Académique Documents
Professionnel Documents
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Dr. M.Mermikides
4
&4 ˙ ˙ ˙ ˙
˙ ˙ ˙ ˙
tone semitone tone tone tone semitone
tone
Major 2nd
Major 3rd
Perfect 4th
Perfect 5th
Major 6th
Major 7th
Octave
2. Triads: Root 3rd & 5th starting from each scale degree:
(These triad types occur in the same order in any major key)
Major Triad: R, 3, 5 Minor Triad: R, b3, 5 Diminished Triad: R, b3, b5
&
Monday, 28 February 2011
The Cycle of 5ths
©2010 Mermikides
C
F G
Am
Dm Em
Bb D
Gm Bm
Eb Cm
Cycle of F#m A
Fm
5ths
C#m
Ab E
Bbm G#m
D#m
Ebm
Db B
F#
Gb
Imaj7
I
IVmaj7 V7
IV V
(augmented 4th/
dimished 5th)
Diatonic
Cycle of
ii7
viiø
viiº 5ths ii
iii vi
iii7 vi7
The 'guide tones' in 7th chords are the 3rd and 7th - determining much of the character of the chord.
In a ii-V-i progression the guide tones moves in a particularly elegant fashion (indicated)
{
Motion of 'guide' tones (3rd and 7th)
D‹7
G7 CŒ„Š7
w w w
& w w w
? w w
w
{
A different voicing.
D‹7 G7 CŒ„Š7
w
& w w w
w w
? w w
w
Monday, 28 February 2011
Imaj7
I
IVmaj7 V7
IV V
(augmented 4th/
dimished 5th)
Diatonic
Cycle of
ii7
viiø
viiº 5ths ii
iii vi
iii7 vi7
They're are no compositional 'rules'
But here are some effective mechanisms to try
I can jump to any chord ('I' as in 'one' not me)
Any chord can jump to I (or IV or V)
All other motion as indicated (dashed is less common)
End on I
Chords can be in there triadic, 7th or other form (6th, 9th, 13th,
add9 etc.)
Monday, 28 February 2011
C7
I7
I!7
G7
C!7
IV!7 V7
F!7 G7
Secondary
Bø Dominants Dm7
ii7
viiø V7/V
V7/iii D7
Em7 Am7
B7
iii7 vi7
V7/vi V7/ii
A7
E7
I!7
G7
C!7
IV!7 V7
F!7 G7
Secondary
Bø Dominants Dm7
ii7
viiø V7/V
V7/iii D7
Em7 Am7
B7
iii7 vi7
V7/vi V7/ii
A7
Monday, 28 February 2011
E7
The C Natural Minor Scale and its Diatonic Harmony
The 7 notes of the C natural minor scale:
b4 ˙
& b b4 ˙ ˙ ˙ ˙ ˙ ˙ ˙
Triads: Root 3rd & 5th starting from each scale degree:
The triads in a minor key are:
Minor Triad: R, b3, 5 Diminished Triad: R, b3, b5 Major Triad: R, 3, 5
i iiº III iv v VI VII
Im IIº ¨III IVm Vm ¨VI ¨VII
˙˙
E¨ Fm Gm A¨ B¨
b ˙˙
Cm Ddim
b ˙˙ ˙˙ ˙˙ ˙
& b ˙˙˙ ˙˙
˙ ˙ ˙ ˙ ˙
7th Chords: Root 3rd 5th & 7th starting from each scale degree:
The 7th chord types in a natural minor key are:
Major 7 chord: R, 3, 5, 7 Minor 7 chord: R, b3, 5, b7
Dominant 7 chord: R, 3, 5, b7 Minor 7b5 chord: R, b3, b5, b7
(Half diminished)
i7 iiøØ III^7 iv7 v7 VI^7 VII7
Im IIm7(¨5) ¨III^7 IVm7 Vm7 ¨VI^7 ¨VII7
b ˙
Cm7 Dm7b5 E¨maj7
˙˙
Fm7
˙˙ ˙˙
Gm7
˙˙
A¨maj7 ˙
B¨7
˙˙
b
& b ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙
˙ ˙˙
Monday, 28 February 2011
Minor Diatonic Harmony Self-test
m.mermikides@surrey.ac.uk
Reference: The diatonic triads of A natural minor.
