Pentatonic Scales

                The prefix “penta” means five, so a pentatonic scale is a scale composed of five pitches.  These scales are used heavily in Eastern music, folk music and many forms of improvisation.  Technically, any five pitches can be combined to form a pentatonic scale.  Eastern music contains many types of pentatonic scales.

                The music of Western Europe developed separately from that of other nations throughout history.  The music theory and structure that we study in my courses (and in most North American and West European schools) comes from this Western European history.  Western tonal music is based off of 7 pitches within a given diatonic key.  Our key system can be based on either a major or minor tonality. 

                The Middle East, Eastern Europe, Asia, Africa, Australia and even Native Americans all have their own musical history and structure that differs in many ways from Western Music.  Some of these areas (particularly the Middle East and Asia) developed a formal music theory which we classify as Eastern music.  This difference creates a split in music theory when referring to either Eastern or Western music. 

                There are two main types of pentatonic scales: hemitonic and anhemitonic.  Hemitonic scales contain one or more semitones.  Anhemitonic scales contain no semitones.  Anhemitonic scales are the type of pentatonic scales that occur in Western music, since they relate best to our diatonic keys.  They will be the focus of the rest of our discussion.

                 The two main types of anhemitonic pentatonic scales that we identify in Western music are major and minor pentatonic.  The major pentatonic scale is composed of the 1st, 2nd, 3rd, 5th and 6th scale degrees of a major diatonic scale.  This scale is useful for the implementation of simple improvisation techniques because it does not contain the 7th scale degree.  This makes it a good scale for use improvising over both major 7th and dominant 7th chords.  In addition, the scale does not contain the 4th scale degree which is considered an "avoid" tone in jazz improvisation. 

                The minor pentatonic scale is composed of the 1st, 3rd, 4th, 5th and 7th scale degrees of the natural minor diatonic scale.  This scale is useful for the implementation of simple improvisation techniques because it contains all the pitches of the minor 7th chord along with one additional passing tone.  Also, the five pitches of a given minor pentatonic scale are the same five pitches of the relative major pentatonic scale from a different starting point.  Essentially, the one scale can be used when improvising over both a major 7th chord and its relative minor 7th chord.

                Since there are five pitches in a pentatonic scale, the anhemitonic pentatonic scales can actually be arranged in 5 different orders (from 5 different starting points).  In Western music, we label one of these as the major pentatonic and another as the minor pentatonic.  The other three are seen as inversions of the major or minor pentatonic scales.  We use this perspective to best relate the pentatonic scales to our major and minor diatonic scales.

                In this Learning Music With Ray video I discuss the definition and composition of pentatonic scales.  I cover a brief history of the difference between Western and Eastern music and the use of pentatonic scales within these two frameworks.  I then go into a more detailed discussion on the pentatonic scales that are most common to Western music.  Finally I cover tips on how to determine the pitches of these pentatonic scales.  

Rounded Binary Form

          One of the simplest types of musical forms is binary.  The prefix "bi" means two, so binary form is a music form composed of two sections.  The "A" section states the opening idea.  The "B" section states a second idea.  The "B" section also often travels to a different place musically, and then returns for the final cadence.  The most common "traveling" device is to temporally establish the dominant as a new key center.  As the key change develops and then resolves back to the original key, the listener can picture the entire section as one large scale dominant to tonic cadential progression.

            Rounded binary form is a slight variation on the simple binary.  The variation is found in the fact that the second section states a new musical idea "B" and then returns to the first idea "A."  The diagram of this form would be A - (B A) as opposed to the typical A-B of a regular binary form. 

            Some people may think of this as ternary (3 part) form (A-B-A), but there are several differences between a true ternary and a rounded binary form.  First, the "B" section of a true ternary form dramatically contrasts the musical statement of the "A" section.  In rounded binary, the "B" section can have similar musical attributes to the "A" section.  Second, the return of "A" in rounded binary is usually abbreviated (half of the original statement).  In true ternary form the return of "A" is a complete restatement of the section.

            The "B" section of a rounded binary form usually moves to a new (temporary) key center.  Pieces that are in a major key often move to the key a fifth above (the dominant) for this temporary key center.  Pieces that are in a minor key often move to the relative major.  Another technique composers use in the "B" section is fortspinnung.  This is a German term for a sequence of intervallic changes that take a musical motif through a process of development.  The "B" section usually ends with a dominant harmony of the original key which leads back to the tonic for the repeat of "A."  The picture below is a slide from the my Learning Music With Ray video on rounded binary form.  It shows an original composition which is an example of rounded binary. 

