Summary of basic knowledge of harmony acoustics (collection)

1. Major, genus, subordinate chords in the size of the triad, major and minor key

The basis of harmony in the Western classical music system is the triad chord, which in turn takes the size of the triad as the most basic. A triad is composed of three tones, known as the root, triton, and pentatonic, respectively. The nature of the chord is determined by the distance (and interval) between the root, three and five tones: the root tone and the three notes are large three degrees, and the three tones and the five tones are small three degrees, which is called "big three chords". Between the root and triplets is a small third, and between the three and five tones is a large third, known as the "minor triad chord".

Western classical music (from the 16th century onwards) is dominated by major and minor tunes. Both major and minor keys have three main triads: the main chord, the genus chord, and the subordinate chord, which are I, V, and IV in the key, respectively. We see that the main, subordinate, and subordinate majors are the major chords. The main, genus, and subordinate of minor key are minor triad chords.

Minor chords as minor triad chords feel powerless when performed to the main chord. The reason is that the minor key is grade VII, to the I level is the second degree, there is no strong tendency to the I level. The relationship between the VII and I grades in major is a minor secondary relationship with a strong tendency. Therefore, western traditional harmonies often raise the VII grade of minor to semitones. The elevated VII grade, like the I and major keys, is a minor second-degree relation and is called "guide" (the VII level in major is also called "guide"). In this way, the VII level in the minor scale is raised. This minor scale, between VI and VII, is increased twice, and is called "harmony minor".

Grade VII is not elevated and is called "natural minor".

Both minor keys are widely used in modern pop music, while in Western classical music, harmony minor is absolutely dominant.

The Traditional Western Harmony is based on the following: starting with the main chord, passing through the subordinate chords, to the genus chords, and finally resolving to the main chord. This progression is the basis of the Western tradition of harmony, and all other harmony progressions are extensions and supplements to this progression. Among them, the most important principle is that subordinates cannot be directly attached to the genus, which is called functional inversion.

This is because Western classical music is based on an aesthetic system and an aesthetic system of increasing power and finally solving. Direct posthumous succession to subordinates is considered to be a force decay before the main chord is resolved, and is therefore not accepted. But in modern pop, this limitation is completely broken.

Our first harmony formula, I-V-IV-V, can be followed by A grade I, or other chords that can be connected to V grade. (Other chords that can be connected to the V class will be introduced later.) )

Note: "Three chords" refers to the nature of the chord and what the characteristics of the chord are. And "master chords, genus chords, and subordinate chords" refers to the function of the chord and what role it plays in the major and minor keys. "I, V, and IV" are the scales of the root chords and the position of the chord root notes in the scales.

2. Increase or subtract triad chords and minor triads in major

In the traditional Western harmony system, in addition to the size of the three chords, the addition and subtraction of three chords is also very commonly used. The three-fold chord is made up of two large thirds superimposed.

The minus three chord is made up of two small thirds superimposed.

In major and minor keys, in addition to the master, subordinates, and genera, the minor triad chords of other scales are also very commonly used. The properties of the minor triad chords in major are: Grade II: Minor triad chords. Grade III: Minor third chords. Level VI: Minor triad chords. Grade VII: Minus three chords.

Grade II trichords, because they have two common tones with ivy trichords, have the functional tendencies of subordinates, so they are classified as subordinate harmony groups.

Grade VI trichords, because they have two common tones with IV trichords, have the functional tendencies of subordinates, so they are also classified as subordinate harmony groups.

However, the VI triad, which also has two common notes with the I trichord, also has a tendency to be the master, so it is sometimes used to replace the position of the main chord in the progression of the genus to the lord, which is called "hindered stop" (because it is not really terminated, it feels as if it is blocked by the VI chord from the middle).

The third chord of the third stage is a less used chord, which has the dual function of I and V (because it has two common tones with I and V, and is used as I-III-IV. In this example, why is Level III a function with Level I? Because it can be replaced by a grade I 7 chord (about the 7 chords, which is discussed in detail later), while the effect is similar to the use of grade III triad chords.

We can also use Class III as a bridge between Class V and Level IV, because Western classical music does not allow a direct connection from Level V to Level IV.

Grade VII triple chords and V grades have two common tones, which belong to the genus harmony group. Grade VII triple chords are also called "guide three chords" because they are based on guides.

Now we add four sub-third chords to our I-IV-V in progress: I-VI-IV-II-V-I. This is the most commonly used chord application order, and it is also the most in line with people's listening habits. (People don't often reverse the order of VI and II, although they both belong to subordinate harmony groups.) However, this chord function sequence can be simplified and replaced, such as: I-VI-IV-V, or I-IV-II-V, and more commonly I-II-V, or VI-V, I-VI-II-V, etc., which can be followed by A-class or other feasible connections. (Other possible connections are described later).

