Jazz Harmony at The Piano - Frans Elsen [PDF]

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VOLUI\/IE

1.

Frans Elsen

Jazz l{arrnony at the piano

PracticaI h a r m o n ym e t h o d for the jazz m u s t c t a n

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COLOPHON Jazz Harmony at the piano (JazzHAP) is conceived,produced and realized by Frans Elsen, professor at the jazz department of the Royal Conservatory,TheHague, Holland. With gratitude to: Carel Nieuwenhuis for too much to ment¡on, Karin Bek and Joy Misa for their help with the english translation, to Boudewijn Leeuwenberg and Eric Gieben for reading the manuscript and providing invaluable suggestions, James Aust¡n for the final language check,and to Dr. Barry Harris,who, with his unimaginable inspiration kept me going. lnformation about this book can be obtained via internet: franselsen@ish,nlor by contacting the author: Frans Elsen,WeimarStr.25, 2562 GNThe Hague, Holland. Telephone: 0031-(0170-346871 4

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CONTENTS Pnerncr i , r--\ \-./

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l r u r n o o u c n o N T o r H E E N G L T STHR A N S L A T T o N S u m u R R v o F T H ET N T E R V A L S R o u n r u N U M E R A cLH o R Ds Y M B o L s

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ANDTo rHETHEoRV CHAPTER 1 lrurnooucr¡oNTo rHE KEvBoARD oF HARMoNy Lesson Lesson Lesson Lesson Lesson Lesson Lesson

I 2 3 4 5 6 7

Namesof the keys The triad in root position Inversionsof the triad Thetriadsin minor The seventhchordson the white keys The blackkeys,harmonicfunctionsand the circleof fifths The minor scales

1 3 5 6 7 11 14

CHAPTER 2 Tne FrRsrcHoRDpRocREssroNs Lesson 8 Lesson I

Primarydegreesin traditionalharmony Primarydegreesin iazz dominant-_+ tonic (Vz+I) in jazz subdominant--+tonic (IV--+I) in jazz

Lesson10 Lesson11 Lesson12 Lesson13 Lesson14

A few voice-leadingrules Sus-4 -- Dominant seventh chord -' Tonic Dominant-r Tonic,with some chromatics Subdominant-+ Dominant,the Il-V-progression Su bdom i nant --+Dom i nant--+Tonic, the tr-V-I-prog ression

19 21 21 22 24 25 27 28 32

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CHAPTER 3 Srcon¡oeRyDEGREES ANDsEcoNDARy(nppueo) DoM¡NANTS Lesson 15 VIth degreein major (submediant) Lesson 16 Itrrd degreein major (mediant) LessOn 17 MIth degreein major(leadingtone chord) Lesson 18 Secondary dominants(1) Porrurs ro REMEMBER

39 40 43 45 50

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Lesson 19 Lesson 20 Lesson 21 Lesson 22 ,:t Lesson 23

Scaledegreesin minorand minor-major Voiceleadingand chordextensionsin minor Voiceleadingin minor-major The dim chordon VII and its role as secondarydominant Thickened lineandthe sixthdiminishedscale

51 54 56 59 62

CHAPTER 5 secoruoRRY DoM¡NANrs(2) Lesson 24 V7 with flat five (-5),and the tritonerelated(TR)dominant7th chord 69 Lesson 25 Thedominantchainand anotherTR dominant7th chord 71 Lesson 26 Tritonerelated(TR)secondarydominants 74

CHAPTER6 Er¿eeLLrsHrNG cHoRDs Lesson27 Dissonants, suspending tonesandsuspending chords SHonrBEcAprruLATroN oF pREVtously usEDTERMtNoLocy

81 87

Lesson28 Lesson29 Lesson30 Lesson31 Lesson32

Passingtones and passingchords Passingdiminished7th chordswith subdominantfunction Alternatingchords Approach chords Leadingchords votclNcs Trpsron cHoRD

90 95 100 103 105 110

cHoRDs CHAPTER7 AlrennrloNsANDALTERED

Lesson33 Lesson34 Lesson35 Lesson36 Lesson37 Lesson38

Alterationsin general Neapolitan6th, bIIT, and VII7bbs Diminished7th chordsand octotonícs Alterations of the 7th chord on fV Alterations of the dominant 7th chords The augmentedtriad

INDEX REFERENCE

111 113 115 119 123 126 lnd.1-6 ( )

ln volume2 the followingsubjectsare discussed: Dev¡rnluc

REsoLUTtoNs oFTHE DoMINANT SEvENTH cHoRD

Deceptive cadence V7 - VI Dominant seventh chord - half diminished seventh chord of ÍfV Dominant seventh chord of lowored VII T h e ' d o u b l ee n d i n g ' The added dominant seventh chord Dominant seventh chords with minor and major third relation Secondarydominant of V- Il and ¡ts reharmon¡zation

BAss Prnruovolclucs wtrH S¡LENT 'Thickened l i n e ' a n d p a r a l l e lh a r m o n y 'thickened line' and moving tones in the middle voices Special Static chords Dominant seventh chords Minor seventh and half diminished chords

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D o m i n a n tc h a i n s

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ABourFoRM T¡reTunruAnouruo(TA)eruosoMErHtNG TA to the tonic TA to the IInd degree TA to the IVth degree and theTA from major to m¡nor v'v.

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Reunoru MELoDYSHARMoNY Chord diagrams and the vertical aspectsof harmony Hor¡zontalaspects of harmony Transitionto VI and III Transit¡onto V and W Substitutefor the tr-V progression and the tritone tr-V

we readabout: Furthermore The practice of comping. Scalesand modes.The piano intro. Stress and harmony. Overtones,superimposed triads and the chord,.The circle offifths, the'Axis cross'and octotonics. Practicaltips. Resolutionsofthe augmented tr¡ads'

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PREFACE

I

IAZZ HARMONYATTHE PIANO (JazzHAP)

