Figured Bass Does not indicate the voicing Chord Inversions Close/Open Voicings.... Close Within 8ve. .......

.Open More than 8ve.

SOUND: Root Position ----Firm, Secure, Conclusive 1st Inversion ------Lighter, More Airy (Higher Partial Numbers) 2nd Inversion -----Unstable, Uncertain, Traditional Harmony (Regarded Dissonant) Guided by Stylistic Rules.

Listen...... Basic Triad ... Root = Strongest Interval Root of Major or Minor Triad is the same in all positions Root of every interval in a Major Triad is the same The Major Triad Purest possible arrangement of 3 different tones Maximum of: STRENGTH, FUSION, CLARITY Minimum of: TENSION, DENSITY Expresses: NORMALCY, STRENGTH, PATRIOTISM, TRUE LOVE, ETC. In any position or voicing its notes are accurate partial numbers No matter how often the 3 notes are duplicated it remains a Triad. The Minor Triad Root of All intervals in a Minor Triad is not the same Much more complex grouping: 3 unrelated difference tones in each of its positions. Retains its main root only because of the strongest interval in each case Therefore, the Minor Triad is much Richer than Major and has: Less: STRENGTH, FUSION, CLARITY, Considerably more: DENSITY, and somewhat more: TENSION Expresses: Opposite side of the Emotional Coin. Partial numbers are calculated the same as Major Triad Except: Minor 3rd is regarded as 'Altered' 5th Partial marked 5(w/ Checkmark) , 10(w/ Checkmark) , etc. Therefore: Minor Triad has 33 1/3 % DISTORTION ..... One of its 3 notes is 'Altered' from the natural overtone series This DISTORTION: Gives the characteristic Melancholy often associated with the Minor Triad. Some chords have as much as 50% DISTORTION, but never more than 50% a 5 note 9th chord: .... In Major = Thin vs. In Minor = Not too bad.

Augmented and Diminished Chords ('Neutral Chords') The Augmented Triad 'Symmetrical' composed of similar intervals enharmonic equivalents: C+ Ab+(6) E+(6/4) Partial numbers based on notation Aug 5th Regarded Altered 3rd Partial which is: 3(checkmark), 6(checkmark), 12(checkmark), etc. : Therefore: C+=(6/5/4) Ab+(6)=(8/6/5) E+(6/4) = (5/4/3) 3-way 8ve division formula: 12/3=4 Whole Tone Scale and Whole Tone Chord: W.......

Each note of any scale can function as a Root and have a chord built on it. Traditional System: Constructed from diatonic notes of Scale being used as close as poossible to the overtone series of the Root being used.

MAJOR (IONIAN) PRIMARY CHORDS: ( I , IV, V ) Built on 'Tonal Notes' Tonic, SD, D Any melody can be, and often is, harmonized with only the primary chords. SECONDARY CHORDS: ( ii , iii , vi , vii ) Built on 'Modal Notes'

I IV V ii iii vi vii

= MAJOR = MINOR = Diminished (Acoustical Root = The Dominant)

MINOR:

AEOLIAN ('NATURAL MINOR) HARMONIC MINOR MELODIC MINOR ARTIFICIAL MODE ARTIFICIAL MODE

All three mixed become COMPOSITE MINOR It is rare that only one form of minor be used exclusively. Each is drawn from the demands of MUSICA FICTA in Voice Lines. (see: p.49) Primary Chords: Also ( I , IV , V ) Secondary Chords: Also ( ii , iii , vi , vii )

Harmonic Vocabulary applied to Arranging/Composition Tonal Harmony and Melody Fundamental Sounds of Stylistic consistancy ----- Musical Coherence Retain Style He Himself Establishes Ryhtm , Melody , Harmony (Melody and Harmony are drawn from Scales) Vertical / Horizontal Western, Non-Oriental --- 12 Tone Scale --- in Circle 5ths None is more active than any other

being separated by Step. Tone Rows 7 Note Diatonic Scales Active Tones, Restful Tones, Manipulation of = Tonal Music 7 Modes, 7 Modal Scales Degree Names Tonic, Supertonic, Mediant, Subdom., Dom., SubMediant, Leading-Tone Tetrachords: Major, Minor, Phrygian, Harmonic Scales built from Tetrachords Tritone: Instable Resolution Needed Establishes Key in Aeolian Tonal-Tritone: Between 4th and 7th Scale Degrees IONIAN Positioned so its dissonance is aimed at the Tonic Chord Therefore; IONIAN = Most stable Mode; Main Scale in (Western Music)