The V-class can also be replaced by a VII or III.

After the V level, it can be connected to the I level, or it can be connected to the VI level with dual functions, and it becomes: I-VI-IV-V-VI. All of the above chord formulas that can be connected after level VI can be connected after level VI. For example, these two functions are well connected: I-VI-IV-V-VI-V-I, I-IV-V-VI-II-V-I.

Note this harmony formula: I-VI-IV, which is one of the most commonly used harmony formulas in Western pop music.

3. The minor chords in minor key and the relationship between the major key and the major of the same name

The properties of the minor chords in natural minor are: Grade II: Minus Triad Chords. Grade III: Junior chords. Grade VI: Junior chords. Grade VII: Junior chords.

The functions of the II and VI levels are similar to those in majors. Grade VII, because it is a tertiary chord, does not have the nature of directing to Grade I, so it prefers to be a genus chord in relation to major. (Relationship sizes are described later in this section.) The chords of the third degree, because of their strong relational major I properties, are used more as a conversion to relational major. The properties of the minor chords in harmony minor are:

Grade II: Minus three chords. Grade III: Add three chords. Grade VI: Junior chords. Grade VII: Minus three chords.

Grade III is more inclined to connect To I because of the need to solve the lead.

This iii-level is less common in popular music.

Level VII is the same as level VII in major. Because they are based on guides, they are called: "lead chords" (or lead three chords).

Chords in natural minor and harmonic minor are often mixed.

In popular music, the most commonly used minor chords are:

Level I: Minor Triad, Grade II: Minus Three Chords, Iii: Junior Chord, IV: Minor Triad, V: Junior Chord, V: Minor Triad, VI: Junior Chord, VII: Junior Chord, VII: Junior Chord, VII: Minus Triad Chord. (There are several more chord sizes to choose from than in major.) )

The two most common minor harmony formulas: I-VII-VI-V and I-IV-VII-III-(V).

The chord root notes in this harmonic formula (before the V level) are five-degree relations, which is a very powerful harmonic progression in classical music, and we can not let it be directly connected from the iiith level to the V-level, and continue to derive according to the five-degree relationship, becoming: I-IV-VII-III-VI-II-V-I.

This is called modulus in harmony acoustics.

From the example above, we can see that the three chords of VII-III-VI are more appropriate than A minor as V-I-IV in C major. This temporary deviation from the original tone is called "out-of-tune". In minor key, there are often dissociations towards the major key, which has enriched the music.

The so-called relational major, or "parallel major and minor key", refers to a pair of major and minor keys with the same key sign, and they are each other's relationship major or relationship minor. For example, C major is the relational major key of A minor, and A minor is the relational minor of C major.

There is also a relationship of majors and tones called "the same name" or "same major", which means that the majors share a major, and the key is three rises and lowers, such as C major and C minor.

The relationship key does not share the main tone, and the difference between the main tones is three degrees smaller. In Western classical music, the key to the main key is closer to the key than the relational key, and the transposition is more natural. In modern pop music, on the contrary, the size of the relationship is closer.

4. Melodic minor and harmony, and melodic major; The transposition of the chords

We see that there is a second degree between the VI and VII notes in harmonic minor, and if these two levels are used in the melody, this second degree will feel very unnatural. If we use a reduced VII grade, and a natural minor scale, there is no second degree of this increase, but if we need a large V-level chord in the harmony, we have to use an elevated VII grade, otherwise the chord and the melody will contradict each other. Another solution is to increase the VI level as well, increasing the second degree to the second degree. This minor key is called "melodic minor".

The melodic minor scale is only raised in the ascending vi and VII levels, and is restored at the same time when descending, which is the same as the downward movement in natural minor. But we don't have to stick to the upward and downward rules of music theory knowledge, and we can be flexible in time.

We see that the ascending scale of A melodic minor, which raises the vi and VII levels, is very similar to the A major scale, the only difference being the grade III, the former being C and the latter being C#. From this we derive an important concept, the only criterion for distinguishing between major and minor is whether the interval between grades I and III is tertiary (major) or minor (minor), and none of the other scales can be used to determine whether a scale is major or minor.

So far, we have finished three minor keys in the major and minor system: natural minor, harmonic minor, and melodic minor; In fact, there are three major keys: natural major, harmonic major, and melodic major, but the last two major keys are not commonly used in those two minor keys.

The VI-level chords in harmonic major are lowered, and the subordinate (IV) chords formed with this tone are minor third chords.

This chord has a stronger propensity towards Grade I than the IV grade of the third chord.