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During my work in the jazz departmentsof variousconservatories and musicschools I recognizeda need amongnonpianistsfor a practicaltextbook on the basicprinciples of harmony,intended specificallyfor the jazz musician.By nonpianistsI mean all musicians,both professionaland amateur,who feel handicappedby their shortcomingsat the keyboard.SpecificallyI have in mind vocalists- for them the piano is indispensablefor many reasons- and wind-instrumentalistsand bassplayers,who may wish to accompanytheir students,demonstratethe harmonicaspectsof jazzmusic in their lessons,or deepentheir own insight by meansof the piano.Drummers, who in many casesdo not show a very profound knowledge of music beyond its rhythmicalaspects, will alsofind it usefulto widen their musicalperspectives by practicing harmonyat the piano.Even guitarists,althoughplayinga chord instrument,can at times not escapethe necessityto play.morethan six tonessimultaneously;arranging for a larger orchestra using an instrument with only six strings is no easyjob. Learningto know your way around the keyboardis alsoa greathelp for ear training and for an understandingof musicin general,besides,it's fun! It's alsoconceivable, that people who are familiar with traditional harmony might be interestedto learn how chordsare appliedin the realm of jazz. This book doesnot pretend to be a piano method.The technicalside of playing the piano,exceptthe most elementary,falls outsideits scope(neverthelesswe can here and there still encounterthe fingering of a scaleor meet an arpeggio).Neither will improvisation,and everythingassociatedwith it be treated.We will discussthe keys and tones of the keyboard,intervals,chord symbols,harmonic functions,and the voiceleadingof chord progressions. Further,we will learn about decorating(embellishing)chords,the relation betweenmelody and harmony,and much more.Thebook, however,is meant primarily to be a practicalguide to playing and practicingharmony on the piano. Jazzís,for the most part, tonal music.For this reasonthe material discussedin Jazz HAP predominantlyfollows the traditional conceptsof harmony and voice leading. In my opinion,thesehaveproven their valuefor centuries.Someof the subjectselaborated upon in textbookson traditional harmony are not emphasizedin this book. Little attention,for instance,is paid - with a few exceptions- to alteredtriads and to four-part choral-styleharmony.In JazzHAP we will almost immediatelydeal with seventhchords and chromaticism,both essentialelementsof jazz harmony.Of course,jazz harmony does not really exist,it is simply traditional harmony,sometimes supplementedwith somepracticalsimplificationsand additionsadaptedto the specificdemandsof.jazz music. Prospectivejazz pianistsmay be disappointedwhen they encounterthe "classicalsounding"four-,or at the most five-part chord progressionsin the examples. To them I wish to point out that a chord that soundsnice will merely form a good chord pro-

gressiononly if it properly connectsto the precedingand following nice chords.This connectionof chords- i.e.,the melodic progressionof the individual parts is an esis sential element of the correct application of harmony,the foundation of which "dirty found in the voice leading of bare triads and seventhchords.From there the chords", so greatly relishedin jazz music,will follow. Sonority is not alwaysbetter, when it's bigger or thicker.A transparentand clearvoice leadingis more effectivein ", " most casesthan an impressiveseriesof Scandinavianseventeens especiallywhen applied in an arrangementfor wind instrumentsor strings.In the final analysis,the -áiot triad is the only chord that actually qualifies as genuine.Al1 other sonorities that we tend to call chords,eventhe minor triad, are basicallycolouredmajor triads, triads supplementedwith moving tones, or merely moving tones simultaneously sounding. The sectionson intervalsand roman symbolnotation on pagesV-VII can be regarded as a supplementaryaid.Thesepagescould have been placedin the appendixjust as well, and therefore,can be skipped until required.The first chaptet of JazzHAP is primarily intended for those unhamperedby any schoolingin music theory and for *tro* the piano is a completemystery.Withoutmissinga greatdeal,more advanced readerscan passover these lessons,though, I would recommendglancingat them anyway.You never know! The thought that a textbook on harmony will ever be completeis an illusion.Always matterswill be missingor insufficientlyillustrated.Besides,time doesn'tstand still. The masterswill constantlycome-upwith new things to which new rules apply.And that'show it's supposedto be! In jazz HAP, specialattention is paid to the relevanceof embellishingchords.These in most harmonybooks.Iniazz music,harare,to my opinion,slightlyunder-exposed monic decorationsare commonly used to enliven the harmoniesunder a melody. They presentan opportunity to constantlyvary the harmonizationof a melody,without interfering with the global harmonic functions of the chords. One problem in writing about a subject as extensiveas jazz hatmony is tealizing where to stop.The moment comeswhen the reader must be on his own. For those who think it is enoughto be ableto read and play chordsfrom a'fake book', the first volume will probably suffice.Chaptersone to sevenare dedicatedprimarily to the practicalaspectsof playing chord progressionsat the keyboard.The secondvolume, which also dealswith the harmonizationof a melody itself,is meant for more ambitious students.By providing a certainunderstandingof harmonicpatternsand of the relation betweenharmony and melody,I hope to enablethe latter categoryof readers to bring more variety into their harmonies,even without the help of adroit The secondvolume also givespiano voicingsfor the somewhatmore adcolleagues. vancedplayers.Chordsof which the basstone (not necessarilythe root) is absentare and alsomore attentionis paid to moving tonesin the middle voicesof the discussed, chords.By letting theoreticaljustificationkeep pacewith practicality,I attemptedfor both categoriesof readers- beginningand more advanced- to avoid theory as an end in itself.

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Those who want to study JazzHAP without the help of a teacher should rcalize though,that the book is no bedtimereading,but a textbook on a fairly complexsubject. Understandingthe subjectmatter requiresconcentrationand patience.Students shouldnot be dismayedby the terminologyand symbolnotation,which are unavoidable in any discipline.Besides,they will quickly becomefamiliar with thesespecifics. For carrying out the exercisessuccessfully, the accompanyingtext and the analysisóf the examplesare a little more advancedthan strictly necessary. Studentsshouldnot be discouragedwhen they do not immediatelygrasp something.In such casesit is best to read on and trust that things will becomeclearer on secondreading.Especially in the beginning,a solid understandingof the examplesis more important than brooding upon the accompanyinganalysis.In reading chord symbols,don't neglect the voice-leadingrules,but do not let them get in your way.Usually it's better to develop somefluency and lustily play on, than to strugglewith the best connectionof the chords. Finally,one last- not unimportant- advice:Whileplaying the examplesand exercises,NEVER DISCARD ANWHING!Always listen closely to the sound of the chords and chord progressions. A slip,a 'wrong note', or an error might turn out to be an unexpecteddiscovery. FransElsen The Hague Januarv2001

