Vince Lauria on iTunes | YouTube | IMDb | AmazonMP3 All materials copyright © 2010 Vince Lauria | www.vincelauria.com.
http://www.vincelauria.com/blog/2010/10/reharmonization.html
http://www.vincelauria.com/blog/2010/10/reharmonization.html
Monday, November 8, 2010
Planing
Vince Lauria on iTunes | YouTube | IMDb | AmazonMP3 All materials copyright © 2010 Vince Lauria | www.vincelauria.com.
Planing is a great way to add to new dimension to a song or piece.
Claude Debussy and Maurice Ravel were the pioneers of this technique.
Take a simple C major diatonic progression:
D minor seventh- ii7, G dominant seventh - V7, C major seventh - Imaj7
Take the same chords and move up or down in chromatic half steps:
Up in tone:
C#m7 to Dm7, F#7 to G7, Bmaj7 to Cmaj7
Down in tone:
Ebm7 to Dm7, Ab7 to G7, C#maj7 to Cmaj7
Also use the same chord chromatically in interval distances:
Cmaj7 to Emaj7
Cmaj7, C#maj7, Dmaj7, Ebmaj7, Emaj7
Also move the same chord by scale movement:
Cmaj7 to Fmaj7
Cmaj7, Dmaj7, Emaj7, Fmaj7
Also using this same idea and move by minor third intervals:
Cmaj7 to Cmaj7 octave:
Cmaj7, Ebmaj7, F#maj7, Amaj7, Cmaj7.
Also use this same idea and move in whole tone or whole step intervals:
Cmaj7 to Cmaj7 octave above
Dmaj7, Emaj7, F#maj7, Abmaj7, Bbmaj7, Cmaj7.
Also do descending:
Cmaj7 to Cmaj7 octave below
Cmaj7, Bbmaj7, Abmaj7, F#maj7, Emaj7, Dmaj7, Cmaj7.
Also major pentatonic ascending:
Cmaj7 to Cmaj7 octave
Cmaj7, Dmaj7, Emaj7, Gmaj7, Amaj7, Cmaj7.
Also major pentatonic descending:
Cmaj7 to Cmaj7 octave below:
Cmaj7, Amj7, Gmaj7,Emaj7, Dmaj7, Cmaj7.
Notice that the same note relationship (shape) stays the same.
Now transpose these to each position (register) of your instrument, then to all 15 keys.
All materials copyright 2010. For personal use only.
Vince Lauria Sun and Earth Music
Claude Debussy and Maurice Ravel were the pioneers of this technique.
Take a simple C major diatonic progression:
D minor seventh- ii7, G dominant seventh - V7, C major seventh - Imaj7
Take the same chords and move up or down in chromatic half steps:
Up in tone:
C#m7 to Dm7, F#7 to G7, Bmaj7 to Cmaj7
Down in tone:
Ebm7 to Dm7, Ab7 to G7, C#maj7 to Cmaj7
Also use the same chord chromatically in interval distances:
Cmaj7 to Emaj7
Cmaj7, C#maj7, Dmaj7, Ebmaj7, Emaj7
Also move the same chord by scale movement:
Cmaj7 to Fmaj7
Cmaj7, Dmaj7, Emaj7, Fmaj7
Also using this same idea and move by minor third intervals:
Cmaj7 to Cmaj7 octave:
Cmaj7, Ebmaj7, F#maj7, Amaj7, Cmaj7.
Also use this same idea and move in whole tone or whole step intervals:
Cmaj7 to Cmaj7 octave above
Dmaj7, Emaj7, F#maj7, Abmaj7, Bbmaj7, Cmaj7.
Also do descending:
Cmaj7 to Cmaj7 octave below
Cmaj7, Bbmaj7, Abmaj7, F#maj7, Emaj7, Dmaj7, Cmaj7.
Also major pentatonic ascending:
Cmaj7 to Cmaj7 octave
Cmaj7, Dmaj7, Emaj7, Gmaj7, Amaj7, Cmaj7.
Also major pentatonic descending:
Cmaj7 to Cmaj7 octave below:
Cmaj7, Amj7, Gmaj7,Emaj7, Dmaj7, Cmaj7.
Notice that the same note relationship (shape) stays the same.
