Contents

CD Track List Vlntroduction _ _ _ _ Vlesson 37 MalorTHads 1Lesson 38 1inoriads _ 3Lesson 39 Au8mentediads _ 4Lesson 40 Diminished Triads_ 5Lesson 41 Chord Symbo s 6EXERCiSESLESSONS 37-41 TRIADSAND CHORD SYMBOLS

Lesson 42 Triad invesions _ -9Lesson 43 Bass/Chord Theory 10Lesson 44 /oice Leading _ _ 12Lesson 45 0penPos tion/oice Loading and Chorale Notation _ _ 14Lesson 46 Contrarbrale MOon Vo ce Lend ng_ 15EXERCiSESLESSONS 4246 1NVERS10NS AND VOiCE LEADiNG 1

Lesson 4 4a10rchords _ 19Lesson 48 DominantChords _ _ _ _ _20Lesson 49 MinorChords _ _ _ _ 21Lesson 50 Minor15)ChordS _ _ 22Lesson 51 DiminishedChords _ _ _ 23EX[RCiSESLESSONS 47-51 SEVENTH CHORD TYPES AND SYMBOLS 24

Lesson 52 1nvers ons oF Sevonth Chords_ 26Lesson 53 /oice Leading Seventh Chords 2Lesson 54 Contrary and brael/oice Leadin8 0f Seventh ChOrds 29Lesson 55 ThirdFilthand Seventh Overthe Bass _ 30EXERCISESLESSONS 525 SEVENTH_CHORD INVERSIONS ANDVOiCLLEADINC 32

Lesson 56 Harmonic Accompanimentfrom a Lead Shoot __ 34Lesson 57 Arpeg8iat ng Accompaniment Chords 36Lesson 58 using the Third Fifthand Seventh overthe Root as AccompanimentChords 3

Lesson 59 2:l Accompaniment Pattorn 38EXERCiSESLESSONS 559 HARMONIZiNG AND ACCOMPANIMENTPATTERNS 39

Lesson 60 4elodic4ot on _ _ _ 41Lesson 61 rting a ChordTone4elody _ 42EXERCiSESLESSONS 60-61 ME10DY 43

Lesson 62 4elcldicot on over Change Of HarmOny _ _ _ 44Lesson 63 Repeat ng a4elodic Phrase on Diflerent Chords_ 45Lesson 64 The

^eIOdic Sequence 46

EXERCiSESLESSONS 62-64 MELODY WRITINC 4VhatNext? ___ 49About the Author 50

Track List

rack Number Pagel Ma10rTnads 12 4inorTr ads ~ ~~~ ~ 33 Au8mentedads 44 Dim nished Tr ads__ 5

5 ExercisesLcssons 3 7-41:Earaining l _ _ _6 ExercisesLessons 37-41:[arTraining 2 __

87 ExercisesLessons 341:Ear Training 3 _ 8 ExercisesLessons 3 7-41:Ear Training 4 _ _ ~ 8

99 Tr ad lnversions _ 110 Triadsvith Bass_

1l Close and Open Pos tion Tr ads 1012 .12 /oicc Leadin8 of Tr adS

13 ComPar ng Not/oiceLed with/oiceLed Triads _ _ 1214 Voe tead ng n ContrarParal el Mo10n 1515 ExerciscsLessons 42-46:EarTlaining l _ _ 18