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TRANSLATIoN

JazzHarmonyat the Piano is based on traditional harmony as it is taught in the Netherlands.The English/Americanmethod of teachingtraditional harmony differs in many aspectsfrom the Dutch/Germanconcept.As a result many namesand descriptions are difficult to translate to the English language.In some casesunder-' standingsin Dutch/Germanhaveno appropriateequivalentsin English and vice versa;or they do not existat all. To bridge the gap betweenthe two concepts,Itook the freedom to introducesome terminologythat I think that it will contributeto a better understandingof the translation of JazzHarmony at the Piano. One of the guidelinesI usedfor the American approachto traditional harmonyis the book on haimony and voice leading of Aldweil and Schachter*.I more than agree for my purpose,I had to deviate with the tenor of their excellentbook. Nevertheless, in somerespectsfrom their views.Insteadof adoptingtheir conceptof tonicisation,I prefer to usethe conceptsadjacenttonic andsecondarydominant.Insteadof usingthe name modulationfor a short, unconfirmedexcursionto another key,I use the name tonal excursion. To indicatea secondarydominantof a chord with dominantfunction I literally translated its german name into doubledominant. To designatechordson scaledegreesby meansof roman numerals,Iusethe German practice.For example,V or Vth degreeidentifiesthe scaledegreeaswell asthe scaletone triad on that scaledegree. I use the name primnry degreefor I, fV, and V, and secondarydegreefor the remaining scaledegreesand their triads. For JazzHarmony At The Piano I found the traditional English scaledegreenames etc.rather superfluousand therefore omitted them allike >,.,subtonicn, together. I use the name embellishingchordsfor harmonically non-essentialchords (decorations), to which belong chords such aspassíngchordsand approachchords.

* Harmony and Voice Leading by Edward Aldwell and Carl Schachter,2ndedition 1989,ISBN 0.15.531519-6.

IV

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SUMMARY OFTHE THE INTERVALS í r ( \

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The distancebetweentwo tones is called an intervaLAn interval of which the two tones soundsimultaneouslyis calleda harmonicor verticalinterval.Twotonessounding in succession, ascendingor descending,form a melodicor horizontalintervalWe distinguishperfect,major,minot augmentedand diminishedínfervals. Betweenthe first tone (I) and the remainingtones of the ascendingmajor scaleall intervals are either perfect or major intervals.Between the first tone and the remainingtonesof the descendingmajor scalethe intervalsare perfector minor intervals. AscnNprNGC MAJoRscALE: c +c = perfectprime (unison) crd = majorsecond cre = ma j o rth i rd c ¿,f = perfect fourth cr g = perfectfifth cra = majorsixth crb = ma j o rse ve n th crc = perfectoctave

DnscnNprNc C MAJoRscALE: c+c = perfectprime ctb = minor second c\a = minor thir d c\g = perfectfourth c r,f = perfect fifth c\e = minor sixth ctd = minor seventh c\c = perfectoctave

A tone can be namedafter an interval with referenceto a particularscaleor chord. In that case,the name of the tone refersto the interval which is formed betweenthe tone in questionand the tonic of the scale(I) or the ro,otof the chord.For example, g is called "the 5th" of the C scale,"the 3rd" of the EP Íiad, and "the 4th" or "the 1 l t h " o f D m7 . Octaves,fifths and fourths and their compoundintervals(seebelow) canonly be perfect, augmentedand diminished.By lowering its higher tone or raising its lower, a perfectinterval becomesdiminished.By raisingits higher tone or loweringits lower, a perfect interval becomesaugmented. As there is no higher and lower tone in a perfectprime (unison),this interval can only be perfect or augmented. Seconds,thirds,sixthsand seventhsand their compoundintervalscan be major, minor, diminishedand augmented.* CoupouttD INTERvALS: Octa ve +se co n d=9 th Octa ve +th i rd =L 0 th Octa ve +fo u rth =L L th =L2th Octave+fifth Octa ve +si xth =l -3 th

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By loweringits high tone or raisingits low tone,a major interval becomesminor, and a minor interval becomesdiminished. By raisingits high tone or loweringits low tone,a minor interval becomesmajor,and a major interval becomesaugmented. *Secondand seventh,third and sixth and fourth and fifth are called complementary intervals.If superimposed,theseintervals form an octave.

V

ROMAN NUMERAL CHORD SYMBOLS One designatesscale-tonechordson scaledegreesby meansof roman numerals.For example,VI identifiesthe sixth scaledegreeaswell asthe root position of any scaletone chord on that degree.To indicate a seventhchord,one normally addsa7 to the roman numeral,e.g.VP. The notation of chords in roman numeralsoriginatesfrom the figured bassor continuo practicefrom the Baroqueperiod.A similar practiceis usedin jazz by using chord symbols,usually letter symbols,under a melody,or as a guidelinefor improvisation. Romannumeralsín jazz are appliedwhena more overallharmonicanalyses,independent canslightly deviatefrom their traditionalform. Extendedchords of a key,is required.They appliedin jazz cannotalwaysproperlybe expressedin romannumerals.It is essentialto maintaina consistentnotationfor chord symbols,making surethey can be clearly understood. Sinceroman chord symbolsmake use of scaletones,there is a subtle differencebetween the 7 in roman symbolsand the 7 in letter symbols,suchas C7, Am7 and G7. In the roman numeralsthe 7 can representa major,minor or diminishedseventh,dethe 7 in 17from major indicates pendingon the scaleand scaledegree.Consequently, a major 7th and the 7 in VIIT from harmonic minor a diminished 7th, while in a letter-chordsymbolthe 7 in thesecasesnormally indicatesa minor 7th and a diminished 7th respectively.Inroman chord symbolsIP in the key of C major indicatesa minor 7th chord on tr (Dm7) insteadof the non-scale-tonechord D7, the 3rd of which (l) being a non-scaletone in C major. When anotherchord tone than the root of the chord is in the bass,one speaksof an inversionof the chord. Only chord tones,i.e. 3rd,5th and 7th, can be applied as bass tone of an inversion.In traditional harmony,chord extensionsand added tones do not occur in the bass.

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IrwrnsroNs oF TRIADS! D Tliad with 3rd in the bass= sixchord..Thechord symbol consistsof a 6 added to the roman numeral of the scaledegree: For example:16 or 116; in C respectively:C7, or Dmi7t. ) Tiiad with 5th in the bass= six-fourchord.Thechord symbol consistsof 3 added to the roman numeral of the scaledegree: For example:I8 or IV8; in C respectively: C¡o or F7a. IxvpnsroNs or 7THcHoRDs: D Seventhchord with 3rd in the bass= six-fivechord.Thechord symbolconsists of I addedto the roman numeral of the scaledegree:

V8 ; For example: )

Seventhchord with 5th in the loass= four-threechord.Thechord symbol consistsof á addedto the roman numeral of the scaledegree:

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VI

in C: G77r.

in C : Em7¡r.

Seventhchord with 7th in the bass= two chord.Thechord symbol consistsof 2 addedto the roman numeral of the scaledegree:

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For example:V2 or VI2 ; in C , Glr or Am7¡o.

