) ... which $oth are derived from the same C Ma-o! s$ale (shown $elow...)
3k! now why is the Melodic Minor so effective1 (K to answer that studentLs original /uestion) ... itNs
$ecause it contains some very cool and interesting alterations praticularly on the dominant 55 $ut not only
the dominant (also is effective for the half dim (min'$C).! ma.Jmin! etc.) ...
41
The following (+amples are alterations on5$oard (or contained in) the Melodic Minor and Fydian &om
"cales,
E?a&Cle (D
A Mel5 M%no! (or the C Fyd. &om) played over 36G(( produces a smooth! almost modal sound plus
incorporating the raised Mth (or flatted Cth...)
E?a&Cle ;D
A Mel5 M%no! (or the C Fyd. &om) played over E6G@ also produces an almost modal sound and
incorporates the ?C...
E?a&Cle *D
A Mel5 M%no! (or the C Fyd. &om) played over C Ma-6G@ produces the ?C and ?M
E?a&Cle >D
A Mel5 M%no! (or the C Fyd. &om) played over A&%n=&a-6 produces the $B! - and Ma. '
E?a&Cle @D
A Mel5 M%no! (or the C Fyd. &om) played over FG&%n6b@ produces the $B (?O)! $C! ?C! $'...
E?a&Cle 2D
A Mel5 M%no! (or the C Fyd. &om) played over GG&%n6b@ produces the B! $B(?O)! $C! ?C! $' ...
E?a&Cle 6D
A Mel. Minor (or the C Fyd. &om) played over A$'?O produces the B! $B(?O)! $C! ?C! $'! $O ...
Te Melo"%$ M%no! also $onta%ns F%t%n %ts a!&on%7e" C!og!ess%on te IE $o!" as 3o&%nant G(( ,
LetJs !e'%eF te $o!"s %n te Melo"%$ M%no! (te <a77 M%no!)
42
Co&&on $o!" na&es (fo! C!a$t%$al #se)D
( (%)D C &%n=&a-6 (C)Eb)G)B)
; (%%)D 3 &%n6 (3)F)Ab)C)
* (bIIIM)D Eb Ma-6M@ (E)B)G)B)3)
> (IE)D F6 (F)A)C)Eb) , te G(( (B) %s an e?tens%on (also RnoFn as te b@ o! GIE)
@ (')D G6 (G)B)3)F)
2 ('%M)D A &%n6)@ (A)C)E)G) )) so&et%&es $alle" alf)"%&%n%se"
6 (b'%%)D B &%n6)@ (Bb)3)F)A) )) so&et%&es $alle" alf)"%&%n%se"
Te >
t
$o!" %n t%s C!og!ess%on %s te F6 (G(() ,5 Te F6 G(( $an also e&Clo/ te F L/"%an b6 +$ale
F%$ %s %"ent%$al to te C Melo"%$ M%no! fo!& te >
t
"eg!ee5 (Te!e a!e &an/ Fa/s to lea!n te sa&e t%ng
,)
F L/"%an b6 +$ale
F 1 G 1 A 1 B ) C 1 3 1 Eb 1 F
I 1 II 1 III ) GIE 1 E 1 EI 1bEII 1 EIII
F L/"%an means that % is the M
th
degree of what scale1 (see the section on 4Modes.6) % is the M
th
. degree of C
Ma.or. "o! if we take the C Ma.or scale and start from %! the M
th
! and count is as # (one)! when we get to the '
th
.
note! (! we flat ($) it to come up with ($9 thus! we have the AF L/"%an b. +$ale5B
Compared to! and derived from! G Ma-o!! C $eing the fourth (#) degree of @! and B$ the raised '
th
degree of the
C L/"%an. =3T(, the C L/"%an b6 scale contains the same notes as the G <a77 M%no! (Melodic MinorJMa.or
scale).
< to $e played /uite effectively over the following harmonies,
C6G((
36M@
E &%n6b@
FG &%n6b@
G &%n=&a-6
B$ Ma.'AC
Te Ha!&on%7e" 3%&%n%se" Half)Iole +$ale . Anal/s%s ,
The half5whole scale is a symetrical stack starting on the root and $uilding on a half55whole step interval
com$ination. There e+ists many harmonic and melodic possi$ilities with this scale $ecause of the e+tra scale tones
allowing for additional variations in harmony and melody.