Common uses
iv I bVI bVII I
Fm C A¨ B¨ C
˙˙ ˙˙ b œ
b œœ
œœ
bœ n˙˙˙
& b˙˙ ˙
˙
minor key major key minor key major key
iiøØ7 V7 I^7
Dm7b5 G7 Cmaj7
Diminished chords are often used as passing chords between chords I, ii and iii in either direction.
Imaj7 #Iº7 IIm7 #IIº7 IIIm7 bIIIº7 IIm7 bIIº7
& V V V V V V V V V V V V V V V V
The #IVº7 chord is often used between chords IV and a 2nd inversion I chord
& V V V V V V V V V V V V V V V V
Taking another look at the guide tones in the ii-V-I progression, we notice that the 3rd and 7th of the
dominant chord form a tritone interval.
{
Motion of 'guide' tones (3rd and 7th)
D‹7
G7 CŒ„Š7
w w w
3rd 7th
& w
3rd
w w
7th 3rd 7th
? w w Root
w
Root Root
Since the tritone interval may be inverted. This implies that a dominant chord a tritone away
{
may be substituted with the guide tones maintained (with an enharmonic adjustment).
D‹7 D¨7 CŒ„Š7
w bw w
3rd 3rd
& w w
3rd
w
7th 7th (B-nat = Cflat) 7th
? w bw w
Root Root Root
Notice that the tritone substitution dominant chord now resolves down a semitone rather than a 5th,
Monday, 28 February 2011
The 12- Bar Blues (Major)
This is the very basic form based around I7, IV7 and V7. In this case I7 and IV7 are not
considered secondary dominants as they do not have the same tendency to drop down a 5th.
IV7 does not compel a resolution down a 5th and a piece can happily start and end on I7.
Consider these dominant chords as idiomatic substitutions for I and IV (ot Imaj7 and IVmaj7)
Note that the 12 bars are divided into 3 groups of 4 bars and that I, IV and V begin each group.
Basic Form
I7
&4 V V V V V V V V V V V V V V V V
'Statement'
4
IV7 I7
& V V V V V V V V V V V V V V V V
'Restatement'
V7 IV7 I7
& V V V V V V V V V V V V V V V V ™™
'Response'
The basic form is often embellished with harmonic inflections, the 'quick change', the #IVº7 and the 'turnaround'.
'quick change'
I7 IV7 I7
& V V V V V V V V V V V V V V V V
#IVº7 I7
IV7
& V V V V V V V V V V V V V V V V
The 'turnaround', the last 2 bars, is a little turn
resolving the harmony back to the beginning of the form.
There are many variations, 4 of them are given below
I7 V7
I7 V7
™™
I7 IV7 I7 V7
& V V V V V V V V V V V V V V V V
V7 IV7 V7
I7 VIm7 IIm7
& V V V V V V V V V V V V V V V V
C7 G‹7 C7
& V V V V V V V V V V V V V V V V
F9 F©º7 C7 E‹7(b5) A7
& V V V V V V V V V V V V V V V V ™™
D‹7 G7 C7 A‹7 D‹7 G7
I7
FŒ„Š7 E‹7(b5) A7
&b V V V V V V V V V V V V V V V V
D‹7 G7 C‹7 F7
IV7
&b V V V V V V V V V V V V V V V V
B¨7 B¨‹7 E¨7 A‹7 D7 A¨‹7 D¨7
IIm7 V7
&b V V V V V V V V V V V V V V V V ™™
G‹7 C7 F6 D7 G‹7 C7
&4 V V V V
4
V V V V V V V V V V V V
Imaj7 V7/IV IVmaj7 IVm6 IIIm7 V7/II IIm7 V7
& V V V V V V V V V V V V V V V V
CŒ„Š7 C7 FŒ„Š7 F‹6 E‹7 A7 D‹7 G7
& V V V V V V V V V V V V V V V V
& V V V V V V V V V V V V V V V V
CŒ„Š7 C7 FŒ„Š7 F‹6 E‹7 A7 D‹7 G7 C6
B
V7/VI V7/II
& V V V V V V V V V V V V V V V V
E7 A7
V7/V V7
A3=A2
& V V V V V V V V V V V V V V V V
D7 G7
& w
w #w
w nw
ww #w
w
w w w w
Minor Triad with moving 5th (5,+5,6,+5)
Im Im+ Im6 Im+
C‹ C‹& C‹6
bb
C‹&
b
& w w #w
w nw
w #w
w
w w w w
Major Triad with moving Root/7th (R,7,b7,6)
I Imaj7 I7 I6 IV
OR
C CŒ„Š7 C7 C6 F
& w
w
w w
w
w bw
w
w ˙˙˙ ˙˙
w w w ˙ ˙˙
...similar progression with bass motion
& w
w w
w w ˙˙ ˙˙
w w bw
w ˙˙ ˙˙
Monday, 28 February 2011
Minor Triad with moving Root/7th (R,7,b7,6)
Im Im(maj7) (3rd inv.) Im7 (3rd Inv.) VIm7(b5) IV9 (1st inv.)