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To graspthe logic of the roman namesfor the inversionsof chords,we have to look at the intervals(not compounded)betweeneachof the chord tones- i.e.the root, the third, the fifth, and the seventh- and the bass(not the root) of the chord.Theseintervalsare representedby figures,following the roman numeral.It is commonpractice to write the higher figure abovethe lower one. Normally,the namesof the inversionsare shortened.For example,the full name of the six-five (8) chord would be six-five-threechord. Four-three(á) is sr.r-four-three, and a two chord ('), in which the 7th is in the bass,in reality is a six-four-twochord. All this may seemrather complicated,but in time one easilybecomesfamiliar with the system. When a scaledegreeis raised,a sharp(f,),and when,it is lowered,a flat (r) is placed in front of the roman numeral.For example,ffV or btr. An augmentedinterval over the bassis indicatedby a sharpand a diminishedinterval by a flat in front of the figure in question.For example,üfVfg meansaugmented six-fivechordon the raisedIV. This chord originates from harmonic minor, of which the 4th tone hasbeenraised.The sixth over the bassis ausmentedand the root of the chord on fV is raised. The notation in roman numeralsrequires that the key and mode, i.e. the scale,is known.Whenthe melody is given,the key and mode can usuallybe determinedfrom the signsat the clef.Without given melody,or when the key and mode are ambiguous,or at the point of a modulation or tonal excursíon*, it is required to indicatethe key and mode.In traditional harmony,a major key is indicatedby a capitalletter and a minor key by a small letter.For example: 'Vt A: If/ ¡lt ll means: Bm7 E7 lAa ll and c: I W 1tr7 VIIT I 17 ll means:Cm Ab¡ | D@ Bo I Cma ¡¡ At a modulation or tonal excursionthe key or mode changes,and consequentlythe letter indicatingthe key or mode will changewith it. The harmonic minor scaleis normally used as standardreferencefor minor. When the chord originatesfrom anotherscalethan harmonicminor,aflat,sharp, or natural sign may precedesthe roman numeral or the interval figure as illustrated in following examples. Using harmonic minor as reference,M from melodic minor can,dependingon the signsat the clef,be indicatedby IVI or by fiVI;in C qelodic minor:As. Likewise,the major 7th chord on the lowered VII is indicated with hVIIhTor with hVUfz.This chord originatesfrop the the lesscommon mixolydian or dorian scale;in C dorian or C mixolydian:BPa. Secondarydominantsare usually placed between square brackets,e.g.[V(z)l or lvtr(7)].A secondarytr(z)-\/(7)progressionis indicatedby [tr(7)-V(7)] and a tritone related secondarydominant by [TRV7].As in jazz one appliespredominantly7th chords,the 7th can usually assumedto be presentand therefore is often omitted in roman-numeralnotation. * Short. unconfirmedmodulation.

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VIII

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CHAPTER 1 INrnonucrloN

To rrrE KEyBoARDAND THE THEoRy oF HARMoNy

In order to acquiresomeskill in playing harmonieson the piano,it is necessarynot only to have a fairly good ear,but also to be familiar with the keyboard and to dévelop a certaindegreeof understandingof the laws of traditional harmony.To get to this stage,it is first essentialto becomeacquaintedwith the order and the namesof the keys of the keyboardof the piano and from there on with the basicelementsof the theory of harmony:intervals,triads and scales.

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The figure above showsa keyboard.From now on we will call a picture like this a keyboarddiagram.Thekeyboardin this diagramhas a rangeof four octavesplus a major third (seebelow).The upright piano hasa biggerrangeand a grand piano still bigger.The rangeof the keyboardin the abovediagramis, for the time being,sufficientfor our purpose.

1..2

Underneaththe white keys of the keyboard are letters.Theseare the names of the toneswe hear when the white keysare struck.Within the spaceof eight successive white keysa fixed pattern of sevenlettersis repeated.The tonesof this basicseriesof seventones,namedafter the first sevenlettersof the alphabet startingwith c, will be calledprime tones.Weseefour groupsof sevenletters plus a small group of three letters on the right. In order to identify the groups,the letter namesare uniquelymarked;from left to right: capitalletters, smalllettersand smallletterswith accentmarks (smallverticallines);oneline, two lines,and - in the last small group - three lines respectively.

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Likewise,the groupsof tonesasindicatedin the keyboarddiagramare named greatoctave(capitalletters),smalloctave(small letters)* one-line,two line and three-Iineoctaveetc. One-line c (c' above the arrow) is also called middleor central.c,asits position is roughly in the middle of the keyboard,near the keyhole.** The distancebetweentonesis an interval.named.afterthe number of letter namesthe tones are apart,countingthe startingtone as 'one'.For example,an octavespansthe distanceof eightletternames;theintervalc"'-e"'spans

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**This marking of letter nameswill only be usedwhere necessary, e.g.to indicate a specificpitch or key location.Marking is omitted when not ¡elevant.

three letter namesand is therefore called a third. Normally,the first letter of an interval is the lower pitch.As we have seenin 1.1-,the keyboardin the diagram coversa rangefrom C (-greatoctave)to e"'(= three-linee),i.e.a range of four octavesplus a (major) third.

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Besideswhite keysthe keyboardhasblack keysdividedin groupsof two's and three's.After everyc there is a group of two, and after everyf, a group of three black keys.This division of black keys makes it possibleto orientate on the keyboard.Their musicalsignificancewill becomeclear after we learn about chromaticsand keys- other than C major.A black key takesits namefrom either adjacentkeys.It raisesthe one to the left by a half step (sharpf;),or lowers the,one to the right by a half step (flat b¡. Fot example:the.,first black key ,after c is called cf, (csharp),or il (d-flat); the seconpone d o, eb,thethird onefr ot g',etc. Adjacent white keys may also bor; row each other's namessuch as cP and b*.

Exercises: r'

Find all the c's on the piano.Make good use of your ears.They all sound the sameexceptone octavehigher or lower.

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Slide with the nail of your right middle finger over the white keys from low C all the way up and,with the nail of your right thumb,from c"' down.You will hear the C major scale.

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Find all/s on the piano.Now play anf afterevery c.Whenyou play anlto the right of a c, you'll hear an interval of a fourth (4 prime tones,i.e. four letter names).When you play an/to the left of a c,you'll hear an interval of a fifth (5 prime tones,i.e. five letter names).Make good use of your ears again and try to recognizethe interval.

C D E F G A B c d e f g a bc'

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f ' g ' a ' b , C , , d ,g, , , f , , g , , a , , b , , C , u d , u e ' u

NoW do the sameexercisewith e andb.You will hear the sameintervals,only the other way around:e-bis a fifth and b-eis a fourth.