Whether it is a grade IV chord as a major third chord, or a grade IV chord of a minor triad, proceed to a grade I chord, called "declension progression"; If it is in the process of termination, and is called a "declension termination". This progression is usually used at the end of a piece or paragraph as a complement, or continuation of the main chord, to enhance the feeling of termination. For example such a harmony is performed: I-VI-IV-II-V-I-IV-I.

I-V-I is called "regular progression" or "normal stop". I-IV(IV)-V-I is referred to as full termination in termination.

So far, the lowest notes of all our chords have been root notes, known as "in situ chords". If the root of the chord is turned up one or more octaves and is no longer the lowest chord, we call this the "transposition" of the chord. The triad has a total of two inflections, known as hexas and 46 chords: most in situ chords can be replaced with their transpose chords. However, it is customary for the beginning and end of the song to be more in situ I (many weak lifts are in situ or transpose V-class). In classical harmonies, transposition chords are often used as transitions between in-situ positions.

Four-six chords are often used as transitions between in situ chords and sixth chords.

In the termination and semi-termination of classical music (the pause of the segment is called "termination", which often ends with the main chord; The pause in the phrase is called "semi-terminating", which often ends with a genus chord), and we can often see that the genus chord (V-class) is preceded by a strong beat on the main four-six chord, which is called the "terminated four-six chord".

There is no fixed pattern for the use of in situ and transposition. Since the bass position of the chord (and the original position or which transposition) is actually what tone the chord uses as the bass, its main role is to get a good bass line, which is the backbone of a good Bass part in popular music. In most cases, the bass line is the key to determining whether the chord is in place or which transposition.

Perhaps the most important rule in classical music is that you cannot be octave parallel to five degrees parallel. Octave parallelism is thought to make harmonic progression abruptly reduce one part of the voice.

The fifth degree, which is considered in classical music to be the interval of harmony second only to the octave, is so harmonious that the parallel five degrees make people feel like they are missing a part.

After the rule of five degrees of parallelism was broken by Debussy, it was no longer a problem in modern serious music or pop music.

The wonderful nine chords of the Debussy style are parallel

The chords in jazz are parallel

5. Open arrangement of chords, repeating tones and four harmonies

When the chords are not arranged in pitch order, but one tone apart, you get a chord arrangement similar to the following, which is called:"open arrangement". And the arrangement we have been using before is called "dense arrangement".

In classical music, it is best not to exceed octaves between the chords except the bass, while the bass and its adjacent upper part are not subject to this restriction. This principle derives from the physical natural harmonic column of sound. We see that the harmonic columns are arranged from sparse to dense, and the higher the interval, the smaller the interval. The harmonic column extends infinitely upwards, with a downward arrow indicating a lower note than the notation, and an up arrow indicating a pitch higher than the notation.

Since Western classical music is very far-reachingly influenced by church music, and harmony acoustics developed from the principles of writing religious four-voice chants, traditional harmony teaching is based on four-voice chants. The names of the four voices are from top to bottom: soprano, alto, tenor, and bass. Harmony study questions and examples usually include four parts written on the piano sheet music.

There are three tones in a three-part chord, so how do we apply it to four harmonies? This requires at least one tone to be repeated: the in situ of the three chords is usually repeated with the root tone, written in dense and open arrangement, with a total of six arrangements: (The upper three voices are arranged adjacent to the pitch as dense arrangement, such as the first, third, and fifth chords; Instead, there is an open arrangement, such as the second, fourth, and sixth chords. )

The first transposition of the third chord, the sixth chord usually repeats the root or pentatonic tone, written in a dense and open arrangement, there are four arrangements: (The first and third chords are mixed arrangements, because the upper three voices are both spaced and adjacent; The second and fourth is the open arrangement method. )

The second index of the third chord, the four-six chord, usually repeats the five tones, is written in dense and open arrangement, there are six arrangements: (the first, third, and fifth chords are dense arrangement; The second, fourth, and sixth chords are open arrangements. )

Using these arrangements, we can write traditional harmonies without octaves and five parallels, and the following is a harmony formula written in four harmonic forms: I-VI-IV-II-V-I

Here is a typical harmony exercise clip from an academy: (from B minor to B minor) [excerpt from the despicable harmony exercise]

Since our tutorials are primarily geared toward pop musicians, I won't dwell too much on traditional four-part harmonies, but just illustrate some of the principles that are still important for modern pop music:

(1) Repetition: When the number of voice parts is more than the number of chord tones, and it is necessary to repeat, the three chords should be based on the principle of root first, pentatonic second, and three-tone second, with some exceptions (exceptions will be introduced later).

(2) Keep the lines of each part of the voice unobstructed, and try to make each part have a certain melody (those harmonic instruments, and an instrument plays multiple parts, except for piano and guitar).