A‹7(b5) OR IV9
C‹/B¨ C‹/A
C‹ C‹/B F9/A
b
&b b w
w w w ˙˙ ˙˙˙
w nw
w bw
w n ˙˙ n ˙˙
& 44 ˙ ˙ ˙ ˙ ˙ ˙ ˙
˙
tone semitone tone tone tone semitone
tone
Since these intervals are not regular, we get a different pattern, and set of scale degrees
depending from which of the 7 notes we start with. Each of these 7 starting points
gives a 'mode' of the major scale and each has its own distinct and beautiful character,
harmonic language and repertoire.
1. IONIAN
Mode 1: Starting on the 1st degree: Ionian. In this case:
C Ionian (C, D, E, F, G, A, B) with degrees (R, 2, 3, 4, 5, 6, 7)
Identical, of course, to the major scale.
& ˙ ˙ ˙ ˙ ˙ ˙
˙ ˙
tone semitone
2. DORIAN
Mode 2: Starting on the 2nd degree: Dorian. In this case:
D Dorian (D, E, F, G, A, B, C) with degrees (R, 2, b3, 4, 5, 6, b7)
Natural minor with a 'sweet' and 'funky' major 6th.
& ˙ ˙ ˙ ˙ ˙ ˙
˙ ˙
tone semitone
Monday, 28 February 2011
3. PHRYGIAN
Mode 3: Starting on the 3rd degree: Phrygian. In this case:
E Phrygian (E, F, G, A, B, C, D) with degrees (R, b2, b3, 4, 5, b6, b7)
Natural minor with a 'sinister' and 'moorish' minor 2nd.
˙ ˙ ˙ ˙ ˙
& ˙ ˙ ˙
semitone tone
2
4. LYDIAN
Mode 4: Starting on the 4th degree: Lydian. In this case:
F Lydian (F, G, A, B, C, D, E) with degrees (R, 2, 3, #4, 5, 6, 7)
Major with a 'bright' and 'magical' raised (augmented) 4th.
˙ ˙ ˙ ˙ ˙
& ˙ ˙ ˙
tone
semitone
5. MIXOLYDIAN
Mode 5: Starting on the 5th degree: Mixolydian. In this case:
G Mixolydian (G, A, B, C, D, E, F) with degrees (R, 2, 3, 4, 5, 6, b7)
Major with a 'bluesy' and 'majestic' flattened 7th.
˙ ˙ ˙ ˙ ˙
& ˙ ˙ ˙
tone
semitone
˙ ˙ ˙ ˙ ˙
& ˙ ˙ ˙
tone semitone
7. LOCRIAN
˙ ˙ ˙ ˙
˙ ˙ ˙
& ˙
semitone tone
Ä Ä
A Dorian
#
& ˙ ( #) ˙ ˙ ˙
˙ ˙ ˙ ˙
Root Maj2 Min3 P4 P5 Maj6 Min7 Octave
Note that Dorian is different from natural minor in that it has a major 6th (not minor 6th) - in this case F# not F
This is its character note. In fact it is the presence of both a minor 3rd and major 6th that gives much of Dorian's vibe.
Here are the triads of A Dorian , together with a ('US') roman numeral analysis.