Key Signatures: Sharp keys: Move in direction of Dominant in Circle of 5ths Upper Tetrachord of one becomes the Lower Tetrachord of the next Flat Keys: Move in direction of the SubDominant in Circle of 5ths Lower Tetrachord becomes the upper tetrachord of the next The Sound of the IONIAN Mode: ECCLESIASTICAL MODES: The LYDIAN Mode: Not often used but is more used in Jazz and Popular Styles more these days. TONIC = 1 Note of the TRITONE The LOCRIAN Mode: Virtually never used although (personal note by DJL which is me): It is used for certain reasons in my Jazz training. The OTHER 5 Modes: Tonal Modes with Acceptable Tonal Stability MAJOR MODES = MINOR MODES = TONAL NOTES = TONIC, SUBDOM, DOM REST OF NOTES CHANGE WITH VARIOUS MODES: Therefore Some Modal Notes have Specific Names:

Mixo. 7Th , Dorian 6th , Phrygian 2nd , and the SUBTONIC SUBTONIC: Called so to distinguish it from a true Leading-Tone IONIAN is the only mode with a True Leading-Tone

Modes From Brightest to Darkest Sounding: Ionian Mixolydian Dorian Aeolian Phrygian Modal Key Signatures vs. The Use of Accidentals in the Original Key Mode Change: Technique of 'Melodic Variation' Often this is used in B.G. Writing in specific music. See: (p.10) Mixed-Mode Technique: Requires a sensitive handling of Altered Notes Modal Notes: In any given key = 2 Versions for each of the Modal Notes Modal Variants: Without loss of key sense. Instead of.... See: (p.12) [ b2, b3, b6, b7 ]. A technique of 'Melodic Variation' which receives extensive use in the Jazz Idiom. BLUES: [ b7, b3, (b5) ] Blue-Notes which are actually technically 'Modal Notes' Melodies essentially are Minor in Blues While Harmony remains Major ; Characteristic of the Blues Flavour [ b5 ] has also extensively been incorporated in to the Blues Therefore the following Descending Blues Scale: C Bb [A Ab] G Gb F Eb [D Db] C Plays An Important Role in Jazz Improvisation and writing.

MINOR TONALITY: MODAL SYSTEM ---- SIMPLIFIED ----- DIATONIC SYSTEM OF 2 OPPOSING POLES MAJOR ................................................................................................ MINOR ( MODE 1) (MODE 6) AEOLIAN Main Minor Mode with Tritone Therefore Most Stable Minor Mode AEOLIAN Refers to the Minor Key. The other Minor Modes Do Not. If the other Minor Modes are used (Dorian, Phrygian, etc.) they must be specified. eg. Dorian Minor or Phrygian Minor, etc. RELATED MINOR PARALLEL MINOR (TONIC MINOR) PARALLEL MAJOR (PURE) AEOLIAN ('NATURAL MINOR')

MUSICA FICTA ('ARTIFICIAL MUSIC') 1. 7th is Artificially raised by accidental to create a Leading-Tone into the Tonic. This creates the HARMONIC MINOR. 2. 4th ........ 7th = TONAL TRITONE. Therefore Harmonic Minor is more stable, more definite tonality than AEOLIAN. However 6th ........ 7th Creates: Aug 2nd Awkward to sing Sound is Eastern Therefore: Raise 6th Degree (SubMediant) by accidental which removes the Aug 2nd Becomes Melodic Minor and: The Descending form reverts to Original AEOLIAN Form.

Therefore MINOR TONALITY has: 3 SCALES: One 'Pure' Mode and TWO 'Artificial' Modes MUSICA FICTA IN MINOR MELODY: Grouped under 4 HEADINGS: (A) Logical use of MusicaFicta (B) Use of Harmonic Minor Scale (C) Use of Pure AEOLIAN (D) A Casual use of MusicaFicta Also Significant: Use of MusicaFicta in Minor Key Chords. (A) Mel. Minor Scale ........ USUAL (B) Aug 2nd Harmonic Scale ....... RARE, SPECIALIZED (C) Pure Aeolian ......................UNENERGETIC, PASSIVE, AVAILABLE (D) Casual MusicaFicta ...........POSSIBLE, BUT UNUSUAL More Exotic Scales MusicaFicta can be applied to Phrygian and Dorian Modes for exactly the same reasons. C Phrygian C 'Harmonic' Phrygian C 'Melodic' Phrygian Rearranged Tetrachords produce more 'Exotic' Scales and still contain 3 Tonal Notes; Therefore they Remain Key Oriented. For example: Harmonic Major Scale (Occassionaly used in Popular Meody and Harmony) Illustration: The Chord From Bottom up is spelled: [ F Ab C E ] This Chord is Traced to the Harmonic Major Scale. Pent Scale: (1st 5 Notes of Circle of 5th )