* 'Key' in this sensemeanssomethinglike 'tonal center'.Not to be confusedwith the key of a keyboard. (Seealso lesson6)

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Play c-e-f-b-ctp over the whole range of the keyboard.Make it a habit to do exercisesin tempo.Not fast but fluently.If you get stuck,play more stowly.If necessaryuse a metronomeand give every tone 2 or 3 beats.Thke your time.

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Make up similar exercisesyourself.Play them and saytheir namesout loud in order to learn your way around the white keysfluently.After that you can includetheblackkeys. | | | | | First play the flats ascending:c-il-e?-f-gv-av-b2 and after that the sharpsde-e-dfr-cfi-b.In scending: b-o\-7f,-f the end, mix them up. .

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2

The triad in root position

Now that we've learnedour way around the keyboard,we can,very carefully,start with some simple chords.In 1,.3we saw the major third, and in the exercisesthe fourth and the fifth.In this lessonwe will learn what is meant by a triad. 2.I

A triad is not the soundof just any three tones.A specificorder of the tones makesthem a triad.A chord,consistingof three toneswhich are a third apart, is called the closepositionof a triad in rootposition.Theroot of this triad is at the bottom, in the bass.It is the smallesttriad possible.The tonesof the triad can also be in a different order.We still have a triad, but in positionswe will discussin section3.1.

2.2

The triads on the white keys all look alike at first sight,but when we listen to them closely,we observethat some sound different from o{hers.That is becausethe triads on c,f and g are major triads and the ones on d, e and a are minor triads.A major triad is composedof a minor third on top of a major third. The constructionof a minor triad is the other way around:it consistsof a major third on top of a minor third. Notice the difference!The triad on b is an outsider.It is constructedfrom 2 minor thirds.We will seelater about that one in section3.2

Exercises: t/

Play 2 keysat the sametime with your right hand thumb (fst finger) and middle finger (3tdfinger),on respectivelyc' and ¿'.Do not cramp.I know it's easier saidthan done.Keep the fingersyou don't usenear the keysand don't pull them up like the legsof an excitedspider!Relax and drop them.Practiceuntil it feels comfortable.The most important thing is that the arm is relaxed.

3

Just let it hang down and lean on the two fingers.Now put your little finger (the 5tttfinger) on g'. Rememberthe form the hand took. Next, put your hand in the same position, but one tone higher. The thumb goes to the root of the next triad on d'. Repeat that movement a few times back and, forth and let your hand danglea bit when the fingers leave the keys,but remember the position the hand was in when you heard the chord.You played the triads of C major and D successively minor. The chord svmbolsare C and Dm. you can play a triad on any When you've becomeat easedoing the exercises, other white key.Start with moving triads stepwiseup and down the keyboard. 'in time' and think along with your fingers.Don't forDo it again slowly but get your left hand.Occasionallya piano player usestwo hands. Next, practicemaking little leapswith the hand playingthe triad. For example in this order:put the Lst finger (thumb) on c and after that onJ on the next c and so on (seediagram).Play the triads this way over the entire keyboard.

Play the triad with the Lstfinger onJ on c,on I and on c (seediagram).Repeat the samepattern,one octavehigher.Tiy to play in tempo.

We hear all the tonesof the scaleof C in thirds (NB!).

2.3

4

There's one part of the piano that we haven't dealt with yet. That part is the pedal.The piano player can use two pedals:the right and left one.The right one lifts the mutesfrom the stringsso their vibration sustainsafter they have been struck by the hammers.Lifting the mutes,also allowsother stringsto vibrate concurrently.The one on the left brings the hammers closer to the strings,so they havelessspeedwhen the stringsare hit. This softensthe sound

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a bit.This last pedalfunctionssomewhatdifferentlyon a grandpiano,in which the whole mechanismmoves to one side,so that the hammer touchesone string lessof a chord of strings.This systembringsdown the volume,but it also altersthe colour of the tone.Becauseboth pedals,if not handledwith care, can do more wrong than right,I advisethe reader to usethem with care.

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LeSSOn 3 Invertingthe triad

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In lesson2 we were introducedto the root position of triads.In this lessonthe other positionsof the triad are discussed. For the time beingthe right hand is our main concern,althoughthe part of the left hand is not without meaning.It will becomeclear, however,that learningto use the right hand alone is difficult enough.So take your time and try not to cramp! 3.L

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To invert a triad, the order of the tones has to be changed.In the first inversion,the root - which wasat the bottom (in the bass)- goesto the top, i.e.one octaveup. In the secondinversion,the bottom tone of the first inversiongoes to the top. Becausea triad consistsof three tones,it hasthree positions:

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1. root position 2. the first inversion 3. the secondinversion

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Each inversionof the triad hasits own name,but for the time being,this is not of real importanceto us.In the abovetable the triads are mainly in the oneline octave.Of coursethis could have been any octavehigher or lower. The choice for this particular octave has been made becausethis piano register soundsgood for this purposeand becausethe middle c is a comfortableplace to start.

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Exercises:

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Placethe Lstfinger (thumb) on the middle c (arrow,seediagram) and play a triad in root position,like you did in lesson2.The 3rdfinger is on ¿' and the 5thon g'. Then put the 1stfinger on e',the 2ndon g' and the 5thon c" and play the chord. You'll hear the first inversion of the triad of C major. Now you place the 1stfinger ofl g', the 3rd on c" and the 5th on e" and play the chord

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again.Thisis the secondinversionof the C triad. Rememberthe advicein lesson 2: relax your hand and arm.Also rememberthe position of the hand with each inversion.This fingering has proven to be the most comfortable one. Apply this as much as possible. r'

When the previous exercisegoesreasonablywell, put the little finger (5) of the left hand on c great or small octave (in the bass)and play the inversions with the right hand.Increasethe tempo steadily,but don't forget to relax the hand and the arm and rememberthe position of the hand with eachinversion.

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In the next exerciseyou start at d' and invert the triad of Dm. Then the triad of Em, F and so on, until you reach C again.With your left hand in the bass play the root of the chord you are playing with your right hand.Vary the exercisea bit by playing the inversionsas arpeggios(playingthe tonesone after the other), one arpeggioup and the next one down. Do theseexercisesdaily, with all the triads you know.Eventually you will do it more or lessautomatically.