Chords containing the character major 6th (F#) are underlined. The IIm and IV are the most common
dorian modal chords (the VIº ir unstable and not commonly found)
A Dorian A‹ C E‹ F©º G
#
B‹ D
˙˙ ˙˙ ˙˙ w
w
& ˙ ˙˙ ˙˙ ˙ ˙ ˙ w
˙˙ ˙ ˙
Im IIm bIII IV Vm VIº bVII
And here are the 7th chords with roman numeral analysis. A very common and effective
Dorian chord is the IV7, as it contains both the minor 3rd and major 6th of the mode.
Of the seventh chords IIm7, IV7 are the most often used to describe Dorian modality, but most of
the other diatonic chords may be found in progressions. In addition the Im6 is chord is often used.
˙˙ ˙˙ ˙˙ ˙˙ w
w
& ˙˙ ˙˙˙ ˙˙ ˙˙ ˙˙ ˙˙ w
˙˙ ˙
Im7 IIm7 bIIImaj7 IV7 Vm7 VIø7 bVIImaj7
There are may examples of the Dorian mode in popular music here are a few:
Ä
A Phrygian
&b ˙ ˙ ˙ ˙ ˙
˙ ( b)˙ ˙
Root Min2 Min3 P4 P5 Min6 Min7 Octave
Note that Phrygian is different from natural minor in that it has a minor 2nd (not major 2nd) - in this case Bb not B
This is the character note of Phrygian which gives it its unique 'flamenco' quality.
Here are the triads of A Phrygian , together with a ('US') roman numeral analysis.
Chords containing the character minor 2nd (Bb) are underlined. The bIIm and bVIIm are the most common
phrygian modal triads (the Vº if unstable and not commonly used)
A Phrygian A‹ C F G‹
B¨ D‹ Eº
˙˙ w
&b ˙ ˙˙ ˙˙ ˙˙
˙
˙˙
˙ ˙ w
w
˙˙ ˙ ˙
Im bII bIII IVm Vº bVI bVIIm
Here are the seventh chords of A phrygian with roman numeral analysis.
Of the seventh chords bIImaj7 and bVIIm7 are the most often used to describe Phrygian modality, but most of
the other diatonic chords may be found in progressions. In additional the Im(addb9) chord is also used.
Also note that 'power chords' (chords with just roots and fifths) are found in Phrygian (and other modal) contexts.
A Phrygian
C7 E‹7(b5) FŒ„Š7 G‹7
w
A‹7 B¨Œ„Š7 D‹7
˙˙ ˙˙ ˙˙ w
& b ˙˙ ˙˙
˙˙
˙˙
˙˙ ˙˙ ˙˙ ˙˙ w
w
˙˙
Im7 bIImaj7 bIII7 IVm7 Vm7(b5) VIø7 bVIIm7
There are may examples of the Phrygian mode in popular music, particularly when 'spanish' and
sinister atmospheres are required. Here are a few:
White Rabbit - Jefferson Airplane. (F#5 and G5 and the notes from F# phrygian are used)
Symphony of Destruction - Megadeth (the opening riff uses E5, F5 and G5 from E Phrygian)
The God That Failed - Metallica (Eb5, Fb5, Gb5, Bb5 from Eb Phrygian)
Ä
C Lydian
# ˙
& ˙ ˙ ˙
˙ ˙ ˙ ( #) ˙
Note that Lydian is different from major in that it has an augmented 4th (not perfect 4th) - in this case F# not F
This is the character note of Lydian which gives it its unique 'magical' quality.
Here are the triads of C Lydian , together with a ('US') roman numeral analysis.
Chords containing the character augmented 4th (F#) are underlined.
The II and VIIm are the most common
lydian modal triads (the #IVº if unstable and not commonly used)
C Lydian E‹ G A‹ B‹
# w
C D F©
˙˙˙ ˙˙ ˙˙˙ ˙˙ w
w
& ˙˙ ˙˙ ˙ ˙
˙ ˙
I II IIIm #IVº V VIm VIIm
Here are the seventh chords of C lydian with roman numeral analysis.
Of the seventh chords II7 (often in 3rd inv.), Vmaj7 and VIIm7 are the most often used to describe Lydian modality,
but most of the other diatonic chords may be found in progressions. In addition the Imaj7(#11) chord is also used.