1816 Excrcises,Lessons 42-46:Ear Trainin3 2 _ 1917 Major7 Chord

18 Dom nantChord 2019 MinorChord 21

20 Minor('5)Chord ^21 DiminishedChord 2322 ExercisesLessons 451:[arTraining 1 2423 ExercisesLessons 451l EarTrainin82 _ 2424 ExercisesLessons 451:Ear Training 3 2525 ExcrcisesLesSOns 47-51:EarTrainin3 4 _ 2526 Chord lnversions _ _ - 2627 Voice tead ng 7 Chords n Contrarlr/Paral el Molon 2923 Chordsvth 35and 7 over Bass _ 30

t|

29 ExercisesLeSSOns 52-55:[ar Tra ln31 3330 Harmonic AccompanimentfrOm Chord Symbo s _ _ 3431 Arpeggiated Chords as AccomPaniment _ 3632 35andover Bass as Accompanimont 333 2:l httern as Accompaniment _ _ _ 3834 ExercisesLossons 56-59:Ear iainin3 1 - 4035 Exercises,Lessons 56-59:EarTrainin8 2 4036 Chord Toneelody 4237 ExercisesLessons 60-61:Earainin8 1 - 4338 ExercisesLeSSOns 60-61:EarTraining 2 _ 4339 Exercises,tessons 60-61:EarTraining 3 4340 elodic Resolut ons oVer Change of HarmonY _ 4441 1lelodic Phrases 4542 Melod Note Adiustments for Different Chords , _ 4543 elodic Sequence 4644 ExercisesLessons 62-64:Ear Training l 48

1:I:::IIIIIIIIII

lt:ijWUnlike most books on music theoth s b(1:::::II:l:i`|::::]11:]1larmusand hen JveSyOu me Odsyouc accompanimentfrom a lead sheet Ve1i nish up byvrting our ovn melodies

V/hetheryouareabeginnerOramoreexperiencedmusicianvho wantsto learn morelul develop harmonic and melodic listening reading andvri ng skils througheercises and eartraining pract ce l encOurage ou to DrkV th a real keyboard

Bythe end ofthe bookyouIlbeabletocreateaccompanimentsfromaleadsheetandvr te),Dur OVn melody based on an common chord progression

Paul Schme ing

Cha r EmeritusPiano Department

Berklee Coege of4usic

Lesson 3|/1alorTriads

: ll: 1:T ::::dedmdneouJY r mend6ePCC

Triads arc threenote chords They aro bu tupvards in thirds from a Fundamontal no:=cacd a root The maior tr ad includes the tonic(rool) third and filth notcs otrelmajor scale bu t on thc triadt root

, Arpe99`o

lpe99:o

____Arpe99i ~

EachofthesenotesisdcscrbedbyanumbercorresPondinglothescaledegreeabovethe root These numbers arefunclonsas nE funclons asthe th rd ofa C ma,ortriad

Anothor way to think oftads s in terms ofinterva From the roolthe major tadhas a majorth rd and a pcrlectttth L can ao be seen as a majorth rd(C tO E)be owa m northird(Elo G)

M3- m3-

,

|

dee Music TheOrv Book 2

Practice

l Bu ld a malortHad on each ofthelol owing notes

2 Each ofthese notes is the thttd of what majortttad?

3 Each ofthese notesisthe nth of what majortr ad?

Lesson 38Minor Triads

M3 m3

. ,5 ~

'Mr Trl.d

Minortriads can be lormed by owenng thethird ofa malortttad by a hastc3the rootthe intervals arc a minor third and a perfect ilflhor a minorthid l]=ma10r thrd

C Mi"or Tld

M3 m3

P5 ~

m3 M3_________ 75~

,MinrHdd

| linor Tri

C MaJOr Trbd

m3 M3

_________ P,

O Minar Tndd

M,

_________ '5

n3

25-

Practice

l Make minortads oul ofthcfo ow ng malortads The lrst one`done lor you

2 EaCh Ofthe FOl owing notesisthe third ofvhat minOrtr ad?

31 MaJor Tldd

??