Now transpose these to each position (register) of your instrument, then to all 15 keys.
All materials copyright 2010. For personal use only.
Vince Lauria Sun and Earth Music
Pivot Chords
Vince Lauria on iTunes | YouTube | IMDb | AmazonMP3 All materials copyright © 2010 Vince Lauria | www.vincelauria.com.
Pivot or common chords are often used to to temporary (or actual) modulation into a new key center. In "Harmonic function of chords - How do we use chords and scales in songs? Part II
I introduced some progressions using this technique. Below are some additional examples of progressions using the pivot chord technique.
C major to G major to C major.
C //// G //// Dm //// F //// C //// Em //// Bm //// D //// Em //// F#m //// G ////
A //// Dm //// G //// C //// Am //// F //// C //// G ////
The E minor is the iii of C major and vi of G major.
The D major is the V of G major and the I of D major.
A major is the V of D major and the V of D harmonic minor.
D minor is the i of D harmonic minor and the ii of C major.
C major to A harmonic minor to C major.
C //// G //// G#o7 //// Am //// F //// E7 //// Am //// Dm/A //// Bm7b5 ////
E7 //// Fmaj7 //// Cmaj //// Am //// Em //// F //// C //// F //// C //// G ////
C////
The G sharp diminished is the viio7 of A harmonic minor and a half step substitution from the G major chord. It is very common to make the natural minor of a major key into the new harmonic minor key.
F major seventh is the IV of C major and the VI of A harmonic minor.
C //// A7 //// Dm7 //// Dm //// G9 //// G7 //// F //// Em //// B7/A ////
B7+/A //// C/G ////
A seventh is the V7 of D harmonic minor. G ninth is a partial diatonic to D harmonic minor and the V9 to C major. Em is the iii of C major and the i of E harmonic minor. B dominant seventh - third inversion and B dominate seventh - third inversion are the V7+ and V7 of E harmonic minor and the B dominant is often substituted for the viiob5 (Bm7b5).
Also the A note in the G ninth is also the the fifth scale degree of D minor and D major.
The G (sharp fifth) in the B seventh augmented - third inversion is also the fifth scale degree in C major.
Using pivot chords and pedal or common tones when changing chords gives more continuity and melodic flow to the chord changes.
Now transpose these to each position (register) of your instrument, then to all 15 keys.
All materials copyright 2010. For personal use only.
I introduced some progressions using this technique. Below are some additional examples of progressions using the pivot chord technique.
C major to G major to C major.
C //// G //// Dm //// F //// C //// Em //// Bm //// D //// Em //// F#m //// G ////
A //// Dm //// G //// C //// Am //// F //// C //// G ////
The E minor is the iii of C major and vi of G major.
The D major is the V of G major and the I of D major.
A major is the V of D major and the V of D harmonic minor.
D minor is the i of D harmonic minor and the ii of C major.
C major to A harmonic minor to C major.
C //// G //// G#o7 //// Am //// F //// E7 //// Am //// Dm/A //// Bm7b5 ////
E7 //// Fmaj7 //// Cmaj //// Am //// Em //// F //// C //// F //// C //// G ////
C////
The G sharp diminished is the viio7 of A harmonic minor and a half step substitution from the G major chord. It is very common to make the natural minor of a major key into the new harmonic minor key.
F major seventh is the IV of C major and the VI of A harmonic minor.
C //// A7 //// Dm7 //// Dm //// G9 //// G7 //// F //// Em //// B7/A ////
B7+/A //// C/G ////
A seventh is the V7 of D harmonic minor. G ninth is a partial diatonic to D harmonic minor and the V9 to C major. Em is the iii of C major and the i of E harmonic minor. B dominant seventh - third inversion and B dominate seventh - third inversion are the V7+ and V7 of E harmonic minor and the B dominant is often substituted for the viiob5 (Bm7b5).
Also the A note in the G ninth is also the the fifth scale degree of D minor and D major.
The G (sharp fifth) in the B seventh augmented - third inversion is also the fifth scale degree in C major.
Using pivot chords and pedal or common tones when changing chords gives more continuity and melodic flow to the chord changes.
Now transpose these to each position (register) of your instrument, then to all 15 keys.