C Lydian
w
A‹7 B‹7
˙˙˙
E‹7 GŒ„Š7
# ˙˙˙ w
CŒ„Š7 D7 F©‹7(b5)
˙˙ ˙˙ ˙˙ w
& ˙˙˙˙ ˙˙ ˙˙ ˙˙ ˙ ˙ w
Imaj7 II7 IIIm7 IVm7 Vm7(b5) VIm7 bVIIm7
There are many examples of the Lydian mode in popular and film music, particularly when a floating and
magical atmospheres are required. Here are a few moments from pop songs:
Sara - Fleetwood Mac. (Opens with F, G/F and Am/F all from F Lydian)
Man on the Moon - REM (the intro and verses use C major to Dadd11 from C Lydian)
The Simpsons theme - Danny Elfman (One of the most famous lydian melodies of all time in C Lydian-
In fact some of the harmonic material implies Lydian dominant - a mode of melodic minor)
The Riddle - Steve Vai (Open in E Lydian with an A# (sharpened 4th as the opening melody note)
Other examples include Blue Jay Way - The Beatles, Every Little Thing She Does is Magic - The Police,
All I need - Radiohead (C Lydian) The verses of Tonight, Tonight - Smashing Pumpkins.
So Mixoydian is different from major in that it has a minor (not major) 7th - in this case B-flat not B
This is the character note of mixoydian which gives it its 'dominant' quality. In fact it is the combination of the major
3rd and minor 7th that sets it apart from all the other modes of the major scale.
Here are the triads of C Mixolydian , together with a ('US') roman numeral analysis.
Chords containing the character minor 7th (Bb) are underlined.
The Vm and particularly the bVII are the most common mixolydian modal triads
(the IIIº if unstable and not commonly used)
C Mixolydian
C D‹ Eº F G‹ A‹ B¨
˙˙ ˙˙ ˙˙ w
w
& b ˙˙˙ ˙˙
˙
˙˙˙ ˙ ˙ ˙ w
I II IIIº IV Vm VI bVII
Here are the seventh chords of C mixolydian with roman numeral analysis.
Of the seventh chords I7 , Vm7 and bVIImaj7 are the most often used to describe mixoydian modality,
but most of the other diatonic chords may be found in progressions, particular the IV chord.
bVII/IV/I, for example, is a common mixolydian progression.
C Mixolydian
˙˙ w
C7 D‹7 E‹7(b5) FŒ„Š7 G‹7 A‹7 B¨Œ„Š7
˙˙ ˙˙ ˙˙ ˙˙ ˙˙ w
w
& b ˙˙˙ ˙˙ ˙˙ ˙˙ ˙˙ w
˙
I7 IIm7 IIIø IVmaj7 Vm7 VIm7 bVIImaj7
There are countless examples of the mixolydian mode in popular music - particularly in the harmony
of a track (even if melodies and solos are in minor pentationic) The bVII/IV/I sequence can be found
in everything from AC/DC to Zappa.
More 'pure' examples of mixolydian (when harmony and melody are both mixolydian) include:
Sweet Child of Mine - Guns and Roses and Sweet Home Alabama - Lynyrd Skynyrd
(D, Cadd9, G D in verses and the notes of guitar intro are all from D mixolydian)
Champagne Supernova - Oasis (A, A/G, A/F# and A/E - derived from A mixolydian)
Ä Ä
A Aeolian
& ˙ ˙ ˙ ˙
˙ ˙ ˙ ˙
Root Maj2 Min3 P4 P5 Min6 Min7 Octave
You'll notice that the aeolian mode is identical to the natural minor scale.
However in a minor key, the 7th note of the scale is often changed to a leading tone (harmonic minor)
which allows for V7 chord for example. The 6th degree is also sometimes changed, as in melodic minor.
However the aeolian mode has a fixed minor 6th and minor 7th which gives it its particular character.
Here are the triads of A Aeolian , together with a ('US') roman numeral analysis.
Chords containing the character minor 6th (F) - distinguishing it from Dorian - are underlined -
the IIº (rarely used), IVm, VI. The Vm and bVII which contain the character minor 7th (G) are also underlined.