          This Learning Music With Ray video discusses rounded binary form.  In it, I review binary form and point out the different aspects of rounded binary.  I then analyze a piece of music that is written in rounded binary form.  I explain the components of this type of form, and the ways to identify them in the musical example.  

Jazz Improvisation with Modal Scales

                Last week we discussed the history, composition and used of modal scales.  One musical use for modal scales mentioned last week was in jazz improvisation.  Musicians can relate each chord in the changes of a song to the modal scale that most closely resembles the chord tones.  Today we will dig deeper into this concept.

                In our previous lessons on chord progressions, we discussed the diatonic chords in both major and minor keys (triads and seventh chords).  The slides for that portion of the lesson are included below.  An examination these slides reveals that the most common chords in music are the major seventh (or major triad), minor seventh (or minor triad), dominant seventh and the minor seven flat five (also known as half diminished).  These are also the chords that are used in music's most common chord progression, the 2-5-1 chord progression.  I mention both triads and seventh chords here, but seventh chords are usually more common in jazz music.  Although fully diminished seventh chords (and diminished triads) do exist in music, they are used less often.  For the purpose of this lesson, we will examine the most common chords listed above, and the modal scales that they relate to best.

                Major triads and major seventh chords contain four of the seven pitches found in the Ionian scale of the corresponding tonic.  The other pitches of the scale are musically pleasant passing tones that can be used when traveling from one chord tone to another.  The 2nd and 6th scale degrees can also be thought of as chord tones since they are sometimes used as color tones or upper extensions.  The 4th scale degree is labeled by some jazz musicians as an avoid tone.  This does not mean that it cannot be used.  Just that it is not a good pitch option for structurally or rhythmically significant portions of a melodic improvisation.  The 4th scale degree can still be used as a passing tone between chord tones.  This means that a musician can used the Ionian scale as a pool of acceptable pitches when creating jazz improvisation over a major triad or major seventh chord. 

                In the same way, the pitches of minor triads and seventh chords most closely resemble the pitches of the Dorian scale.  The pitches of dominant seventh chord most closely resemble the pitches of the Mixolydian scale.  Finally, the pitches of minor seven flat five chords most closely resemble the pitches of the Locrian scale.  This means that a musician can use these scales as a pool of acceptable pitches when creating jazz improvisation over these chords.  In addition, the Lydian scale can be used when improvising over an major seventh chord with a raised 11.  The sharp 4 of the Lydian scale helps to accentuate the raised 11 of this chord.   

               When engaging in modal jazz improvisation, a musician should be able to instantly recall the associated modal scale for each chord change that occurs in the music.  While the music remains on a given chord, the associated modal scale acts as a temporary key signature.  The musician can create tasteful melodies using the notes of this temporary key signature.  One practice that aids in the tasteful construction of melodies is using the chord tones as the main melodic pitches and the other tones of the scale as passing tones or anticipations.  Another good practice is to use contrast.  Melodic jumps can be contrasted with stepwise motion and upward motion can be contrasted with downward motion.  Finally, the use of repeating patterns and melodic motifs can cause an improvisation to be more relatable and memorable to the audience. 

In modal improvisation, another tasteful practice is to accentuate the differences in pitch between adjacent modal scales.  Some chord progressions (like 2-5-1) will share the same pool of pitches (Dorian - Mixolydian - and Ionian that are all from the same key center).  However, when the music moves to a chord who's scale is based in a different key center, accentuating the new pitch (or pitches) helps to embed the sound of the chord changes within the improvisation.  A teacher once told me that he should be able to hear the chord changes in my improvisation even when there is no accompaniment present. 

Jazz improvisation is a beautiful form of musical expression.  I think of it as instant melodic composition guided by a framework of predetermined chords.  Although there are many methods a musician can employ when improvising, the use of modal scales (as discussed in this lesson) can be a great starting point.   

  In this Learning Music With Ray video I discuss the use of modal scales in jazz improvisation.  I list the most common chords used in jazz and the modal scales that best outline the notes of each chord.  Finally, I demonstrate a modal improvisation over the chord changes of one of my original songs, and explain the improvisational choices I made. 

   

Modal Scales

                Western tonal music is based off of 7 pitches within a given diatonic key.  Our key system can be based on either a major or minor tonality.  However, earlier in history there was a larger variety of tonalities called modes.  Modal key centers and scales still impact certain types of modern day music, so it is important to have an understanding of these scales.