All materials copyright 2010. For personal use only.
Vince Lauria Sun and Earth Music
Synonyms
Vince Lauria on iTunes | YouTube | IMDb | AmazonMP3 All materials copyright © 2010 Vince Lauria | www.vincelauria.com.
Chords with the exact same notes that have multiple names.
In "Voice Leading Part XXII - with chromatic passing tones"
C minor major seventh - third inversion incomplete has the same notes as E flat augmented.
Cm maj7 = B, Eb, G (no root or C) same notes as: Eb+ = Eb, G, B
C minor seventh incomplete has the same notes as E flat major.
Cm7 = Bb, Eb, G (no root or C) same notes as: Eb maj = Eb, G, Bb
A minor seventh flat fifth incomplete has the same notes as F dominant ninth - first inversion
Am7b5 = A, Eb, G (no flat third or C) same notes as: F ninth - first inversion.
Below are other common synonyms from the key of C major:
G dominant seventh - first inversion incomplete has the same notes as B diminished.
G7/B = B, D, F, (no root or G) same notes as: Bo = B, D, F
A minor seventh has the same notes as C major sixth.
Am7 = A, C, E, G same notes as C6 = C, E, G, A
D minor seventh has the same notes as F major sixth.
Dm7 = D, F, A, C same notes as F6 = F, A, C, D
E minor seventh has the same notes as G major sixth.
Em7 = E, G, B, D same notes as G6 = G, B, D, F
Now transpose these to each position (register) of your instrument, then to all 15 keys.
All materials copyright 2010. For personal use only.
Vince Lauria Sun and Earth Music
Chords with the exact same notes that have multiple names.
In "Voice Leading Part XXII - with chromatic passing tones"
C minor major seventh - third inversion incomplete has the same notes as E flat augmented.
Cm maj7 = B, Eb, G (no root or C) same notes as: Eb+ = Eb, G, B
C minor seventh incomplete has the same notes as E flat major.
Cm7 = Bb, Eb, G (no root or C) same notes as: Eb maj = Eb, G, Bb
A minor seventh flat fifth incomplete has the same notes as F dominant ninth - first inversion
Am7b5 = A, Eb, G (no flat third or C) same notes as: F ninth - first inversion.
Below are other common synonyms from the key of C major:
G dominant seventh - first inversion incomplete has the same notes as B diminished.
G7/B = B, D, F, (no root or G) same notes as: Bo = B, D, F
A minor seventh has the same notes as C major sixth.
Am7 = A, C, E, G same notes as C6 = C, E, G, A
D minor seventh has the same notes as F major sixth.
Dm7 = D, F, A, C same notes as F6 = F, A, C, D
E minor seventh has the same notes as G major sixth.
Em7 = E, G, B, D same notes as G6 = G, B, D, F
Now transpose these to each position (register) of your instrument, then to all 15 keys.
All materials copyright 2010. For personal use only.
Vince Lauria Sun and Earth Music
Wednesday, September 22, 2010
Voice Leading Part XXII - with chromatic passing tones
Vince Lauria on iTunes | YouTube | IMDb | AmazonMP3 All materials copyright © 2010 Vince Lauria | www.vincelauria.com.
This also applies to minor keys (also all modes).
The next examples are with C Harmonic Minor.
Chromatic passing tones are notes outside of the scale - non diatonic.
Adds nice color and tension to voice leading.
Contrary Motion:
If the bass moves up - the treble moves down.
If the bass moves down - the treble moves up.
There will be passing tones from chord to chord. (notes from the scale)
More on this later.
These will all be in C Harmonic minor (3 note chords) using Contrary Motion:
(notes are written lowest tone on left to highest tone on right)
C, Eb, G (C minor)
B, Eb, G (C minor major seventh - third inversion) incomplete (E flat augmented)
Bb, Eb, G (C minor seventh - third inversion) incomplete (E flat major second inversion)
A, Eb, G (A minor seventh flat fifth) incomplete (F dominant ninth first inversion)
Ab, F, Ab (F minor - first inversion) incomplete
B, D, G (G major - first inversion)
G, C, Eb (C minor - first inversion)
i, imaj7, im7, #vi7b5, iv, V, i progression.
