Chapter 2 Jth_& 9th Chord Ampe; 35) 7th & 9th CHORD ARPEGGIOS In addition to the routine scales, melodic fragments and concepts. arpeggios and broken chords, time should be spent honing specific Each chapter will focus on a specific area of melodic material. It would be impossible to practice everything in the book in any one day or week, so the ultimate decision of how much and what areas to explore should be up to the individual ENTH CHORDS Familiarize yourself with the following charts that identify where these chords came from and how they may function. CHORD TYPE Gymbol suffix) | FUNCTION IN MAJOR KEY FUNCTION IN MINOR KEY ‘Major_7 (maj?) TV Vi ‘Minor 7 (m7) i ii, vi Ww Dominant 7 (7) V7, W7 TalF-diminished 7 (7) Viioy Woy Diminished 7 @7) —aC—C~dCSC‘“CSSSCNCNT_CCSCSC~C*~*‘“‘(’; “When discussing the harmony of minor keys, this book will be referring fo harmonic minor only. ‘These exercises begin with basic seventh chord arpeggios: (M-m-M) (M-m-m) (m-M-m) (m-m-M) (m-m-m) a Major 7 b. Dominant 7 © Minor 7 d Half-diminished 7 e Fully diminished 7Chapter 2 7th & 9th Chord Arpeggios 2.6 Cycle through all the chords in a key center. Roman numerals indicate key function. Kap? 2.7 Another cycle through all the chords in a key center ending on vi. This pro- gression occurs many times in jazz, pop, and European art music. Dm? G7 cma? gt, Fmaj7 Konay7 Womap’ 417th & 9th Chord Arpeggios Cycle through the key center alternating between inverted arpeggios and 2.8 ditional ascending arpeggios. Fmai7 Bhmai7 7 Kenap7, 1VGnap7 iio7/ Bhar 1Vcmap7 cmap? Ho7 ful