In our previous lessons on scales, we discussed that a scale is a consecutive listing of the seven pitches within a diatonic key.  Modal scales are also a consecutive listing of seven pitches, but the melodic qualities of their intervals extend beyond the normal diatonic keys.  There are seven different types of modes, and they are derived from the original plus the six displacements of a major scale or key.  The first mode (Ionian) is identical to major.  The second mode is derived by maintaining a major key signature, but starting and ending the scale on the second scale degree.  This is what I mean by displacement.  The start and end point of the scale is displaced by one step.  With the third mode, the scale is displaced by two steps, and so on. 

The names of the seven modes are Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian and Locrian.  Within the video I supply a slide that shows the whole and half step sequence for each scale. 

          

The idea of displacement described above can be used to derive the pitches of any of these scales.  We only need to remember the number of the mode according to the order I listed above.  We can then relate that to a corresponding major key signature.  For example, an F Lydian scale would be an F scale with the key signature of C major because Lydian is the fourth mode and F is the fourth scale degree of C major. 

Another way to derive the pitches of the modal scales is to remember their differences in comparison to major or minor scales.  Ionian is identical to a major scale.  Dorian is similar to a natural minor scale aside from a raised 6^th.  Phrygian is similar to a natural minor scale aside from a lowered 2^nd.  Lydian is similar to a major scale aside from a raised 4^th.  Mixolydian is similar to a major scale aside from a lowered 7^th.  Aeolian is identical to a natural minor scale.  Locrian is similar to a natural minor scale aside from a lowered 2^nd and 5^th. 

There are many modern day musical applications for modes.  Some styles of music utilize a modal key center instead of a major or minor one.  Also, jazz improvisation relies heavily on the use of modal scales.  Many chords can be associated with specific modal scales that will provide the optimal pitches to use while improvising over that chord.  Finally, composers can use modes to express melodic motifs that go beyond the expressive confines of major or minor.  All of these reasons bring validity to the study and practice of modal scales for any musician. 

                In this Learning Music With Ray video I discuss the definition and composition of modal scales.  I list the seven types of modal scales, cover a brief history of the origin of modes and discuss the practical modern day applications of these scales.  I also cover tips on how to determine the pitches of any modal scale.  

Close and Open Chord Voicings

                The pitches or voices of a chord can be arranged in different orders and formats on a keyboard instrument.  When the lowest and highest pitches of a chord do not exceed the distance of an octave, we say that the chord was played in a close voicing.  The chord tones are packed together in the closest format possible.  This type of voicing makes it easy to play each pitch with one hand.  It also has a sound quality that is useful for certain types of expression.  However, the use of close voicings exclusively can be detrimental to our performance on keyboard instruments.  Many musical situations call for voicings that are more spread apart.

                When the lowest and highest pitches of a chord extend beyond the distance of an octave, we say that the chord was played in an open voicing.  This is achieved by displacing one or more of the pitches an octave further away from its closes possible position.  We can create these types of voicing by tastefully and musically dispersing the chord tones across the keyboard. 

                Drop voicing is a specific technique used to achieve open voicings.  In this technique, the top pitch of the original close voicing is maintained.  The pitches below this are labeled as either the second, third or fourth pitch down from the top.  A drop-2 voicing is the result of lowering the second pitch from the top by one octave.  In a drop-3 voicing, the third pitch from the top is lowered one octave.  In a drop-4 voicing, the fourth pitch from the top is lowered one octave.  Depending on the situation, some drop voicings may result in more musical and tasteful pitch spreads.  Even distribution, with closer intervals in the middle or top of the chord are ideal (although not mandatory).  Especially in lower registers, closer intervals will take on a muddy sound quality. 

                Since the second and fourth pitches from the top of a close voicing are somewhat spread apart from each other, they can both be lowered  to create a drop-2 and 4 voicing.  This voicing often results in an even spread of pitch, and a musically desirable sound.  The second and third or third and fourth pitches are often too close to each other to be lowered simultaneously.  This would create an awkward voicing containing two closely packed low pitches and two closely packed high pitches with a large gap in the middle.  The overall sense of one chord is lost in this type of voicing because the gap disconnects the low pitches from the high ones. 