A Aeolian
A‹ Bº C D‹ E‹ F G
˙˙ ˙˙ ˙˙ w
w
& ˙ ˙˙ ˙˙ ˙ ˙ ˙ w
˙˙ ˙ ˙
I IIº III IVm Vm VI bVII
Here are the seventh chords of A aeolian with roman numeral analysis.
All of these contain the minor 6th and minor 7th, and they are all used in aeolian progressions -although the
IIm7(b5) is rare.
A Aeolian
˙˙ ˙˙ ˙˙ w
w
& ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ w
w
˙˙ ˙˙ ˙˙
Im7 IIm7(b5) bIIImaj7 IVm7 Vm7 bVImaj7 bVII7
There are many examples of the Aeolian mode in popular music - the Im/bVII/bVI/bVII sequence is common,
as well as peices built around Im, IVm and Vm.
Here are a few examples of the Aeolian mode in popular music
Ain't No Sunshine- Bill Withers is built around Am7, Dm7 and Em7 (all from A Aeolian)
Stairway to Heaven (Led Zeppelin) outro solo has the repeated chords Am G F G from A Aeolian.
The Sound of Silence (Simon and Garfunkel) is in Eb Aeolian. (with chords Im bVII bVII and III)
MAJOR PENTATONIC
C major pentatonic (C D E G A) (R,2,3,5,6)
& w w w w w
Root Maj 2nd Maj 3rd Perfect 5th Maj 6th
The major pentatonic is like a major scale but without the 4th and 7th.
Note that the omitted 4th and 7th scale degrees are the ones with semitone relationships against a tonic triad,
and the source of the most harmonic motion in the major scale. With the 4th and 7th omitted, the major pentatonic
is a very neutral, singable and familiar scale.
The major pentatonic has 5 modes, the most common starts on the last note (the A here) and is called
the minor pentatonic
So the notes of C major pentatonic (C D E G A) are the same as A minor pentatonic (A C D E G)
MINOR PENTATONIC
A major pentatonic (A C D E G) (R,2,3,5,6)
w w w
& w w
Root Min 3rd Perfect 4th Perfect 5th Min 7th
The minor pentatonic is like a natural minor (aeolian) but without the 2nd or 6th (which have
semitone relationships against a tonic minor triad) With the 2nd and 6th omitted, the minor pentatonic
is an extremely useful, effective and commonly used scale.
Monday, 28 February 2011
Comparing Major and Minor Pentatonic
It is useful to compare major and minor pentatonic scales in parallel -
here is C major pentatonic side by side with C minor pentatonic.
C major pentatonic C minor pentatonic
& œ œ œ œ œ
œ bœ œ œ bœ
R 2 3 5 6 R b3 4 5 b7
The major scale has 7 modes, 3 major (ionian, lydian, mixolydian) 3 minor (dorian, phrygian and aeolian)
and 1 dimished (locrian). Interestingly the 3 major modes all contain the major pentatonic, and
only differ in terms of there 4th and 7th degrees. Similarly, the 3 minor modes all have the minor pentatonic
in common, with their 2nd and 6th degrees differing.
C major pentatonic
& œ œ œ œ
œ
R 2 3 5 6
(Perfect 4th, Major 7th) (Augmented 4th, Major 7th) (Perfect 4th, Minor 7th)
& œ œ œ œ #œ œ œ œ œ œ œ bœ
œ œ œ œ œ œ œ œ œ
R 2 3 4 5 6 7 R 2 3 #4 5 6 7 R 2 3 4 5 6 b7
& œ œ bœ
œ bœ
R b3 4 5 b7
(major 2nd, major 6th) (minor 2nd, minor 6th) (major 2nd, minor 6th)
C Dorian C Phrygian C Aeolian
& œ œ bœ œ œ œ bœ œ œ b œ b œ œ œ b œ b œ
œ bœ bœ œ œ bœ
R 2 b3 4 5 6 b7 R b2 3 4 5 b6 b7 R 2 3 4 5 b6 b7
Major Blues
The Major Blues 6-note scale is created by adding a sharpened
2nd (minor 3rd) interval between the 2rd and 3rd degree.
This gives the scale an idiomatic minor 3rd as well as major 3rd.