G, C, Eb (C minor - second inversion)
F#, C Eb (F sharp diminished seventh) incomplete
F, Ab, F (F minor) incomplete
G, B, D (G major)
Eb, C, Eb (C minor - first inversion) incomplete
i, bvo7, iv, V, i progression.
C, Eb, G (C minor)
B, G, B (G major - first inversion) incomplete
C, F, Ab (F minor - second inversion)
Ab, Eb, Ab (Ab major) incomplete
B, D, Ab (E dominant seventh - second inversion) incomplete
D, G, B (G major - second inversion)
C, Eb, C (C minor) incomplete
i, V, iv, VI, #III7, V, i progression.
C, Eb, G (C minor)
B, D, B (G major - first inversion)
incomplete
C, Eb, Ab (Ab major - first inversion)
A, Eb, Gb (C diminished seventh) incomplete (each note in dim chord is a root note)
Ab, F, Ab (F minor)
incomplete
C, Eb, G (C minor)
i, V, io7, VI, iv, i progression.
F, Ab, C (F minor)
E, Ab, C (E augmented)
Eb, B, G (E flat augmented)
F, Ab, D (D diminished - first inversion)
D, B, D (G major - second inversion)
incomplete
D, B, D# (G major - second inversion) incomplete
Eb, G, C (C minor - first inversion)
iv, #III+, III+, iio, V, V+, i progression.
C, Eb, G (C minor)
Bb, E, G (C minor seventh - third inversion) incomplete
Ab, F, Ab (F minor)
incomplete
B, D, G (G major - first inversion)
G, Eb, G (Eb augmented - first inversion)
incomplete
Ab, D, F (D diminished - second inversion)
G, B, G (G major)
incomplete
G, C, Eb (C minor - second inversion)
i, i7, iv, V, III+, iio, V, i progression.
C, Eb, G (C minor)
incomplete
Ab, Eb, Ab (Ab major)
incomplete
C, F, Ab (F minor - second inversion)
B, G, B (G major - first inversion)
incomplete
C, Eb, G (C minor)
B, F, B (B diminished)
incomplete
D, F, Ab (D minor)
incomplete
C, Ab, C (F minor - second inversion)
incomplete
B, Ab, C (F minor seventh flat fifth - second inversion) incomplete
Eb, G, C (C minor - first inversion)
i, VI, iv, V, i, viio, iio, iv, iv7b5, i progression.
Now transpose these to each position (register) of your instrument, then to all 15 keys.
All materials copyright 2010. For personal use only.
Vince Lauria Sun and Earth Music
Voice Leading Part XXII - with chromatic passing tones
This also applies to minor keys (also all modes).
The next examples are with C Harmonic Minor.
Chromatic passing tones are notes outside of the scale - non diatonic.
Adds nice color and tension to voice leading.
Contrary Motion:
If the bass moves up - the treble moves down.
If the bass moves down - the treble moves up.
There will be passing tones from chord to chord. (notes from the scale)
These will all be in C Harmonic minor (3 note chords) using Contrary Motion:
(notes are written lowest tone on left to highest tone on right)
C, Eb, G (C minor)
B, Eb, G (C minor major seventh - third inversion) incomplete (E flat augmented)
Bb, Eb, G (C minor seventh - third inversion) incomplete (E flat major second inversion)
A, Eb, G (A minor seventh flat fifth) incomplete (F dominant ninth first inversion)
Ab, F, Ab (F minor - first inversion) incomplete
B, D, G (G major - first inversion)
G, C, Eb (C minor - first inversion)
i, imaj7, im7, #vi7b5, iv, V, i progression.
G, C, Eb (C minor - second inversion)
F#, C Eb (F sharp diminished seventh) incomplete
F, Ab, F (F minor) incomplete
G, B, D (G major)
Eb, C, Eb (C minor - first inversion) incomplete
i, bvo7, iv, V, i progression.
C, Eb, G (C minor)
B, G, B (G major - first inversion) incomplete
C, F, Ab (F minor - second inversion)
Ab, Eb, Ab (Ab major) incomplete
B, D, Ab (E dominant seventh - second inversion) incomplete
D, G, B (G major - second inversion)
C, Eb, C (C minor) incomplete
i, V, iv, VI, #III7, V, i progression.