                The tasteful and musical use of open voicings can provide much needed variety to our harmonic pallet.  When a keyboard player can create both cluttered and open sounding harmonies he or she can more easily express a wide range of sound and emotion.  In addition, since there is more space between the pitches of an open chord voicing there are more options for contrapuntal motion across chord changes.  This allows for better voice leading within the performance.  Open voicings also allow us to use more of the low register of the keyboard without being hindered by a muddy and cluttered sound.  Finally, open voicings bring a connection to the elements being played by the left and right hand.  When playing closed voicings in our right hand and roots in our left, our playing can tend to sound like two disconnected parts.  Open voicings unite the two hands as one connected piece of music.

               This Learning Music With Ray video discusses close and open chord voicings.  In the video, I explain the difference between a close and an open voicing.  I provide visual examples of a C7 chord written on a musical staff in both close and open voicings.  I explain different strategies for obtaining open voicings, and discuss the reasons why we would want to use open voicings.  Finally, I demonstrate these examples of close and open voicings (of a C7 chord) on the piano keyboard.

Connecting Chord Progressions

                While traveling from one chord to the next of a large scale progression, it is possible to use small scale chromatic progression as a mode of transport.  These connecting chord progression provide interest and variety to an otherwise predictable chord progression.  The shortest distance between two points is a straight line, but music is not always about efficiency.  Sometimes the scenic route through a chord progression is more beautiful and expressive. 

                 Referring back to the illustration of typical large scale harmonic motion that I provided in the chord progressions lesson is helpful when studying this concept of connecting progressions.  The ultimate destination in this illustration is the final tonic chord.  However, any chord along the way can be thought of as a temporary target point.  When using this thought process, the composer or performer can think of the target chord as a temporary key center.  Although the large scale key signature has not changed, it is temporarily displaced by a progression that is leading to the target chord.

                The strongest relationship in any chord progression is dominant to tonic movement.  The thought process discussed in the previous paragraph suggests that we are not limited to the dominant and tonic of our main key when experiencing this type of motion.  Any target chord that is major or minor in quality can be approached by its dominant chord.  Although this V of the target may be chromatic to the main key, the strength of the V to I progression causes our ears to allow (even enjoy) a chromatic diversion. 

                The chromatic V to I progression used to approach target chords can be elaborated on in several ways.  The tritone substitution can be used interchangeably with the dominant of the target.  Also, additional chords can be added before the dominant to form a more elaborate progression.  The two-five-one progression is a common example of this.  A further expansion could be the three-six-two-five-one progression.  The possibilities extend to any progression that ends with a five-one motion.  However, the longer the progression becomes, the greater the possibility that the listener will get lost and forget the original key.  It is tasteful to refrain from elaborate chromatic progressions that stray too far from the main key.

                Another technique, beside five-one chromatic progressions, is the use of diminished chords.  A diminished triad or seventh chord who's root is half a step below the target chord's root can be used as another mode of travel.  This technique is successful even when approaching a diminished target chord. 

                 The best way to acquaint ourselves with connecting chord progressions is through practice and exploration.  Remember the concept of target chords and the fact that they can be seen as temporary key centers.  Use either diminished or dominant harmonies to travel to the target chord.  Then build on the connecting progression by adding other chords.  Start with the progressions mentioned in this lesson, practicing them on your instrument.  Then experiment with creating more complex progressions.

                This Learning Music With Ray video discusses the chord progressions used to connect one structural chord to another.  While playing chord progressions, it is common practice to think of the chord we are traveling to as a target or temporary key.  In this video, I discuss chromatic chord progressions that can be used to travel to temporary key centers or target chords.  I refer back to the illustration of large scale harmonic motion and point out ways that target chords could be approached.   I also demonstrate these connecting chord progressions on the piano.

Tritone Substitution:

                A tritone is an interval that is a distance of six half steps.  It could be called an augmented fourth or a diminished fifth.  Tritones are the exact halfway point between the two pitches of an octave.  This means that the inversion of a tritone is a tritone.  If you flip the order of the two pitches of a given interval, the result is the inverted interval.  The inversion of a 2nd is a 7th.  The inversion of a 3rd is a 6th.  The inversion of a 4th is a 5th.  The symmetrical nature of the tritone causes its inversion to be the same interval (still a tritone).

                The shell voicing of a dominant seventh chord consists of the root, 3rd and 7th of the chord.  The distance between the 3rd and 7th of a dominant seventh chord is an interval of a tritone.  This interval is what causes the dominant seventh chord to have so much tension.  This opens the dominant seventh chord up to the most possibilities of upper extensions.  It also creates an interesting option of substitution in dominant harmony.