5 Pent Modes with 3 unused (They don't have standard Triads on their Triads) Pent Major: USUAL. Ionian Key-Signature. Pent Minor: OCCASIONAL. AEOLIAN Key-Signature Pent Major: Tonal Tritone 4 ----- 7 is Removed Therefore; Easy to Sing, No Awkwardness. Melody May be: Entirely Pentatonic Only for one Sentence or May Show a Strong Pentatonic Influence Usually used melodically only Harmonizations of .... Draw from all resources of Harmony in Major and Minor. Intervals: (Distance between 2 notes) In succession = Melody Simultaneously = Harmony Perfect - Major - Minor - Diminished - Augmented Number = Scale Degrees encompassed SIMPLE: Within 8ve COMPOUND: Larger than 8ve Shorten and Lengthen ....... Become .......... (x) On Inversion ..................... Become .......... (x) Remember/Memorize: Formulas: Subtract Number of Interval from 9.

HARMONIC OVERTONE SERIES: SINGLE TONE: Infinite number of Overtones gradually diminishing in intensity as they get higher; Therefore Single Tone carries its own Harmonic Overtone Series All Vertical considerations in music related to structure of Harmonic Overtone Series: The Root is the Fundamental (1st Partial) The 1st Overtone is the (2nd Partial) They go all the way up to 22 But in; Arranging/Harmony: Rarely used above [ 13 ]. OVERTONE SERIES: 3rd Partial is a Perfect 5th 5th Partial is a Major 3rd 7th Parital is Minor 7th above 4 9th Partial is Major 9th above 4

11th Partial is Augmented 11th above 4 13th Partial is Major 13th above 4 6th and 12th Partials etc. Are 8ve Transpositions of 3 10th and 20th Partials are 8ve Transpositions of 5

INTERVALS AND CHORDS CAN BE MEASURED FOR: HARM. STRENGTH FUSION TENSION CLARITY DENSITY Each in some way are related to Position Interval occupies in the Harmonic Overtone Series.

HARMONIC STRENGTH: DIFFERENCE TONES ACOUSTICAL ROOT --- Closer the interval is to Acoustical Root the Greater the Harmonic Strength.

Just Remember the Vibration Frequency Ratios Further away from '1' the interval is the weaker it will be. Memorize [ (p. 28) Intervals---Strong, Median, Weak ] 8:5 means 8 is the 8th partial and the Bottom is the 5th partial; therefore '1' becomes obvious Intervals are weaker further removed from the Root. ENHARMONIC EQUIVALENTS: Affect the implications and handling ----- They act and Sound Differently But... Any interval not one of the 12 will be Enharmonic Equivalent of them and will have the same RATIO and ROOT. On Inversion all retain the same Root or an 8ve Transposition of it depending on direction of the Inversion. Exception: (Aug 4th --- Dim 5th ) (p.29)

SAFE LOW LIMITS: ROOT = A27 V.P.S. or Higher. Otherwise Sounds: Blurred, Foggy, Muddy ..Therefore First Appearance in Series = The Safe Low Limit for placing the interval ..This is not Law, but it is important to be aware of this especially with the Strong Intervals. Instruments involved, Duration, Dynamic Level, a Low Grouping etc all affect the sound as being one of these Blurred qualities. ...Examples: Low unaccented may work while Accented Long May not so well. Also

something PP is less blurred than if it were played FF. As well, a Low Grouping can be Desireable eg. As Dramatic, Percussive Sound. See: (p.32) NORMALLY: Clear Voicing is desireable; Therefore keep within the Safe Low Limit.

FUSION AND TENSION: DISSONANCE: Tendency to resolve (unstable) often confused with Tension. FUSION: Shows Tone-Affinity. Notes are compatible with each other TENSION: Lack of Tone-Affinity. Opposite of Fusion.

5 TENSION CATEGORIES: 1. 2. 3. 4. 5. PERFECT CONSONANCES: Perfect 1(PUnison), Perfect 8ve , Perfect 5th , Perfect 4th IMPERFECT CONSONANCES: Major and Minor 3rds , 6ths NEUTRAL: Tritone MILD DISSONANCES: Minor 7th , Major 2nd SHARP DISSONANCES: Major 7th , Minor 2nd

All Intervals remain in the same tension category on iversion. eg. Inverting 2-Part Duet without substantially changing the overall quality of the Duet Harmony. RELATION: USE OF TENSION AND FUSION A. EARLY HARMONY B. TRADITIONAL HARMONY --- (Mainly What We Use) C. MODERN HARMONY (Page 35 .. see the spectrum.) CLARITY AND DENSITY: CLARITY (Clearness) Lowest Partial Numbers = Greater Clarity

DENSITY (Thickness) The more implied sound. More audible Overtones, Difference tones, etc. = Greater Density.

ANY INTERVAL increases in DENSITY as it is PLAYED LOWER:

More Overtones come into Audible Range.