C Major Blues
& œ #œ œ œ œ
œ
R 2 #2/b3 3 5 6
A Minor Blues
œ œ #œ œ œ
& œ
R b3 4 #4/b5 5 b7
The blues scales are embellished versions of their pentatonic counterpoints creating
an idiomatic bluesy quality. They might be used wherever the pentatonic scale is - as
described on page 3. So for example a progression in B minor can be melodicized with
B minor blues, a G major progression with G major blues and a Dminor7 chord with
D minor blues.
œœj ˙˙ ™™ ˙˙ ™™ ˙˙ ™™
E G A B D B
n œœ
˙˙ ™™ nn œœj ˙˙ ™™ ˙˙ ™™
œœ
####
˙˙ ™™ ‰ nœœ ‰ œœ ˙˙ ™™™ ˙™ ‰ nœœœ ‰ œœœ
#
˙™
˙˙ ™™ œœ ˙˙ ™
& nœ nœJ
nœ ˙™ œJ ˙™
Parallel Major chords on an E minor pentatonic scale
b j ‰ œj ‰ œ ‰ j ‰ œj ‰ bœ œ Œ j ‰ œj ‰ œ ‰ œj ‰ j
b
& œœ œ œ œœ œ b œJ œ nœœ œ œ œ œœ ˙˙ ™™
Parallel Power chords (inverted root and 5th) outlining part of a G minor blues scale.
G F© F E
#### nw w
& nn w w #˙˙˙ nnnn˙˙˙˙ w
w
w
nw
w ˙
˙ n˙ w
w
Parallel major chords moving down chromatically
G7 B¨7 C7 G7 C7
#
& nœ œ Œ bœœ œœ Œ bœœ œœ Œ nœ œ Œ
œ œ
bœœ œœ œœ œœ œœ œœ œœ œœ
œ œ œ œ œ œ œ œ
œœ œœ bœ œ n œœ œœ
Parallel dominant 7 chords on part of G minor pentatonic (G, Bb, C).
& œ œ œ ‰ j
œ œ
n œœ œœ œœ œœ œœ œœ œœ n œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ # œœ œ œœ œ œœ œœ œœ œœ b œ œ n œœ
>
Parallel 5th chords on implied modes. Bars 1-2: phrygian. Bar 3: aeolian mode. Bar 4: locrian/minor blues.
& b 78 œ œ œ bœ œ œ n œ œ œ œ ‰
D5 E¨5 E5 F5 D5 E¨5 E5 F5
œ ‰
œœ œœ œœ b œœ œœ œœ nn œœ œœ œœ œœ b œ œ œ n œ œ œ
œœ œœ œœ b œ œ œ n œ œ œ œ
œ œ œ bœ œ œ nœ œ œ œ
Parallel 5th chords on D, Eb, E, F chromatic notes.
Jackson 5
Disco 115bpm
Arr. E. Peasgood
e. e. . . e e ™ r≈ r≈ r≈e e e e. e. . . e e ™ r≈ r≈ r≈e e e
Intro
e e e. e. e. e. e e e e e e. e. e. e. e e ne
b
Clean
& b b . . ‰ n . . ‰
b e. e. . . e e ™ r≈ r≈ r≈e e e e. e. . . e e
e e . . e. e. e. e. e e ne e e . . e. e. e. e. ‰ ™ e ≈ e ≈ne ≈neJ ™
b ‰ r r r
& b
& b b ™™ V V V V V V V V V V V V V ™ V ‰ VJ +
A
b Cm7 Eb7 Cm7 Ab7 Eb7
(Verse)
&b b V V V V V V V V V V V V V ™ V ‰ VJ +
b Cm7 Eb7 A¨7 Ab/Bb
&b b V V V V V V V V V V V V V V V V
B
b Eb6 Db9sus Eb7
(Chorus)
&b b V V V V
b
V V V V V V V V V V V V ™™
Eb6 Db9sus Eb7
& b b VJ ‰ Œ VJ ‰ Œ VJ ‰ Œ ‰ VJ ≈ VJ ™ VJ ‰ Œ VJ ‰ Œ VJ ‰ Œ ‰ VJ ≈ VJ ™ VJ ‰ Œ VJ ‰ Œ
C
b Eb7 Cm7 Fm7 Ab/Bb Eb7 Cm7 Fm7 Ab/Bb Eb7 Cm7
(Bridge)