                Since the 3rd and 7th of a dominant seventh chord are a tritone apart, and a tritone is the exact bisect of an octave, the inversion of these two pitches will form the 3rd and 7th of another dominant seventh chord.  Another way of looking at this is by measuring from the root of the chord.  Dominant seventh chords who's roots are a tritone apart will share the same pitches for their 3rd and 7th.  The rootless shell of one chord will be the inverted rootless shell of the other chord.  In other words, the 3rd of one dominant seventh chord will be the 7th of the other dominant seventh chord in this pairing, and the 7th will be the 3rd of the other chord. 

                This unique relationships causes the two chords to be interchangeable harmonically.  The tritone partner chord of any V7 can be used as a substitute for dominant harmony within that key.  The use of this type of harmonic substitution is called tritone substitution.  This technique is particularly useful in ii-V-I chord progressions.  It allows for more variety within the progression, and a bass line that moves chromatically instead of having cycle of 5th motion.  The included video demonstrates the use of tritone substitution in both major and minor ii-V-I progressions.   

               This Learning Music With Ray video discusses tritone substitution in dominant harmony.  It is a study of the unique relationship between dominant seventh chords who's roots are a tritone apart.  In this video, I discuss the fact that the tritone is the exact midpoint of an octave.  This causes the interval's inversion to also be a tritone.  Then I discuss the impact that this symmetry has on dominant harmony.   Finally, I provide examples of tritone substation in ii-V-I chord progressions on the piano keyboard. 

       

Chord Progressions

                A chord progression is a group of chords that travel or progress through a harmonic sequence.  A progression can vary in size from two to seven or more chords.  They can be either diatonic or chromatic.  There are no set rules for chord progressions, although there are some sequences which tend to occur frequently.   

                Diatonic can be defined as: of or using only the seven tones of a standard scale without chromatic alterations (The Free Dictionary by Farlex).  Therefore, diatonic chord progressions contain chords build on only the seven pitches within a given key signature.  A triad or seventh chord can be built using each pitch of a major or minor scale as a root for the chord.  These chords are given roman numeral labels that correspond to the scale degree within the key that is the root of the chord.  In major keys, the diatonic triads and seventh chords are simply constructed by utilizing the root, third, fifth and seventh (in the case of seventh chords) of each scale degree while remaining within the given key signature.  A list of the diatonic triads and seventh chords in the key of C major is provided below.   

                In minor keys, the diatonic triads and seventh chords are constructed in almost the same way.  However, a slight adjustment needs to be made for two of the chords.  The five chord and the seven chord both can act as harmonies that lead to the one chord, so they must possess a leading tone.  The natural minor scale contains no leading tone, since the interval between the 7th and 8th scale degrees is a whole step.  The harmonic minor scale was created to provide a leading tone when needed for harmonic motion.  The key signature of this scale is used when constructing the pitches of the five and seven diatonic chords in minor keys.  The key signature of the natural minor scale is used for the construction of all other diatonic minor chords.  A list of the diatonic triads and seventh chords in the key of C minor is provided below.

                The restrictive nature of diatonic key signatures cause the triads and seventh chords of diatonic progressions to have set qualities.  For example, the one chord of any major key will always be a major triad or seventh chord.  The six chord in a major key will always be a minor triad or seventh chord.  A summary of all of these qualities is found in the chart below.

                In addition, the set qualities of the diatonic chords in a given key cause them to possess certain traveling or progression characteristics.  These characteristics are identified by special names that are assigned to each chord.  In order from the one chord to the seven chord, these names are tonic (1), supertonic (2), mediant (3), subdominant (4), dominant (5), submediant (6) and subtonic (7).

                Within the larger scheme of harmonic movement, all songs end on the tonic harmony.  This final cadence is usually achieved by a dominant chord that resolves to the tonic.  The dominant chord is usually approached by either a two or four chord.  Subdominant or supertonic harmony can be approached either directly from the tonic, or by the use of the seven, three or six chords.  This type of large scale harmonic motion corresponds to the names given to each diatonic chord (as listed in the previous paragraph).  An outline of this large scale harmonic typical harmonic motion is provided below.

                Small scale harmonic progressions can take on any form.  There are many fragmented chord progression that can precede the main cadence of a piece of music.  This allows for an extensive amount of usable chord progressions.  In the included video, I demonstrate several of these progressions.