(3) Pay attention to the division of labor of each voice: the high voice is often the melodic part, and the importance is needless to say. (Of course, there are also often cases where the secondary part is above the main melody.) The inner vocal part is relatively stable and slightly melodic. (Also note the characteristics of the instrument itself that plays the inner voice.) In addition to melodicity, the low voice should pay attention to giving the music a stable bass feeling, if the bass flows like the main melody, it is very scary. (The bass lines don't necessarily flow slower than the main melody, but they don't flow in the same way.) Nor can the bass be as smooth and lack jumpy as the inner vocal part. In general, the bass is relatively smooth at the beginning of the song, and at the climax and the end, there are often four or five degrees of jumping in to enhance the thrust of the harmony. The specific treatment method cannot be fully explained in a few sentences, and there is a detailed description in the following content. In short, the high, inner, and low voices in good voice writing should not be interchangeable.

(4) Octave parallelism is not allowed between two independent voice parts, unless the relationship between them is not an independent part, but an octave repetition of the same part. Five degrees of parallelism is not limited in popular music, but it should be noted that five degrees of parallelism is incompatible with Western classical music, it is another effect, whether your work needs exactly this effect, not a mistake in voice writing.

(5) Try to avoid inappropriate voice interlacing: voice interlacing refers to the original voice part below running to the top of its upper part, so that the original line of the voice is not clear.

6. Chord accents

When it comes to matching melodies, perhaps the trickiest thing is how to choose the chords. To decide which chords to use, you must first know which ones in the melody may be chord sounds and which may be chord accents. Seemingly very simple problems, in fact, are very complex, and it is also one of the key issues in the quality of harmony.

1) Passing tone The passing tone is the natural tone or semitone that acts as a transition between two chord tones to make the melody smoother.

2) Auxiliary notes Auxiliary notes are natural or semitonic decorations between the two appearances of the same chord, making the melody more varied.

The individual use of the above two chord voices, it can be said that almost everyone who engages in pop music knows how to use them. However, in addition to their single application, they can also be used simultaneously by multiple voices. More than three voice parts can form a passing chord. (The chords are mostly composed of parallel hexa chords or four-six chords)

The following example is the famous (or vulgar) Christmas song in the United States< a white Christmas > fragment, marked + as a passing chord or auxiliary chord, please judge for yourself whether it is passing or auxiliary.

The chords of the arrows above are leaning chords, and the following will focus on leaning tones.

Bass parts can also use passing and auxiliary tones. (Apparently, the auxiliary notes are used very little, because the passing notes in the bass give a boost, and the auxiliary notes seem to remain in place.) )

The above two examples only mark the passing tone in the low voice, and ask friends to find out the passing and auxiliary tones in the high-pitched melody for themselves. Many chords are beyond the scope of the current lecture, and they will be covered later.

The bass after the primary chord (grade I) in minor is played downward semitone and is very popular in Western pop music.

The most easily overlooked chord sounds are probably the lingering sound and the leaning sound, and these two chord voices can be said to be one of the essences of the traditional Western harmony system, the most important means of complicating the harmony by the boring major and minor harmony system, and one of the inexhaustible sources of the beauty and moving of Romantic music.

3) Lingering sound The lingering sound is the chord tone of the previous chord that does not leave immediately when the chord is changed, but stays for a period of time, and then solves the chord tone of the new chord.

This note is in the previous chord and is called "preparation"; Staying in a new chord, when it conflicts with a new chord, it is called "lingering tone", and the new chord sound that is resolved is called "resolution".

In academic harmonic writing, the rule of using lingering sound is that the sound to be solved by the lingering sound must not appear at the same time as the lingering sound in the upper three voices (except for the bass part), because this weakens the freshness of the solution sound, thereby reducing the effect of the lingering sound.

4) Leaning tone The only difference between leaning tone and lingering sound is that leaning tone is not prepared.

The extensive use of lingering and leaning tones can make simple harmonic progression very rich. [Fragment of despicable improvisation]

Lingering and leaning tones can also appear in multiple voices, and the parallelity of the three voices (such as the one pointed by the arrow in the < white Christmas > above) forms the lingering or leaning chords.

The resolution of lingering or leaning notes is not necessarily in the current chord, but can also be resolved in the next chord. The continuous use of lingering and leaning tones can form Wagner-style "continuous dissonance" and a driving, typical late Romantic music. (The following example is taken from the third part of the contemptible "Three Little Preludes")

5) Continuous bass Continuous bass is a type of bass that separates the bass from the harmony of the upper parts, while the bass always maintains the same chordal voice.