The use of the folowing harmonies lend themselves to the half5whole scale, MinorJMa.'! Minor '$C! &om. '?O!
Ma.$C! and other &ominant and altered &ominant possi$ilities. The >alf50hole. scale is a prime e+ample of how
to add comple+ity or simplisity to a measure $ecause of the tension that the minor Brds create.
43
The # 55 $### 5 $ 55 # chords are enharmonic e/uivalents and can act as $oth Ma.$C! &om.! altered &om! and
&iminished chords ( B &im 2 & &im 2 % &im 2 A$ &im).... also! can $e spelled as B'?O! &'?O! %'?O! A$'?O
FetNs take B half5dim, for e+ample, B C & (B % @$ A$ A
=ow! the harmoni:ed B >alf &iminished scale follows,
A). # 2 B Ma.or $C (C! $'! $O! ?O! 7B)
B). $## 2 C minor$C ('! O! 77! $7B!7B)
C). ## 5 none
&). $###2 & Ma.or $C (C! $'! $O! ?O! 7B)
(). ### 2 ($ minor $C ('! O! 77! $7B! 7B)
%). # 2 none
@). $ 2 % Ma.or $C (C! $'! $O! ?O! 7B)
>). 2 @$ minor $C ('! O! 77! $7B! 7B)
#). $# 2 none
J). # 2 A$ Ma.or $C (C! $'! $O! ?O! 7B)
P). $## 2 A minor $C ('! O! 77! $7B! 7B)
F). ## 2 none
0hat is particularly interesting a$out the Minor Brd. movement of chords and lines is that they have a particular
cadence (gravity) to resolve to the minor 8nds (that is due to the large num$er of minor Brd! ma.or -! and aug. M
and dim Cth intervals in the half5whole tone scale...)
E?a&Cle (D
7) B'?O 555Q C Min$C
8) &'?O 555Q ($ Min$C
B) %'?O 5555Q @$ Min$C
M) A$'?O 555Q A Min$C
E?a&Cle ;D
7) B'?O 555Q B'$OJC
8) &'?O 555Q &'$OJ($
B) %'?O 5555Q %'$OJ@$
M) A$'?O 555Q A$'$OJA
(+periment 55 Try this progression on your instrument (and notice the movement of chords and line 5 the half5
whole scale,
E?a&Cle * (Half)Iole)D
B'?O 55Q B'$OJC 555Q &'?O 555Q &'$OJ($ 555Q %'?O 5555Q %'$OJ@$ 555Q A$'?O 555Q A$'$OJA
E?a&Cle > (C!o&at%$)D
B'?O 555Q B'$OJC 555Q C? >alf5&im555Q &'?O 555Q &'$OJ($ 555Q ( >alf5&im 5555Q %'?O 5555Q %'$OJ@$ 555Q @
>alf5&im 555Q A$'?O 555Q A$'$OJA555QB$ >alf5&im555Q B'?O ...
44
M/ Gene!al +olo R#les ; and this is not finite! as # # find myself $reaking my own rules when soloing $ecause
improvisation is so personal a musical event and mystery sometimes. The following is a large generali:ation of the
many ways to solo over these altered dominants (as shown previously in the 4Alteration6 section). # include this
general Dule section as a /uick reference once all of the information on altered dominants has $een comprehended
thoroughly.
NOTED as indicated $elow! a scale starting point does not necessarily have to $egin from the designated interval
degree! for e+ample!
Te Melo"%$ M%no! f!o& te >
t
"eg!eeD G6G(( 3 Melo"%$ M%no!
#t can $egin at any point in the scale or chord interval (or inversion). # mention a starting point for reference to the
root or tonic only.