                In addition to diatonic chord progressions, chromatic progressions are also used in music.  There are several common methods for utilizing chromatic chord progressions.  Mixture is a method in which chords from the parallel minor diatonic sequence are used within a major diatonic progression.  Circle of 5th (two-five-one) progressions can be used to created temporary alternate key centers.  In this type of situation, a chord you are traveling to (like a four chord) could be temporarily perceived as a one chord, and a two-five-one progression can be used to travel to this chord.  Chromatic leading chords can also be used to travel to diatonic chords.  The most popular chromatic leading chord is the diminished seventh chord that is a half step below the chord you are traveling to.  Seventh chords with altered upper extensions can be used to introduce chromatic pitches.  Finally, tritone substitution can be used to created altered two-five-one progressions.  Every dominant seventh chord shares a tritone shell (3rd and 7th) with another dominant seventh chord a tritone away.  These two dominant seventh chords can be used interchangeably in two-five-one progressions.

                The best way to acquaint yourself with common chord progressions is to listen to the progressions used in the music on your playlists.  Listen first to the bass line and use it to determine the roots of the chords.  Then listen for the upper tones to establish the quality of the chords.  In addition, experiment on either a guitar or piano forming various chord progressions.  Listen to the character of each progression and the relationships between the different chords.  Expand your knowledge by developing strategies for connecting progressions.  The study of chord progressions can be an advanced musical topic, but an understanding of this topic will unlock the knowledge needed for even larger future topics.

                This Learning Music With Ray video discusses chord progressions.  It is a study in the typical harmonic patterns used when traveling from one chord to the next in a sequence.  In this video, I discuss both diatonic and chromatic chord progressions.  I provide a detailed illustration of the diatonic triads and seventh chords found in both major and minor keys.  I discuss the large scale harmonic motion that is found in most pieces of music.  Finally, I provide examples of common diatonic and chromatic chord progressions (including ii-V-I progressions, mixture, altered chords, chromatic leading chords and tritone substitution).

Chord Color Tones

     Triads are harmonies composed of three pitches and seventh chords are harmonies composed of four pitches.   These pitches found in a triad are the 1^st, 3^rd and 5^th of a given root, and a seventh chord also includes the 7^th.  The remaining intervals within the scale are the 2^nd, 4^th and 6^th.  These are the pitches that can be used as color tones. 

     When adding these color tones to triads, they are labeled as 2^nd’s, 4^th’s and 6^th’s.  One acceptable use for a triad color tone is as a suspension.  In this case, the color tone temporarily replaces a chord tone, and then resolves to the missing chord tone.  The most common suspension is the 4^th resolving to the 3^rd.  Other uses are the 2^nd resolving to the 3^rd, or the 2^nd resolving to the root.  When attempting to have the 6^th resolve to the 5^th, the rhythm must be short (like a grace note).  Otherwise the ear will hear the 1^st, 3^rd and 6^th as a different triad (3^rd, 5^th and 1^st) inverted. 

     We can also add color tones to triads as a fourth pitch that is not part of the structure of the chord.  The pitch simply adds color and texture to the sound of the harmony.  The most popular color tone for this effect is the 2^nd.  The fourth can also be used, but it tends to have a strong suspension quality to its sound.  When the 6^th is added to a major triad it will cause the chord to sound like a major seventh.  In addition, the 6^th can convert a minor triad into a minor seventh chord.  The 6^th can be used as a substitution for the 7^th in both cases.

     When adding color tones to seventh chords, the pitches are usually identified as upper extensions.  This means that they are named by intervals that are one octave higher than their basic identities.  The 2^nd is called a 9^th, the 4^th is called an 11^th and the 6^th is called a 13^th.  The primary purpose for these alternate names is to simplify chord labels.  For example, a major seventh chord with a tonic of C would normally be labeled as C^Δ7 or Cmaj7.  If we add a 9^th to this chord the label could get confusing (C^Δ7+9 or Cmaj7 add 9).  The use of the label “9” implies that the 7^th is present since upper extensions are only added to seventh chords.  This allows us to simplify the chord label in our example to C^Δ9 or Cmaj9. 

     The seventh chords that usually have upper extensions applied to them are the minor seventh, dominant seventh and major seventh.  When these upper extensions are added, they are labeled as natural, flat or sharp.  We do not assign qualities to them such as major or minor, because qualities imply structural significance.  Since these pitches are not structural cord tones, they do not have an impact on the structural quality of the cord. 