Since the bass is a continuous tone, the harmony of the upper part of the voice has no bass, so it is impossible to judge the bass position, whether it is in situ or transpose, so the harmony with the continuous tone, on the chord marker, only marks the chord function, not the original or transpose, the continuous tone is represented by a horizontal line below, and the horizontal line is pulled until the end of the continuous tone. We see that the continuous tone is induced by the bass of a chord, and the later harmony changes, but the bass still maintains the original tone, which is the use of the continuous tone. We also found that the second chord in the example above can also be interpreted as a grade IV six-four chord, which shows that in harmonies, the same chord often has different interpretations due to different directions of observation, which is normal.

In practice, not only bass can be "sustained", other chords can also be sustained, but not as common as bass. Like other chord accents, persistent tones can be used at more than two parts, with multiple sustained tones forming a continuous chord.

6) First-in-time sound The first-in-time sound is the chord sound of the latter chord that appears in advance in the previous chord. The first note is usually shorter and does not coincide with the previous chord.

In classical music, the first appearance is relatively rare, but in the current European and American pop music, the first sound often becomes a major style, and a large number of first-in-appearance and first-appearance chords are used to make the rhythm less rigid and more vibrant.

7) Auxiliary sound of jumping In when the auxiliary tone is not supported by chords at both ends, but only one end has a chord sound, it is called the auxiliary sound of jumping in.

Classification of chord voices: Chord sounds are divided into: strong chord sounds and weak chord sounds according to whether they appear at the same time as the chords or between chords: strong chord sounds and weak chord sounds: strong chord sounds: lingering and leaning tones, continuous tones. These three chord voices and chords have brief collisions. Weak chord sounds: passing, assistive, pre-introspective, and jump-in auxiliary tones. These chords are intersonted between chords, and different chords collide.

7. Four seven chords in traditional harmonies

We notice that the triad chords in situ are all three-degree superimposed. In fact, Western harmonies are based on three-degree overlapping chords and their transpositions. A third degree is superimposed on top of the three chords to become a "seventh chord". It's an interesting phenomenon that the three chords (trIad) are named because it has three tones, while the seven chords (seVenth) and all the other chords that follow are named after their maximum interval.

There are four types of seven chords in traditional harmonies:

Size seven chords: big third chord + small seven degrees

Little Seven Chords (can be referred to as Little Seven Chords): Little Three Chords + Little Seven Degrees

Decreased seventh chord (also known as half minus seventh chord): Minus three chord + minor seventh

Minus seven chords: minus three chords + minus seven degrees (can be referred to as minus seven chords)

Because the seventh chord has four tones, there are in situ and three transpositions: in situ: seven chords, first transposition: five-six chords, second transposition: three-four chords, and third transposition: two chords

The designation of the transposition chords is based on the fact that there is a second degree after the transposition of the seventh chord, and the interval relationship between the two tones of this second degree and the bass.

Since the seventh chord has four tones, there is no need to repeat any tones when composing four harmonies, and there are a total of six arrangements: (the first, third, and fifth are dense arrangements, and the second, fourth, and sixth are open arrangements.) If the number of voices exceeds four, the first thing to consider repeating should be the root tone, followed by the five notes, three notes and seven tones, especially the size of the seven chords.

The most commonly used seven chords are probably the genus seven chords, which are genus chords (V-scale) plus a small seventh, which is a size seven chord.

Because of this seventh degree, its tendency to the main chord (I level) is stronger. The standard way for academic harmonics to solve the seven chords (V7) to the main chord (I) is: the root tone of the genus jumps up or down to the root tone of the lord, the three tones of the genus go up to the root tone of the lord, the five notes of the genus go down to the root tone of the lord, and the seven tones of the genus go down to the main three notes. The resolved main chord has three root notes and no five notes.

When the other three transpositions of the genus seventh chord are resolved to the main chord, they are all the same except for the root tone of the genus "hold" (called "hold" in place).

Written as a single spectrum table, the dense arrangement method is:

The pentatonic notes of the seventh chord are insignificant tones that can sometimes be omitted and repeated to form four parts:

Omitting the genus seven chords of the pentatonics is resolved as follows, to get a complete master chord.

Obstructions from seventh chords to VI: (For "obstructions," see section 2 of this chapter.) All other notes progress in the same way as the main chord, except that the root chord tone advances to the upper level to the root tone of the VI chord, where the VI chord repeats the triton (which is an obstacle to the standard Western traditional harmony).

In addition to the genus chords, the second most commonly used is probably the second level seven chords, which is a minor seven chord (or minor seven chords) in the minor harmony major is a reduced seven chord (or half minus seven chords), which, like the second level three chords, belongs to the subordinate functional group, the most commonly connected is the genus seven chords, the standard connection method is as follows:

Another of the more commonly used seven chords is the guide seven chords, which are seven chords built on the lead (the second degree below the grade I tone), the reduced seven chords in natural major (or half minus seven chords), and the harmonic major harmony is the minus seven chords (abbreviated as minus seven chords). Due to the stronger tendency of subtractive seven chords towards the main chord (grade I), it is more commonly used in the major works of Western classical music. The seventh chord, like the three-way chord (seventh-degree chord), belongs to the genus harmony group, and its standard progression of each index resolution to the main chord is: in order to avoid parallel five degrees, the lead seven chord and its transposition are solved to the main chord, and the main chord repeats the three tones.