3.2

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There is one triad we have not dealt with yet. In section2.2 ít was called an outsider.That is the triad on the á.This triad is calleda diminishedtriad. When you play it on the keyboard,it becomesclear that there is quite a difference betweenthis one and the other triads.This is a dynamicchordwhich is not really suitableas a final chord of a piece of music.It is enclosedby a diminished fifth and is part of an important dynamic chord, to which we will come in section 5.2.Tiy alsoto invert this triad in the sameway as you did the others.

Lesson 4 Triadsin minor 4.L

To understandminor keys really well, we have to go back to the exercisein the major triads of F, C and G. If we lesson2.There we played successively turn the triads of F major and C major from this exerciseinto two minor triads,we seethe tonesof the completescaleof C harmonicminor. Not stepwise, like a scalenormally ip being played,but in thirds.With the triad of F mino1, the third finger is on aDand with the triad of C minor, the third finger is on eP (seediagram). r,-.1

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F minor

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C minor

G major

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Exercises:

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Play the triads from the abovekeyboarddiagramover the entire rangeof the keyboard.After the triad of G major you play F minor, C minor and G major and so on. Keep your fingersin line with the keys!

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Invert the triads of F minor and C minor and play them up and down the keyboard.In the diagram you see the fingering of the triad of F minor. The fingering of C minor is identical.

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Becausethere are two black keys in C harmonicminor, the triads are a little harder to play than the onesin C major.Thepositionof the hand changesconstantly.Ip harmonicminor are two diminishedtriads:one on b and one on d. On the "Dwe find a triad which we have not met before.This is calledan augmentedtriad.It consistsof two major thirds and is enclosedby an augmented fifth. Below you find the triads on the tones of the C harmonic minor scale with their chord symbols: = Cm(i) OncisCminor = Dm/-5 OndisDdir,ninished On ¿ flat is Eh augmented = Eb+or tbt+S = Fm(i) On/isFminor = G, OngisGmajor = 4b On aflatis Ab major = Bm/- 5 On á i sB d i mi n i sh ed

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LeSSOn 5 The seventhchords

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In the following exercisesa triad is inverted with the right hand,while the left hand playsa tone that is a third (or a third plus one octave= a tenth) lower than the root . of the triad. Four different tonesare played.The triad hasbeen extendedinto a fourpart chord.The lower tone is a third (or a tenth) away from the root of the triad. A four-part chord like that is called a seventhchordin rootposition.On the white keys: A major triad plus the extra tone at the bottom givesa minorseventhchord,and a minor triad (except D minor) gives a major seventhchord.

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Exercises:

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Phy: c with the left hand in the bassand right the inversionsof Em. /in the bassand right the inversionsof Am. d infhe basswith the inversionsof E

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orBdiminished

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Tiy to make musicout of this exerciseby giving it a beat,and making up some rhythmic variations. r'

Play (with the right hand) a Cm triad in root position and,(withthe left) aPin the bass.It is not important in which octaveyourplaythe a?,aslong asit is underneaththe triad. We hear an AP¡ chord (= Ap major 7). The major 7 (a) is the interval betweenroot and top tone (lead).

5.1

With the white keys we can constructthe following seventhchordsby combining a triad with an additionalbass: Em with c in the bass= Am with/in the bass= C with a in the bass = F with d in the bass = G with ¿ in the bass =

5.2

C major 7 (Ca) F major 7 (Fa) A minor 7 (Am7) D minor 7 (Dm7l E minor 7 (Em7l

The diminished triad on b with g in the bass,played in the exerciseabove, showsthe important seventhchord implied ín3.2.It is calleddominantseventh chordwith the symbol G7.It's a chord we would like to resolveto a major or minor C chord.It is not a chord you really would use as a final chord,except maybe in bluesy endings.Therefore,also it is called a dynamicchord.Dynamic chordsusuallygenerateharmonicmotion.

Exercises: r'

Play Ca and Fa, as mentionedin 5.1,,with your right hand and practicethem in all octaves.

Play the minor 7th chordsmentionedin 5.1 and practicethem over the entire rangeof the keyboard.

Am7

Dm7

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Play the G7 chord mentioned in5.2 and practice it over the whole range of the keyboard. In the above exercisesthe seventh chords are in the closeposition,which meansthat in betweenthe tonesof the chord no spaceis left for other chord tones.This chani¡eswhen the root is put one (or more) octave(s)down,allowing the other chord tonesto be positionedmore spreadout. A chord position with room for other chord tonesbetweensomeof the tones,is called a mixed (e.9.drop-twoor drop-three)position.The chord is in open (or wide) position when there is spacefor another chord tone in betweenall chord tones.The keyboard diagramsbelow show examplesof the above-mentionedseventh chordsin mixed position.It's obviousthat there is still spacefor chord tones betweensome tones,whereby the area betweenroot and next higher chord tone is not taken into account.Also the term voicingis used to indicate the positioningof chord tonesother than that of the bass.

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Play the chords in the above diagramson the piano and determinewhat chordsthey make up.Tiy to memorizethem.

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Notice which tones allow room to insert one or more chord tones and which chord tonesthey are.Try to add them while playing.

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Slowly invert the seventhchordsin closeposition and practicethem over the whole keyboard.

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The keyboarddiagramsbelow showthe fingeringof the inversionsof G7 and Dm7. The inversionsof Am7 and Em7 havethe samefingering.If the root position of the chord and the upward octaveshift of the root are projectedon the keyboard,then, after some practice,the inversionswill show automatically.Make good useof the fact that the piano is a visualinstrument,but above all: don't forget to listen!

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The Dm triad with b at the bottom is the only chord in the seriesof seventh chordson the white keysthat hasn'tbeen discussedyet. It is calledB half diminished.Thechord symbolis Bo.In the diagrambelow you will find it in close and mixed position.

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5.5

We've now met all seventhchordson the white keys,i.e.usingthe tonesof the scaleof C. They are calledthe seventhchordson the scaledegrees of C major. The degreesare a numerical name for the scale tones.They relate to the chordswhich are made up of the tones of the scale.The chords we've been talking about in this chapter are the seventhchordson the degreesof the scaleof C major.The scaledegreesare noted in Roman numerals.The chord on the first tone of the scalesetsthe number I. on the secondtone II. etc.Seebelow: = t r = D m 7 = n = E m 7 = = t V = F ¡ = V = G 7 = Am7 = VI = U \ 4 I = g ñ I

5.6

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C major seven D minor seven E minor seven F major seven G (dominant) seven A minor seven B half diminished

Although the seventhin traditional harmony is a tone that createsmotion, this extensionof the triad is often usedas a colouring of statícchords(seebelow) in jazz.Tltis colouring is a matter of taste,like pepper in soup,and is in fact not alwaysappropriate.The colouring of the triad - both major and minor - especiallyby the major seventh,is, in many cases,redundantand often

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a rather irritating automatism.To avoid the conflict,which the major seventh canbring about,and still give a bit of a 'glow' to the harmonyof a staticchord, adding the sixth (or the ninth, which we will encounterlater) to the triad, is often a more tastefuloption.