     
     The primary uses for the major seventh chord are adding the 9^th or the #11^th.  The flat 9^th clashes since it would create a seriese of 3 consecutive half steps between the major 7^th , the root and itself.  The sharp 9^th is enharmonically equivalent to the minor 3^rd.  Having a minor and major 3^rd sound simultaneously in one chord would be too dissonant.  The flat 11^th is enharmonically equivalent to the major 3^rd, so it automatically takes on this identity as a chord tone.  The natural 11^th is a half-step away from the major 3^rd.  This creates a strong sense of suspension that clashes too much when both pitches are present simultaneously.  The only use for the 13^th is as a 6^th substituting for the 7^th.  A sharp 13^th would sound like a minor 7^th simultaneously next to the major 7^th (way too harsh).  A flat 13^th would sound like an augmented 5^th simultaneously next to the perfect 5^th (way too harsh).  A 6^th and major 7^th played simultaneously usually sound too rich and dense (although it may have a use in some contexts). 

     The primary uses for the minor seventh chord are adding the 9^th or the 11^th.  The flat 9^th is still too harsh being a half step above the root.  The sharp 9^th is enharmonically equivalent to the minor 3^rd.  The 11^th is now acceptable since it is a whole step from the minor 3^rd.  The flat 11^th would sound like a major 3^rd simultaneously next to the minor 3^rd (too harsh).  The sharp 11^th would be an augmented 2^nd away from the minor 3^rd (also too harsh).  Again the 13^th could be used as a 6^th substituting for the 7^th.  The sharp 13^th is enharmonically equivalent to the minor 7^th.  The flat 13^th and natural 13^th do not work for the same reasons mentioned with the major seventh chord.

     The most versatile seventh chord when adding upper extensions is the dominant seventh chord.  This is mostly due to the tritone that is formed between the 3^rd and 7^th of the chord.  This sonic quality allows for increased levels of dissonance to sound permissible.  Every type of 9^th (flat, sharp or natural) can be added to a dominant seventh chord.  In addition, both the flat and natural 13^th can be added.  The sharp 13^th would be enharmonically equivalent to the minor 7^th.  Finally the sharp 11^th can be added.  The other forms of the 11^th are not usable for the same reasons mentioned with the major seventh chord. 

     The use of chord color tones can be a confusing musical topic.  However, the proper use of these tones can add depth and dimension to our harmonies.  Hopefully, this discussion and attached video will allow you to confidently add these tones to your playing, composing and arranging.

        This Learning Music With Ray video discusses chord color tones.  These are the additional pitches that can be added to a chord beside the fundamental chord tones.  In this video, I identify these color tones and explain the ways they can be added to both triads and seventh chords.  I explain why they are sometimes named as intervals within an octave and sometimes named as upper extensions (beyond one octave).  Finally, I demonstrate the acceptable uses of these color tones on the piano keyboard.

Shell Voicings

Seventh chords are harmonies composed of four pitches.   These pitches are the 1st, 3rd, 5th, and 7th of a given root.  Seventh chords can exist in five different qualities: major 7th, dominant 7th, minor 7th, half diminished 7th and diminished 7th.  In addition, the major and dominant 7th chords can be altered by augmenting the fifth.  However, the most common qualities of seventh chords are major, dominant and minor.  These are the chords that serve as structural components of most chord progressions.  Other chords serve as transitional tools to move between these structural chords.

Major, dominant and minor seventh chords all possess a perfect fifth (in their unaltered forms).  This causes the fifth to be a less important pitch when establishing the quality of the chord.  The root determines the letter name of the chord.  The quality of the third and seventh establish the chord as either a major 7th (major 3rd and major 7th), dominant seventh (major 3rd and minor 7th) or minor seventh (minor 3rd and minor 7th) chord.  The fifth can be omitted from the voicing while still clearly establishing the quality of the chord.

This simple three note voicing of a seventh chord in which the fifth is omitted is called a shell voicing.  The name is descriptive of the fact that the root, third and seventh represent the basic structural shell of the chord.  When playing piano by yourself, you can use a shell voicing entirely in your left hand while playing the melody or a solo in your right hand.  You can also split up a shell voicing by playing the root in your left hand while playing the third and fifth in your right hand.  This technique is useful when accompanying another instrument or voice that is covering the melody. 

When playing in a band, the bass player usually covers the roots of the chords in his or her playing.  This frees the piano player to omit even the root from his or her shell voicings.  Rootless shell voicings consist of just the third and the seventh. 