R#le G(D To solo o'e! 3o&%nant G9 $o!"s I #seD
a5 Te Melo"%$ M%no! a alf steC abo'e te G9 $o!"D E6G9 ) F Mel5 M%n5
b5 Te E Half)Iole Tone s$aleD E Half 3%&%n%se" s$ale
R#Re G;D To solo o'e! 3o&%nant 6G(( (o! b@) $o!"s I #seD
a5 Te Melo"%$ M%no! f!o& te >
t
"eg!eeD G6G(( ) 3 Melo"%$ M%no!
b5 Te L/"%an b6 s$ale f!o& te >
t
"eg!ee of te Ma-o! s$ale an" flat te 6
t
D C6G(( ) G Ma-o!
s$ale F%t a Bb (b6 of C L/"%an)5
R#le G*D To solo o'e! 3o&%nant 6b9 $o!"s I #seD
a5 Te Half)Iole Tone s$aleD E6b9 ) E Half Iole s$ale
b5 Te 3%&%n%se" s$ale of te b9 "eg!eeD E6b9 ) F 3%&%n%se" s$ale5
$5 Te Melo"%$ M%no! a alf steC abo'e te b9 $o!"D C6b9) CG Melo"%$ M%no!
R#leG>D To solo o'e! 3o&%nant 6
t
G@ $o!"s I #seD
a5 Te Iole Tone s$ale0 f!o& an/ $o!" o! s$ale "eg!ee
b5 Te Melo"%$ M%no! f!o& te @
t
"eg!eeD G6G@ ) C Melo"%$ M%no!
R#leG@D To solo o'e! 3%&%n%se" 6
t
$o!"s I #seD
a5 Te 3%&%n%se" s$ale of te !oot o! an/ $o!" "eg!ee (%n'e!s%on)5
b5 Te Half)Iole +$ale
R#leG2D To solo o'e! te Half)3%&%n%se" (&%n6b@) $o!" I #seD
a5 Te Melo"%$ M%no! (o! Ha!&on%$ M%no!P) f!o& te ;
n"
"eg!eeD E&6b@)3 Mel5 M%nno!
b5 Te Half)Iole Tone s$ale f!o& a alf steC beloFD B&6b@ ) Bb Half 3%&%n%se" s$ale
"5 Te 3%&%n%se" s$ale of $o!"D Ab6&6b@ ) Ab 3%&%n%se" s$ale5
e5 Te Melo"%$ M%no! a alf steC abo'e te Half 3%&%n%se" $o!"D C&6b@ ) CG Melo"%$ M%no!
PNoteD Te #se of te Ha!&on%$ M%no! %n -a77 as %ne!%te" te $o&&on feel%ngs f!o& Class%$al $o&Cose!s
%n tat %ts #se fo! &elo"%$ $onst!#$t%on %s 'e!/ l%&%te" "#e to te la!ge %nte!'al leaC betFeen te G@

(b2t)
an" 6
t
F%$ %s !ate! #nstable4 oFe'e!0 te #se of te Ha!&on%$ M%no! fo! a!&on%$ $onst!#$t%on %s #se"
e?tens%'el/ %n Class%$al an" <a77 &#s%$5
45
HUMMING IITH YOUR +OLO
Desearch is availa$le that shows data concerning musical skills as a form of natural language processing! and that
Ihumming is a form of speech processing!I .ust as spoken dialogue processing! musical information retrieval and
pattern recognition form a large portion of our speech communication.
>umming along with a solo has a lot to do with what is called Isolo vocal modelingI in speech and music
information retrieval.
A musician humming during hisJher performance whether it $e soloing to or playing the song! has a cognitive
correlation to ImodelingI the key or tonic! rhythmic and harmonic centers of the composition.
# have $een humming along with my solos ever since # learned to lay down a line against chords. # have tried to
analy:e it for years! and the $est conclusion so far that # have found! is what the researchers say a$out Isolo vocal
modeling.I
#tLs like the mind sets down in vocal motion a framework that is so connected to the song (and all of its
components iy has learned through disciplined training) via its tonality! its key! its tonal center(s)! its rhythm and
its harmony! and attempts to center all the correlated concepts of soloing and interpretation into a general
framework where you! the soloist! can e+press against a $ackdrop hum that incorporates all the modeled processes
of the song.
#tNs likes a sort of crutch to keep the tonal! rhythmic and harmonic centers constantly in touch and focus internally
$y $locking out unnecessary distur$ances from the outside world55al$eit! they may enter as interruption of the
focus process! loss of key center! tempo! etc ....
The humming is not only melodic! its also rhythmic and harmonic 55 modeling the pulse in order also to keep in its
focus ...