We see that the in-situ and four inflections of the minus seven chords sound exactly the same, because they are acoustically minor three-degree superpositions, but only theoretically different. The same chord, with different notation methods, can also be written as four different chords, each of which belongs to a different key, and can solve different main chords. The same chord can be resolved in E major, C major, A major and ascending F major:

It can also be resolved in E minor, C minor, A minor and ascending f minor:

Therefore, we can use this relationship to perform "isochord transposition".

8. Other seventh chords in major and minor keys, nine chords, eleventh and thirteenth chords

In addition to the size of the seven chords, the small seven chords, the decreased seven chords and the minus seven chords, there are also large seven chords (referred to as the big seven chords) and the small big seven chords commonly used in popular music.

The big seven chords are composed of the big three chords + the big seven degrees:

The small big seven chords are composed of the small three chords + the big seven degrees:

Big seven chords are used very widely in popular music. In major key, the seventh chords of the I and IV are great seven chords, and like the seven chords mentioned in the previous section, the seventh chords in this section, and almost all the seven chords, belong to the same functional group as their triad chords.

In minor, grades III and VI are great seventh chords.

In the third section, we mentioned the modulus: I-IV-VII-III-VI-II-V-I, which can now replace the triad chord with a seventh chord: I7-IV7-VII7-III7-VI7-II7-V7-V7 major, and can also be used as a similar modulus: I7-IV7-VII7-III7-VI7-II7-V7-I7 Parallel seven chords, giving people a feeling of not knowing whether it is major or minor, and even the tonality is blurred.

Minor major chords are used more in harmony major iv grades.

Some of the bass-partal transmutation examples in the sixth stanza can also be interpreted as the transposition of the seventh chord, the second chord.

Other kinds of seven chords, which I'll cover in Jazz Harmony.

The seventh chord is superimposed a third degree upwards to be the nine chord, and the most commonly used nine chords are the nine chords of major and minor ii and the genus nine chords (V nine chords).

Since the nine-chord has five tones, one note needs to be omitted when writing a nine-chord as a four-part harmony, the genus nine chords in minor or major harmonic major usually omit five tones, and other types of nine chords can omit three or seven notes.

Placing the genus nine chords in the mold of the previous minor minor instead of the genus seven chords: the nine chords of grade I minor are also commonly used.

Stack the nine chords upwards to get eleven and thirteen chords. It can no longer be stacked upwards because 15 degrees is two octaves. (For examples of eleventh and thirteenth chords, see the example above.) )

Thirteen chords on the genus are usually more commonly used than eleven chords, usually omitting three and eleven notes, and pentatonic notes can sometimes be omitted.

We see that the genus thirteenth chord is actually a genus seven chord + IV grade three chord, or a genus triple chord + IV grade seven chord. The more chords overlap, the functional genus itself

The more sex is lost, the more continuous highly overlapping chords are, it is easy to fall into boredom, because it is difficult to hear the alternation of chord functions. Therefore, the use of high overlapping chords in large quantities requires certain skills and experience. Some jazz musicians are good at this. In the following example, the nine chords are divided into two triads, upper and lower.

9. Additional tone chords

The so-called additional tone chords is to add some non-three-degree overlapping tones on the basis of three-degree overlapping chords, or replace the original three-degree overlapping tones with some non-third-degree overlapping tones.

Genus seven chords (V7) with a sixth-degree note: This kind of genus seventh chord with a sixth-degree note is very common in classical music. They are generally resolved to the main chord:

The sixth-degree genus seventh chord usually omits the five-tone, and the six-tone jumps down to the root of the main chord, replacing the original five-tone progression. Why don't we interpret that additional sixth-degree note as a thirteenth note of a thirteenth chord? Because it appeared alone, it did not appear at the same time as the nine and eleven tones.

The sixth-degree note is also often attached to the major I grade, and the sixth-degree additional notes on other chords can be interpreted as the transposed form of the seventh chord of the third degree below it.

The additional sixth-degree notes on the I major grade are generally not used on the I7 chords, and the chords usually do not omit the five-tone, which is the difference between it and the additional sixth-degree notes on the genus chords.

The second degree is also a common additive tone, and we can often hear this progression:

When using a second-degree additive tone, my advice is to try to avoid the root, third, and second-degree additives of the chords "sticking together" at the same time, forming two second-degree overlaps, and they should be staggered in time or staggered in distance (such as lowering the root tone by an octave).