  

Musical Form

Merriam-Webster defines form as: the shape and structure of something as distinguished from its material.  In construction, wooden forms are used to shape poured concrete.  Literature is written in different forms depending on the nature and purpose of the work.  Poetry is written in stanzas.  It contains a particular rhythmic flow, and often a rhyme scheme.  Business letters start with a date and address.  This is followed by a greeting, body and closing.  Essays are written in paragraph form with an introduction, main body and conclusion.  Each of these three examples have a different look, structure and flow on the page. 

            Music is also composed in a variety of forms.  There are basic elements that act as the building blocks to every musical form.  Being able to identify these elements will aid one in identifying the form. 

            Good music is composed of patterns that repeat.  These patterns become the main ideas that orient the listener and help him/her to relate to the piece.  These patterns are also what causes the music to be memorable.

            Musical ideas and patterns are expressed in phrases.  A musical phrase starts, picks up momentum and then comes to an end in a similar fashion to the flow of sentences.  Phrases normally end with a longer rhythm or rest to cause a sense of pause like a sentence's ending punctuation.  Multiple phrases can be combined to form larger musical sections in the same way that sentences can form paragraphs.  The structure of these larger sections of music defines the form of the music.

            One of the simplest types of musical forms is binary.  The prefix "bi" means two, so binary form is a music form composed of two sections.  The "A" section states the opening idea.  The "B" section states a second idea.  The "B" section also often travels to a different place musically, and then returns for the final cadence.  The most common "traveling" device is to temporally establish the dominant as a new key center.  As the key change develops and then resolves back to the original key, the listener can picture the entire section as one large scale dominant to tonic cadential progression.

            The use of antecedent and consequent phrases in musical composition is a common practice, especially in "A" sections.  An antecedent phrase is a musical phrase that feels unresolved and acts like a question.  Resolution is supplied by the consequent phrase which acts as the answer to the question posed in the antecedent phrase.  The unresolved nature of the antecedent phrase compels the listener to listen for the resolution.

  

            There are many other types of musical forms such as: rounded binary, ternary (or song form), rondo, sonata and theme and variations.  These forms can be more complex  in nature.  A detailed explanation of each of these forms will be pursued in future lessons.

Seventh Chords

When more than two pitches are stacked together the resulting harmony is called a chord.  As we have already learned, the simplest type of chord is a triad.  The prefix "tri" means three, so a triad is a chord composed of three pitches.  The pitches that compose a triad are the 1st, 3rd and 5th intervals in relation to the root.  When a fourth pitch is added to a chord, it is referred to as a seventh chord.  The added pitch is and interval of a seventh from the root, which is the reason for the name. 

                The four pitches of a seventh chord can be stacked in different orders.  When the root is on the bottom the chord is said to be in root position.  When the third is on the bottom the chord is in 1st inversion.  When the fifth is on the bottom the chord is in second inversion.  When the seventh is on the bottom the chord is in third inversion. 

                The intervals between the four pitches of a seventh chord determine the quality of the chord.  These quality defining intervals are measured with the root position version of the chord.  Seventh chords can be labeled as having major, minor, dominant, half diminished or diminished qualities. 

                Major seventh, dominant seventh and minor seventh chords all contain a perfect fifth.  A major seventh chord contains a major third and a major seventh.  It is a major triad with a major seventh added.  A dominant seventh chord contains a major third and a minor seventh.  It is a major triad with a minor seventh added.  A minor seventh chord contains a minor third and a minor seventh.  It is a minor triad with a minor seventh added.

                There are two types of diminished seventh chords.  Both contain diminished fifths and minor thirds, so they are both diminished triads with sevenths added.  The half diminished seventh chord has a minor seventh added to the triad.  The other name for this chord is a minor 7 flat 5, because it is identical to a minor seventh chord aside for the flatted fifth.  The fully diminished seventh chord has a diminished seventh added to the diminished triad.  A diminished seventh is two half steps lower than a major seventh or one half steps lower than a minor seventh.  It is the enharmonic equivalent to a major sixth, but is identified as a diminished seventh since its pitch letter is the seventh pitch from the root.  An example of this would be the interval between C and B double flat.  Since the pitch is being identified as B double flat, instead of its other name of A, the interval is labeled as a diminished seventh.   

                The major seventh and dominant seventh chords can both posses a raised fifth since they both contain major thirds.  This causes them to become augmented triads with an added major or minor seventh.  These chords retain their identities as either major or dominant seventh chords.  They are labeled as altered seventh chords, and the alteration of the raised fifth is added to the name (Major 7 #5 or Dom 7 #5).