C, Eb, G (C minor)
B, D, B (G major - first inversion)
incomplete
C, Eb, Ab (Ab major - first inversion)
A, Eb, Gb (C diminished seventh) incomplete (each note in dim chord is a root note)
Ab, F, Ab (F minor)
incomplete
C, Eb, G (C minor)
i, V, io7, VI, iv, i progression.
F, Ab, C (F minor)
E, Ab, C (E augmented)
Eb, B, G (E flat augmented)
F, Ab, D (D diminished - first inversion)
D, B, D (G major - second inversion)
incomplete
D, B, D# (G major - second inversion) incomplete
Eb, G, C (C minor - first inversion)
iv, #III+, III+, iio, V, V+, i progression.
C, Eb, G (C minor)
Bb, E, G (C minor seventh - third inversion) incomplete
Ab, F, Ab (F minor)
incomplete
B, D, G (G major - first inversion)
G, Eb, G (Eb augmented - first inversion)
incomplete
Ab, D, F (D diminished - second inversion)
G, B, G (G major)
incomplete
G, C, Eb (C minor - second inversion)
i, i7, iv, V, III+, iio, V, i progression.
C, Eb, G (C minor)
incomplete
Ab, Eb, Ab (Ab major)
incomplete
C, F, Ab (F minor - second inversion)
B, G, B (G major - first inversion)
incomplete
C, Eb, G (C minor)
B, F, B (B diminished)
incomplete
D, F, Ab (D minor)
incomplete
C, Ab, C (F minor - second inversion)
incomplete
B, Ab, C (F minor seventh flat fifth - second inversion) incomplete
Eb, G, C (C minor - first inversion)
i, VI, iv, V, i, viio, iio, iv, iv7b5, i progression.
Now transpose these to each position (register) of your instrument, then to all 15 keys.
All materials copyright 2010. For personal use only.
Vince Lauria Sun and Earth Music
Sunday, September 19, 2010
Voice Leading Part XX - with chromatic passing tones
Vince Lauria on iTunes | YouTube | IMDb | AmazonMP3 All materials copyright © 2010 Vince Lauria | www.vincelauria.com.
This also applies to minor keys (also all modes).The next examples are with C Harmonic Minor.
Chromatic passing tones are notes outside of the scale - non diatonic.
Adds nice color and tension to voice leading.
Normal Progression:
Find common tone and move other voices scale wise.
First examples will all be in C harmonic minor (3 note chords) using Normal Progressions:
Ascending chord progressions. (notes are written lowest tone on left to highest tone on right)
These chords are all created from the C Harmonic Minor Scale: C, D, Eb, F, G, Ab, B, C.
C, Eb, G (C minor)
C, F, Ab (F minor - second inversion)
C, Gb, Ab (A flat dominant seventh - first inversion) incomplete
D, G, B (G major - second inversion)
Eb, G, C (C minor - first inversion)
i, iv, VI7, V, i progression. (see lesson on partial diatonic replacements see
"Harmonic function of chords - How do we use chords and scales in songs? Part I)
Eb, G, C (C minor - first inversion)
F, Ab, C (F minor)
F#, A, C (D seventh - first inversion) incomplete (also called secondary dominant)
G, B, D (G major)
G, C, Eb (C minor - second inversion)
i,iv, II7, V, i progression.
(see Harmonic function of chords - How do we use chords and scales in songs? Part V)
C, Eb, G (C minor)
Db, Fb, G (D flat diminished)
D, G, B (G major - second inversion)
Eb, G, C (C minor - first inversion)
G, B, D (G major)
G, C, Eb (C minor - second inversion)
i, biio, V, i, V, i progression.
C, Eb, G (C minor)
C, Eb, Ab (A flat augmented - first inversion)
D, G, B (G major - second inversion)
Eb, Ab, C (Ab major - second inversion)
F, Ab, C (F minor)
i, VI+, V, VI, iv, progression.
F, Ab, C (F minor)
G, B, C (G major add eleven)
Ab, C, Eb (Ab major)
Ab, D, F (D diminished - second inversion)
B, D, G (G major - first inversion)
C, Eb, G (C minor)
iv, V/11, VI, iio, V, i progression.