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By staticchordswe mean the chordsof the Ist and the [Vth degree.If we add the sixth to these chords,we get, on the white keys,C6 and F6.There is no needto practicethesechordson the piano.They are identicalwith the first inversionof respectively Am7 and Dm7 (NB!).

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6

The black keys,harmonic functions and the circle of fifths

Until now we have been looking at all the white and two of the black piano keys in respectivelythe scales(keys) of C major and C harmonicminor. But even in C major - the 'white-keyskey' - the black piano keys are indispensable, if we don't want to fall into a rather colourlessharmony. 6.1,

The useof black piano keysin the key of C major is calledchromaticism.Itcan occur in any other major key. It can be taken to mean 'colouring',which shouldnot be confusedwith the meaningit takeson when we are referring to the colouringof chords(as in section5.6).

6.2

The black keys are often erroneouslycalled half stepsor half tones.In fact there are also two half steps(half tones) in the scaleof C major without any black keysbeing used.Betweene andf andbetweenb andc it is impossibleto insert a tone,consequentlythere are no black keys. In lesson1..2wehaveread that the tonesof the C major scaleare calledprime tones.The namesof the black keys are derived from the namesof the prime tones.A stepwisesuccessionof two or more prime tones,i.e. tones with different letter names,or of toneswhich namesare dprivedfrom different prime tones,is called a diatonicsuccession, e.g.:c-d,c-b,eD-f,f-g,etc.If it's not possible to inEertanothertone in betweentwo tones of a diatonic succession, e.g.: b-c,f-e,bv-a etc.,the interval betweenthe tonesis a diatonichalf step. A successionof two (or more) tones derived from ¡he sape prime tone, i.e. with the same letter name, for example c-c*,b-bb,f-f-f , etc.,is called a chromaticsuccession, and the interval betweenthe successive tonesa chromatic halfstep.Inthe major scaleof any key there is a diatonichalf stepbetweenthe third and the fourth, and betweenthe seventhand the eighth tone.The black keys are usedin scalesother than C major, to keep the intervalsbetweenthe tonesin the sameorder as in the C major scale.

11

6.3

Everything falls into place if one proceedsfrom the superimposedtriads of the primary degreesI, fV and V. In lesson2 you find an exercisein which you are askedto play the triads of F, C and G successivelyover the entire keyboard.The exerciseshowsthe tonesof the scaleof C major,not in successive stepsbut in intervals of thirds. The tones of the superimposedtriads of IV-IV form the tone material of a key. Each of these triads has a so-calledharmonicfunction, and these three functions rule the harmony of all tonal music. The one in the middle - the C triad (I) in the exercise- is calledTONIC (tonal centre).Theone at the top - the G triad (V) - is calledDOMINANT, and the one at the bottom - the F triad (IV) - is called SUBDOMINANT. In tonal music thescaleis nothingmorethan thestepwiseorganizationof the tonematerial of a key.Maybe now it's becomingclear where this apparentlycoincidental but, in our ears,logicalorder of tonesin a scaleoriginatesfrom.

6.4

In minor, things are essentiallythe same,with the following difference:the middle triad (tonic) is alwaysa minor triad, the one at the bottom (subdominant) is usually,but certainly not always,a minor triad. The one at the top (dominant) occasionallycan be a minor triad too. Seelesson7.

6.5

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In the círcleoffi.rths(seediagrambelow) the keys are organizedin ascending fifths,in which the number of sharpsin the key signature*increaseswhen going clockwise.After 12 keys we end up at C again,now called Bf;.SinceB# is a key with the quite impractical number of twelve sharps,an enharmonic changeis made at Fil,which has 6 sharps.It is renamed Gh with 6 flats.From there on the sharp keys turn into flat keys.Note that the number of signsdeyou seethe opposite creasesagain.Going aroundthe circle counterclockwise, happening:a seriesof ascendingfourths (or descendingfifths) in which,after

THECIRCLEOF FIFTHS

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* Theseare the sharpsand flats appearingat the beginningof the staff.

12

12 keys,we come back to the startingpoint, C, which is called¡bb 1n double flat). With its L2 flats Dbb is as impractical,as the,1,2sharpsin B#. Halfway around,or at the bottom of the circle are F# and Gh.Theseare the antipodes of C and divide the number of.lZ signs(flats or sharps)by two.It is easyto derive dominantsand subdominantsfrom the circle of fifths: clockwisethe dominant is one position after, and the subdominantone before the tonic.

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Learn the circleof fifths by heart,and be able to reciteit fluently,without having to think.

6.6

In the scale,the new sharpis alwaysa fifth abovethe previoussharp.It is the seventhtone in the scale.The new flat is the fourth tone in the scale:a fourth above(fifth below) the previousflat (NB!). Although piano techniqueis not our main goal, knowledgeof the scalesis a great help to get to know your way around the keyboardin all keys.We certainly will make use - though not in the customarytechnicalsense- of this practicalstepwisearrangementof the tone materialof a key.

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Look at the diagramsbelow in which you seethe fingeringof the scalesof C and of F (major) in the right hand.Tiy to play them yith the given fingering. Rememberthat the fourth tone of the scaleof F is b? and not b; a black key and not a white one.There is a half step,as we know,betweenthe third and the fourth tone. While playing the scales,remember to keep your fingers aligned with the keys as much as possible,especiallywhen shifting to the thumb in an ascendingscale,and shifting to the 3.d and 4th finger over the thumb in a descendingscale.*If you don't align your fingerswith the keys,the hand will be in a too awkwardposition to play the scaleproperly.

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First play the triads on the keyboard,and after that the seventhchordson the degreesof the scaleof F, aswe did in the key of C. Pay attentionto the b? you want to hear in the triads on II, fV and VII, and in the seventhchordsW,W, V7 and MI7. Don't just look at your hands,but alwayslisten closelyto what they are doing.

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* Moving the thumb under, has more or lessthe feeling of moving the other fingers over the thumb; moving the third or fourth fingersover the thumb feels like moving the thumb under the fingers.

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Look at the diagram opposite, which showsthe scaleof G major, and play it on the piano with the given fingering.Discover the minor seconds(half steps) between the third and the fourth, and between the seventh and eighth tone.Keep in mind ttr"ft

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Play the triad in root position and its inversionson the degreesof the above scales.