The fourth-degree accent is a very common additive tone, which is often a leaning tone and then solved to the three-tone. Therefore, when using a fourth-degree additional tone, the three notes of the chord are often omitted.

PART 1 Large and minor three chords and four harmonies

Sine triad (I.IV.V.)

I.: Main function "T" IV.: Subordinate function "S" V.: Genus function "D"

Harmony is carried out in a way:

T...... S...... D...... T (Duplex Positive Grid)

T...... D D...... T (lattice)

T---S S---T (Respaced)

D---S (wrong) anti-function

Repeating tones:

The sergeant chord (I. IV. V.) repeats the root tone mainly, followed by the five tones, and the tritonic notes cannot be repeated

The secondary triad (II. III. VI. VII.) repeats the tritonic tone, followed by the root and pentatonic notes (the guide is not repeated)

Four-six chords Repeat five tones

PART 2 In situ triplet connection

Four- and five-degree relationship: harmony or melodic connection method can be used

Two-dimensional relationship: melodic connection method

Note: Avoid four parallel or reverse five octaves (pay attention to check after harmonic writing)

PART 3 is matched with a harmony with a sine triad

(1) The beginning of the song is usually accompanied by the main chord (weak bar can be matched with a chord or an empty beat)

(2) Avoid harmonic slicing

(3) At the end of the song, the main chord must be accompanied

(4) There can be no anti-function inside the phrase, but it can be used between the phrases

(5) Avoid 2 or more consecutive 4 or 5 degrees of bass writing, and the melody is preferably carried out in waves

(6) Pay attention to the concealment of five octaves

(7) Choose the appropriate repeating tone of the chord, and pay attention to the subtraction interval instead of the augmentation interval

(8) When converting chords, you can use abnormal repetitions (you cannot omit the root tone)

(9) At the end of the end, the unconventional progress formed due to the needs of the melody can be used (vocal transcendence, parallel reverse five octaves, etc.)

PART 4 Terminates the four-six chords and their use

k46--- used at semi-terminating and terminating places (a kind of preparation of the genus)

Its functional characteristics: mainly genus, but also the main functional characteristics

∴K46 must find the genus after [[Can not directly take the owner]】

K46 has stronger beat conditions than genera (if k46 is at the end of a bar and the genus chord is at the beginning of the next bar, such a connection is wrong.) Because k46 is in the weak position, while the genus chord is in the strong position, it does not meet the beat conditions of k46)

PART 5 Jumping in when a third chord is connected to a sixth chord (four- and five-degree relationship chords)

(1) Jump into the voice part in reverse with the bass

(2) Try to use the harmonic connection method

(3) In addition to jumping into the voice part, the other parts of the voice are mainly carried out smoothly

(4) When the root five double jumps, the root tone must be above the five tones to avoid parallel five degrees

PART 6 Passing and auxiliary four-six chords

The function is very weak, only passing or assisting

I6…… V46…… I

I…… V46…… I6

IV6-…… I46…… IV6

When the lead tone lasts I... IV46...... I can also be used for supplemental termination, primarily for start or semi-termination

When the genus tone lasts V... I46...... V

Part 7 genus seven chords and derivative harmonies of the genus seven chords and their solutions

(1) Structure: size seven (any size seven chord must be a genus seven chord of a certain key)

Preparation: You can prepare with any level of chords

a, subordinate IV, IV6 + V7 (IV + V7, V7 is commonly used in the form of five-filled root)

b,主 I,I6+V7

c,属 V,V6+V7

Solution: Generally take root, three uplinks; The five-seven downward principle

ps: At the semi-termination, k46-V (stable) is commonly used, and k46-V7 is rarely used

㈡V56—I V2—I6

V34

V34 can be used instead of V46 for the previously mentioned four-six chords, and can be relaxed when the parts are connected (avoiding the addition of three, allowing the seven-tone upward solution to the five tones of the main chord, pure five to increase five)

(3) When converting chords, it is best not to make the interchange of seven tones and root tones, resulting in a bad progression of 9 or 7 degrees, and the seven tones must be correctly solved

(iv) The omitting of the v9.v13 chord, the root and triplets cannot be omitted

Fully functional system of PART 8 major and major

Main functional group: I. III. VI.

Subordinate functional groups: II. IV. VI.

Genus functional group: III. V. VII.

(Except for the genus can not be subordinated, the rest of the free selection)

Harmonic major IV and II are available when connected to other levels, the harmonic, melodic connection method is available, but the connection avoids diagonal, amplification range

PART 9 II. VI. VIII. Chords used

VI. is used to do functional over-functioning between I and IV, for II. before having functional alternation, for III. after, alternating parallel minor.