C, Eb, G (C minor)
C, F, Ab (F minor - second inversion)
D, F, Ab (D diminished)
D, G, B (G major - second inversion)
Eb, G, B (E flat augmented)
Eb, Ab, C (Ab major - second inversion)
E, G, C# (A dominant seventh - second inversion) incomplete
F, Ab, C (F minor)
F, Ab, Db (D flat major - first inversion)
G, C, Eb (C minor - second inversion)
i, iv, iio, V, III+, VI, #VI7, iv, bII, i progression.
C, Eb, G (C minor)
C, Eb, Ab (Ab major - first inversion)
D, F, Ab (D diminished)
D, F, B (B diminished - first inversion)
Eb, G, B (E flat augmented)
Eb, G, C (C minor - first inversion)
F, Ab, C (F minor)
F, Ab, D (D diminished - first inversion)
G, B, D (G major)
Ab, B, D (A flat diminished)
G, C, Eb (C minor - second inversion)
i, VI, iio, viio, III+, i, iv, iio, V, vio, i progression.
Now transpose these to each position (register) of your instrument, then to all 15 keys.
All materials copyright 2010. For personal use only.
Vince Lauria Sun and Earth Music
This also applies to minor keys (also all modes).The next examples are with C Harmonic Minor.
Chromatic passing tones are notes outside of the scale - non diatonic.
Adds nice color and tension to voice leading.
Normal Progression:
Find common tone and move other voices scale wise.
First examples will all be in C harmonic minor (3 note chords) using Normal Progressions:
Ascending chord progressions. (notes are written lowest tone on left to highest tone on right)
These chords are all created from the C Harmonic Minor Scale: C, D, Eb, F, G, Ab, B, C.
C, Eb, G (C minor)
C, F, Ab (F minor - second inversion)
C, Gb, Ab (A flat dominant seventh - first inversion) incomplete
D, G, B (G major - second inversion)
Eb, G, C (C minor - first inversion)
i, iv, VI7, V, i progression. (see lesson on partial diatonic replacements see
"Harmonic function of chords - How do we use chords and scales in songs? Part I)
Eb, G, C (C minor - first inversion)
F, Ab, C (F minor)
F#, A, C (D seventh - first inversion) incomplete (also called secondary dominant)
G, B, D (G major)
G, C, Eb (C minor - second inversion)
i,iv, II7, V, i progression.
(see Harmonic function of chords - How do we use chords and scales in songs? Part V)
C, Eb, G (C minor)
Db, Fb, G (D flat diminished)
D, G, B (G major - second inversion)
Eb, G, C (C minor - first inversion)
G, B, D (G major)
G, C, Eb (C minor - second inversion)
i, biio, V, i, V, i progression.
C, Eb, G (C minor)
C, Eb, Ab (A flat augmented - first inversion)
D, G, B (G major - second inversion)
Eb, Ab, C (Ab major - second inversion)
F, Ab, C (F minor)
i, VI+, V, VI, iv, progression.
F, Ab, C (F minor)
G, B, C (G major add eleven)
Ab, C, Eb (Ab major)
Ab, D, F (D diminished - second inversion)
B, D, G (G major - first inversion)
C, Eb, G (C minor)
iv, V/11, VI, iio, V, i progression.
C, Eb, G (C minor)
C, F, Ab (F minor - second inversion)
D, F, Ab (D diminished)
D, G, B (G major - second inversion)
Eb, G, B (E flat augmented)
Eb, Ab, C (Ab major - second inversion)
E, G, C# (A dominant seventh - second inversion) incomplete
F, Ab, C (F minor)
F, Ab, Db (D flat major - first inversion)
G, C, Eb (C minor - second inversion)
i, iv, iio, V, III+, VI, #VI7, iv, bII, i progression.
C, Eb, G (C minor)
C, Eb, Ab (Ab major - first inversion)
D, F, Ab (D diminished)
D, F, B (B diminished - first inversion)
Eb, G, B (E flat augmented)
Eb, G, C (C minor - first inversion)
F, Ab, C (F minor)
F, Ab, D (D diminished - first inversion)
G, B, D (G major)
Ab, B, D (A flat diminished)
G, C, Eb (C minor - second inversion)
i, VI, iio, viio, III+, i, iv, iio, V, vio, i progression.