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Also play root position and inversionsof the seventhchordson the degreesin the key of G major.

6.7

A generalrule for the fingering of the scales:the l-stand 5thfinger (thumb and little finger) should avoid touching aqy black keys.For the right hand in 'flat keys',the 4thfinger alwaysis on the bv and starts- with the exceptionof the F scale- with the2nd finger. In the 'sharp keys', the 4th finger is on the new sharp.The new sharpin the 'sharpkeys' is alwaysthe seventhtone of the major scale.Thisrule for the fingeringof the right hand goesfor all 'flat keys' and for the 'sharpkeys' up,to and including the scaleof B major. Rememberthat the scalesof F# and Gb are one and the same,and therefore have the same fingering. Scalefingering for the left hand is the same as the one for C (4 on d and3 on a) usedaslong aspossible.When this iq no,longerpossible,beqause the scalestartson a black key,like the scalesof Bp,F.2,¡v and DP (for GP see below),the 3rdfinger is on the first tone and the 4thfinger on the new flat.The new flat is alwaysthe fourth tone in the 'flat key' scale.If in t\e left hand the thumb is going to be on a black key,asin the scalesof p and Ch 1f'f;¡,the scale starts with the 4th finger and the 4thfinger comeson gD1ff¡.

Assignment(long-term):

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Become a natural in playing the major scales,and triads and seventh chords on the degrees,in all keys.

Lesson 7 Theminorscales 7.1

When we comparethe minor scalesto the major ones,it strikesus that the major key has one scalewhere the minor key hasthree scales. The superimposed triads of a major key all are major triads.In the minor key,however,there are three possiblecombinationsof triads: 1. Only the middle triad is a minor triad;this forms melodic minor. 2. The middle and bottom are both minor triads;this is harmonicminor. 3. All three triads are minor triads:this is callednatural minor or aeolic.

14

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Lesson 32 Leadingchords Leading chordsare embellishingchords,which do not exist in traditional harmony. They representa form of parallel harmony.So far, we haven't met them in the precedingpages.Leading chordsplayed an important role in the harmoniesapplied in iazz,especiallyin the forties.This role, althoughnot yet played out, hasneverthelesslost part of its novelty.Even so,leadingchordsare important enoughto spenda lessonon them. In nearly all cases,leading chordsare appliedfor a rather stylishreharmonizationof standards,mostly substitutingfor diminished7th chords and secondarydominants. Often leading chords are in conflict with the melody,and are therefore mainly applied in chord progressionsusedfor improvisation.We typically hear leadingchords in harmoniesof piecesspecificallycomposedfor jazz. 32.L A leadingchord mainly consistsof leadingtones,which, as we know,move in descendingor ascendinghalf steps.Likewisewe talk about descendingand ascendingleadingchords. 32.2 A leadingchord can function as a passing,neighbouring(alternating)and approach chord. Sometimesthe leading chord is applied as a suspension,in which caseit falls on a stressedbeat.

105

32.3 The leadingchordscan resolvein parallel,oblique and in contrary motion.In the oblique motion only one tone,usuallythe lead,is static;wecan seesucha sonority as a partial leadingchord. Dominant7th chords,descendingor ascendingwith a half step,are dominants.Do not confusethemwith leadingchords. 32.4 Minor and major 7th chords are the most frequently appliedleadingchords. 32.5 The examples L-5 show a chromatic passing leadingchord betweenIII and tr.The sameprogressionsin these examplescan also be rea$ from the right to the left II -r III.In that case EP m7 is renamedD$m7: Dm7 Df,m7lEmT

1

2

32.6 In the examples2 and3, the lead movesin contrary motion with the other voices.In example 4,the lead is a neighbouringtone.In example5 the lead first moves in contrary, and subsequently in oblique motion. 323

The entire progressionin example6 moves in oblique motion; the lead (e) is static.The progt"sion Ca-+Cfi¡¡7can hardly be considereda leading chord progression;it can n*ormallynot be playedin the oppositedirection.- We should not forget that, as its name alreadyimplies,the target to which the leadingchord leadsis more important than its startingpoint.The succession --r of the chords invariably is: arbitrary chord leading chord --+resolution chord, by which the most important tones of the leading chord and its resolution form congruent chords.

32.8 Although thp congruenceof the chords in example 5, EbmTllJ-+D@,is incomplete' we neverthelesscall EDm7l11a leading chord for [email protected],the reverse is also true. The congruenceof the leading chord and its resolution doesn't have to be complete.The chord can be applied as such,as long as the essential tones are presentin both. In the examples,we seeat leastthe correspondenceof the root, the third, and the seventh.This is normally sufficient to call the progressiona leading-chord progression. '* g[¡¡/--rea is not a complete leading chord progression,however,one may hear it played by pianist Lenny Tiistano.

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32.9 As said before,leadingchordsare often applied as a substitutefor dominant 7th chordsor,for passingand approachingdiminished7th chords In example 1,insteadof EDm7,we could haveheard A7 l-gor Cfo under thebbin the lead. In bars 7 and 8 of JUST FRIENDS, the leadingchord A?m7 fits the melody excellently.ItsubstitutesAto, the passingsubdominantdiminished7th chord betweenIII en tr (example I2). 32.10 Often, leading chords have a distinctive surpriseeffect.We should keep in mind, however,that the qovelty of surpriseswearsoff quickly.Notice the suspending leading chord AvmTlg in measures6-8 of ...Mrss JONES shown in example7 (8).

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Becausethe leading chord in this examplefalls on the first beat of a strong (odd) measure,the chord is rather a suspensionfor Gm7 than a passingchord betweenAm7 and Gm7. 32.1.1.To make up a suitable(surprise-)leading chord under a melody,one should keep in mind that the melody tone we intend to provide with the 'surprise chord' should be a common tone for both the new chord and the original chord under the melody.This requiressomeskill. In ...MrssJONES, the bDin t\e melody is the 3 of Gm7, which is the origipal chord under the melody. AvmTis the descendingleading chord.The 9 (U\ of AVnT/9is the common tone. 32.L2 With oblique motion of a leadingchord,the 9 of a descendingleading chord, in example8 the/in ebnJd @), becomesthe octavedoubling of the 3 of the resolution(/in Dm7);the octavedoubling of the 3 of an ascendingleading chord - in example9, the g of Em7 (*) becomesthe 9 of the resolution(g in Fm7l9). 32.13 Also ma or m6 chordscan be appliedas leading chords (example10).The strong compulsory progressionof a leading chord can be such,that a conflictingtone occurringin the lead hgdly interferes.See the bv ín AmO ({