[The most commonly used is used as an obstacle to progress.] V7---VI】】

II7 Structure:

Major: Natural Major: Minor Seven Harmonic Major: Decrease Seven

Minor: Decreasing seven As long as it is minor, its heavy derivative seven chords can always be called decreased seventh chords

II can be resolved to the genus, master, k46. Used after VI generally use II without II7.

Let's talk about the solution of VII:

a, to the Lord, as V7--VI

b, to the genus solution, diagram illustration.

7

‖

2〓〓〓 56

34

(Root tone upper fourth degree relationship) The lower third degree relationship is 7-56-2-7 in a clockwise direction

In major, I-7-6 is paired with I.-III.-IV.

PART 10 Phrygia's in-progress natural minor minor and modulus progression

3 4 5 6 7 i 2 3

Functional system: I. — V. — IV.— I.

Die-in:

a, the motivation chord is generally within three, to the root of the fourth degree relationship is common, in addition to this, the second degree, third degree or 2 this combination, can be up or down.

b, the articulation of the 2 modular input groups should also avoid parallel reverse five octaves.

C, minor mold into the middle, the two ends with harmonic minor key, the middle with natural minor key.

PART 11 Heavy chords (dear points!) ）

Tags: [V/V], [V7/V], VII./V, [VII.7/V], III./V, V9/V, V13/V [for common use]

In both major and minor tones, V/V are all third chords

(1) Routine solution:

(1) Solution to the genus, similar to V7-I VII7-I

示范:V7/V,V56/V,V34/V-V; V2/V-V;VII.7/V-V;VII.56/V-V6或V;VII.2/V-V46

(2) First solve to k46, then to v, v7, mainly used at the termination

(2) Unconventional resolution

(1) Solve directly to I (for inside the structure) [with the V I talked about earlier... I'm different]

(2) Root tone on the second degree to solve V7/V... III., similar to V7... VI

(3) Solve problems with subordinates... IV, II7. In major, it is often in harmonic major

PART 12 Subordinate and subordinate chords and their solutions (★★★★★★★★★★★)

Concept: In addition to the main chord, the chords that form a genus relationship with the other concords are called subordinate chords, the chords that make up the subordinate relationship are called the subordinate chords, and these concorde triads are called the sub-master chords.

Secondary chord resolution:

1, the root tone is carried out in four degrees, solved to the deputy master, D/X... X

2,..............,...... Sub-master seven chords, D/X... X7, similar to II7... V7

3, the root tone is performed in the second degree, similar to VII. ̈ ̈I. or V. ̈ ̈ VI.

Sub-subordinate chord resolution:

1, the deputy subordinates are carried out to the deputy main chords, S/X... X

2, deputy subordinates to subordinates, S/X... D/X

3, the deputy subordinate to the subordinate, and then to the deputy master, S/X... D/X... X

PS: Deputy subordinates are different from subordinates. If the deputy subordinate is a junior chord, then it has the nature of major key, so it is done according to major key. On the contrary, it is treated in minor keys.

Simple example: b7 2 4 i.e. C-mode IV/IV (heavy subordinate)

5

2 5 b3 b3

7 b3 1 1

5 1 6 6

C-to-V V IV/V II./V II.7/V (since IV/V is the main chord of C-tone, it is temporarily reduced by three levels)

PART 13 Genus chords Subordinate variable chords and heavy variable chords

BII #II或者同时含这2样的属和弦 in major, and the subordinate chords in bII, bIV or both in minor are called variable chords.

Variable chord processing:

1, do more semitone processing

2, when the chords are arranged, the minus three degrees is usually replaced by an increase of six degrees

3, when the chord is solved, increase the sixth degree or subtract three degrees to solve the opposite to the octave or the same degree, respectively.

PART 14 Deflection Transposition

Means of dissociation:

1, the positive grid in the sub-key, D/X... X

2,......... The transfiguration is carried out, S/X... X

3, fully carried out, S/X... D/X... X

Obstruction in out-of-tune; V,V7/V...... VI/V

Transposition steps:

1, the original tone presentation (at least contains the genus, the genus and the lord have the best, the tonality is more clear, the genus is essential)

2. Introduce common chords (type: natural tone chords, harmonic chords, variable chords, subordinate chords, etc. chords... ）

ps : b7 2 4 can be seen as a heavy subordinate

＃4 b6 1 3=b6 1 3 b5...... The size of the seven structure is definitely a certain key of the genus seven la called what the German six chords

Wait for the concept of chords to be popularized!! Any minus seven chord can be turned in 24 keys

3. Use transpose chords (contains new key feature tone, new key k46)

4, determine the new key, use the typical termination of the new key, and use the full termination as much as possible

Note: The resolution of the seven tones of minor when transposing to subordinate majors (often involving III. V. VII chords in minor)