Now transpose these to each position (register) of your instrument, then to all 15 keys.
All materials copyright 2010. For personal use only.
Vince Lauria Sun and Earth Music
Sunday, September 12, 2010
Voice Leading Part XVIIII - with chromatic passing tones
Vince Lauria on iTunes | YouTube | IMDb | AmazonMP3 All materials copyright © 2010 Vince Lauria | www.vincelauria.com.
Chromatic passing tones are notes outside of the scale - non diatonic.
Adds nice color and tension to voice leading.
Contrary Motion:
If the bass moves up - the treble moves down.
If the bass moves down - the treble moves up.
There will be passing tones from chord to chord. (notes from the scale)
More on this later.
These will all be in C major (3 note chords) using Contrary Motion:
(notes are written lowest tone on left to highest tone on right)
C, E, G (C major)
B, E, G (E minor - second inversion)
A, F, A (F major - first inversion) incomplete
B, D, G (G major - first inversion)
G, C, E (C major - second inversion)
I, vi, IV, V, I progression.
G, C, E (C major - second inversion)
Gb, C, E (C major flat fifth - second inversion)
F, A, F (F major) incomplete
F, A, E (F major seventh) incomplete
G, B, D (G major)
F#,B, D (G major seventh - third inversion) incomplete
F, B, D (G dominant seventh - third inversion)
E, C, E (C major - first inversion) incomplete
I,Ib5, IV,IVmaj7, V, Vmaj7, V7, I progression.
C, E, G (C major)
C, Eb, G (C minor)
B, G, B (G major - first inversion) incomplete
B, G, Bb (G minor - first inversion) incomplete
C, F, A (F major - second inversion)
A, A, C (A minor) incomplete
A, G#, C (A minor major seventh) incomplete
D, G, B (G major - second inversion)
D#, G, B (G augmented - second inversion)
C, E, C (C major) incomplete
I, i, V, v, IV, vi, vimaj7, V, V+, I progression.
C, E, G (C major)
C, Eb, G (C minor)
B, G, B (G major - first inversion)
incomplete
Bb, G, Bb, (G minor - first inversion) incomplete
C, E, A (A minor - first inversion)
C, E, Ab (A minor major seventh - first inversion) incomplete
A, F, A (F major)
incomplete
I, i, V, v, vi, vimaj7, IV, progression.
F, A, C (F major)
E, B, G (E minor)
D#, B, G (E minor major seventh - third inversion) incomplete
F, A, D (D minor - first inversion)
F, Ab, D (D diminished seventh - first inversion
D, B, G (G major - second inversion)
E, G, C (C major - first inversion)
IV, iii, iiimaj7, ii, iio, V, I progression.
C, E, G (C major)
B, E, G (C major seventh - third inversion) incomplete (also called Em - second inversion)
this is known as a synonym, same notes different names. Later this will be covered.
Bb, E, G (C dominant seventh - third inversion) incomplete
A, F, A (F major - first inversion)
incomplete
B, D, G (G major - first inversion)
G, E, B (E minor - first inversion)
incomplete
G, E, Bb (E diminished - first inversion)
D, F, A (D minor)
C#, F, A (D minor major seventh - third inversion) incomplete
C, F, A (D minor minor seventh - third inversion) incomplete
B, F, A (G dominate ninth - first inversion) also called D minor sixth (covered later)
B, D, B (G major - first inversion)
incomplete
C, E, G (C major)
I, Imaj7,I7, IV, V, iii, iiio, ii, iimaj7, ii7, V9, V, I progression.
C, E, G (C major)
B, E, G (C major seventh - third inversion) incomplete
Bb, E, G (C dominant seventh - third inversion) incomplete
A, E, A (A minor)
incomplete
C, F, A (F major - second inversion)
B, D, B (G major - first inversion)
incomplete
C, G, C (C major)
incomplete
B, G, B (E minor - second inversion)
incomplete
D, F, A (D minor)
C#, F, A (D minor major seventh - third inversion) incomplete
C, A, C (F major - second inversion)
incomplete
D, G, B (G major - second inversion)
C, octave C, E (C major)
incomplete
I, Imaj7, I7, vi, IV, V, I, iii, ii, iimaj7, IV, V, I progression.