Use of Co#nte!Co%nt
Counterpoint consists of M types of 4contrapuntal6 movement or 4motion6, *arallel! "imilar! Contrary! and
3$li/ue.
#t is when you are playing another note! or series of notes! while the melody! or another part is playing. This creates
melodic fullness and harmonic richness to your music that is pleasing to the ear and creates interest and sparks
involvement for the listening. Audiences love 4structure!6 and 4Counterpoint6 is a vivid e+ample of structured
music.
Pa!allel Mot%on
0hen 8 parts of t he music move in the same special (intervallic) direction at the same time the movement is call
4parallel6 motion.
%or e+ample! say a note moves up a whole step! then the ad.acent 4parallel6 note also moves up a whole step,
K#n the key of C take C & ( % as the melody theme! and A is the first 4parallel6 note K it would look and sound
like this,
46
(+. 7. CJA &JB (whole step movement)
#f we continue this movement as such! CJA &JB (JC? %J&
>ere we have a minor Brd interval moving upward as it remains a minor B
rd
with each note.
Because 4parallel6 counterpoint is $ased more on spatial (interval) movement rather than note names! it will most
likely move out of key as in the e+ample a$ove where the key of C is the tonic key.
(+. 8. Pey of @! @ A B C $eing the melody theme. @J& AJ( BJ%? CJ@
>ere we have a M
th
interval that moves upward and retains the M
th
. #nterval relationship with the melody notes.
+%&%la! Mot%on
0hen 8 parts move in the same direction at the same time while still staying in the same key! it is called 4similar6
motion.
(+.7. Pey of A! ( & C? B $eing the melody theme, (JC? &JB C?JA BJ@?
>ere we start with a ma.or B
rd
interval ((JC?)! and it moves to a minor B
rd
(&JB)! then moves to another ma.or B
rd
(
C?JA)! which ends up with a minor B
rd
(BJ@?).
"imilar motion moves in the same direction as the theme note $ut continues to stay in the original key. This
re/uires that you must first esta$lish the tonic key you are harmoni:ing.
Cont!a!/ Mot%on
Contrary motion occurs when two parts of the music move apart in opposite directions in varying interval degrees
(+. 7. "ee the Mth measure of the B section in (rroll @arnerLs 4Misty6! where the melody goes ($ % A$ B$ C,
0e have the following Contrary motion, ($J($ %J& A$JC B$JB$ CJA$
=ote, using this e+ample from 4Misty6 the ne+t note in the melody is & where the harmony is Am' (clearly
Am77). =ote how wonderful the 4opposite6 motion resolves into the melody and harmony chromatic from A$ to A
(Am77) ; this is wonderful sound.
Obl%W#e (o! ACo&&onB) Mot%on
0hen one part moves and another part remains static it is called 43$li/ue6 motion.
(+. 7. "ee measures ' and G in 4My %unny alentine6 (thatLs - $ars $efore the first ending). The melody note is ($
for two measures (two tied whole notes)! and the harmony changes once per $ar, J Cm' +++ J B$m' +++ J
47
0e can re5harmoni:e the original harmony in the following way,
3riginal >armony, J Cm' J B$m' J
Melody, J ($ 555555555J ($ 55555555555J
De5>armoni:ed J Cm' ; B' J B$m' ; A'$CJ
=ote, notice the chromatic movement in the $ass (C B B$ A) while also the inner voices of the harmony move in
contrast to the static melody. This creates tension and release as it moves the harmony in contrast to the
4unmoving6 melody while the theme moves away andJor toward resolution.
(+. 8. 0here the melody note @ is tied over for two or more measures, @JC 555Q @J& 555Q @J( 555Q @J%
3D
(+. B. @JC 555Q @JB 555Q @JB$ 555Q @JA
3D
(+. M. @J% 555Q @J( 555Q @J($ 555Q @J& ( ... this is ICommon ToneI or 43$li/ue6 motion ...also very effective).
The possi$ilities are endless with each form of counterpoint. The point is to create meaningful music. (+periment
and see what you can create using these wonderful tools at your disposal.
En-o/ /o#! l%fe F%t M#s%$,55
,to be $ont%n#e",55
48