Now transpose these to each position (register) of your instrument, then to all 15 keys.
All materials copyright 2010. For personal use only.
Vince Lauria Sun and Earth Music
Voice Leading Part XVIIII - with chromatic passing tones
Chromatic passing tones are notes outside of the scale - non diatonic.
Adds nice color and tension to voice leading.
Contrary Motion:
If the bass moves up - the treble moves down.
If the bass moves down - the treble moves up.
There will be passing tones from chord to chord. (notes from the scale)
These will all be in C major (3 note chords) using Contrary Motion:
(notes are written lowest tone on left to highest tone on right)
C, E, G (C major)
B, E, G (E minor - second inversion)
A, F, A (F major - first inversion) incomplete
B, D, G (G major - first inversion)
G, C, E (C major - second inversion)
I, vi, IV, V, I progression.
G, C, E (C major - second inversion)
Gb, C, E (C major flat fifth - second inversion)
F, A, F (F major) incomplete
F, A, E (F major seventh) incomplete
G, B, D (G major)
F#,B, D (G major seventh - third inversion) incomplete
F, B, D (G dominant seventh - third inversion)
E, C, E (C major - first inversion) incomplete
I,Ib5, IV,IVmaj7, V, Vmaj7, V7, I progression.
C, E, G (C major)
C, Eb, G (C minor)
B, G, B (G major - first inversion) incomplete
B, G, Bb (G minor - first inversion) incomplete
C, F, A (F major - second inversion)
A, A, C (A minor) incomplete
A, G#, C (A minor major seventh) incomplete
D, G, B (G major - second inversion)
D#, G, B (G augmented - second inversion)
C, E, C (C major) incomplete
I, i, V, v, IV, vi, vimaj7, V, V+, I progression.
C, E, G (C major)
C, Eb, G (C minor)
B, G, B (G major - first inversion)
incomplete
Bb, G, Bb, (G minor - first inversion) incomplete
C, E, A (A minor - first inversion)
C, E, Ab (A minor major seventh - first inversion) incomplete
A, F, A (F major)
incomplete
I, i, V, v, vi, vimaj7, IV, progression.
F, A, C (F major)
E, B, G (E minor)
D#, B, G (E minor major seventh - third inversion) incomplete
F, A, D (D minor - first inversion)
F, Ab, D (D diminished seventh - first inversion
D, B, G (G major - second inversion)
E, G, C (C major - first inversion)
IV, iii, iiimaj7, ii, iio, V, I progression.
C, E, G (C major)
B, E, G (C major seventh - third inversion) incomplete (also called Em - second inversion)
this is known as a synonym, same notes different names. Later this will be covered.
Bb, E, G (C dominant seventh - third inversion) incomplete
A, F, A (F major - first inversion)
incomplete
B, D, G (G major - first inversion)
G, E, B (E minor - first inversion)
incomplete
G, E, Bb (E diminished - first inversion)
D, F, A (D minor)
C#, F, A (D minor major seventh - third inversion) incomplete
C, F, A (D minor minor seventh - third inversion) incomplete
B, F, A (G dominate ninth - first inversion) also called D minor sixth (covered later)
B, D, B (G major - first inversion)
incomplete
C, E, G (C major)
I, Imaj7,I7, IV, V, iii, iiio, ii, iimaj7, ii7, V9, V, I progression.
C, E, G (C major)
B, E, G (C major seventh - third inversion) incomplete
Bb, E, G (C dominant seventh - third inversion) incomplete
A, E, A (A minor)
incomplete
C, F, A (F major - second inversion)
B, D, B (G major - first inversion)
incomplete
C, G, C (C major)
incomplete
B, G, B (E minor - second inversion)
incomplete
D, F, A (D minor)
C#, F, A (D minor major seventh - third inversion) incomplete
C, A, C (F major - second inversion)
incomplete
D, G, B (G major - second inversion)
C, octave C, E (C major)
incomplete
I, Imaj7, I7, vi, IV, V, I, iii, ii, iimaj7, IV, V, I progression.
Now transpose these to each position (register) of your instrument, then to all 15 keys.
All materials copyright 2010. For personal use only.
Vince Lauria Sun and Earth Music
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