Lesson 41.Chord Symbols

Chords arc olten exPresSedv th chord symbols Chord symbo s are usua made upOf a letter that indicates the noto that the chord is buit on and other symbols thatind cato addona notesin tho chord

there is nO other symbot the chord`ma,or

in chord 5Ymbomn`for m nol o`Iord mand+`augmented(Chord Symbomay be wrnten manY d flerent ways For eXamplcC malor may also be wtten as CMorCmaL and C m nOras CCm,or Cmi)

Berklee Music Theor"BoOk 2

Cm`"

Practice

l Vr te the fooving triads The first one is donc lor you

2 Analyzc each trad b ri n8 1lS ChOrd smbol

[xercise Les,on,37-41 Triads and Chord Symbols

ExercisesLessons 37-41.riads and Chord Symbols

l 17Vte the'ooving tr ads

pl Emi"

Fm`"

2 Analyzo cachtradv th its chord svmbol nan,e V:te tho chord svmbol abovc thcchord

Ear Trainingl L stcn to the malorand m norad ThcndcnJeaCh examp e as etther a majoror m nortad

a malor mlnor

b ma10r m nOrc malor mlnor

d ma10r m nOr

6 2 L`ten lo the minor and dim n`hed tad Thendenll,each examp e as enher aminorord m n`hed tada l lnor

b mnor

c m lnor

d minor

d min`hed

d min`hedd min`heddiminished

Berklee Music Theor3ook 2

3Pfl:Tgmend mad The de,eaCh examedh aa major augmentedb ma10r augmentedc malor augmentedd major augmented

4

11::]d Thett de Cham amOLnOL ded

a ma10r m nor d minished augmented

b ma,Or minOr d min`hed au8mentedc major minor d min`hed augmentedd major minOr dim n shed augmentede major m nor diminished augmentedf ma10r m nOr diminished augmentedg ma10r minor d min`hed augmentedh major minor dim nhed au8mented

L(:son 42 Triad lnversiOns

Lesson 42.riad inversions

Tradsbu tuPvardsin thirds fronn the root aro said to be ilr00tpOsition The individunlnotes oF a tr ad can be rearrangcd(verte(,so thatthe th id Orfitth is on the bottom

R001P5itloll;ool(1)o"bottom

Practice

l te the|w ngtads

Cmin

fst illv 2d inv

2 ComPletc oach ofthe invertcd chOrds on the star belbybu dl,s uPardS iromthe given noto

EI Emin Al, 3mi"

ist inversiOn;ard ollttom

,thc r frst anIsecOnd i]vorsions

3, o

211d inver510":5th o"ottom

4st inv 2nd invlst inv 2nd inv

Flmin

3 Analyze each chord w th chOrd symbols fOr each Ofthe inverod triads The frstone is done fOr you

Fmin

Berklee Music Theor3ook 2

Lesson 43Bass/Chord ttheory

Complete harmony includes a bass nOte(bot(olm nOtC,ofthe tr ad ltis usuay the lovvesi notc ofthe harmonyln haimon"a chord is considered to be in ioot pos tionregardless of the pos tionin8 0f the rest of the notes innotated in bass clef

in add tion to the three notesand is usua v tho tr ads rootas IOn3 asthe rootisthe bassthe chord Tle bass is usuay

Fm`"

338

Chord members texCludin8 tho bass)SPread Out over more than oI,o octae are sa(1to bein Open pOsition Chord membersv thin the salne octave are said to be in c10sepOsitiOn Againchords are considered to be in root pos tion as lon8 a,theoot is inthe bass AIl ofthese chordswhether close or ol)enarc in root pos tion

C

Ciose7Ope"

OpenCiose CloSe OFen

Practice

l Complete the harmony by adding the root oF each chord in thc bas,

~ T 1 ~

tesson 43 Bass/Chord lheory

2 RewrtetheFooving closePOS tiOn chords in open pos tion by reversing the topand bottom notes Notate athree notos on the treble star

Fmin ` 3 3

t

1

| | |

3 Rcwrto the fooving open_Pos tiOn chord5 in close PositiOn by reversing the topand bottom notes

F:" G B O

| 1

4 Add the bassto complete the harmon ofthese Open_pOs tiOn chords

| J '

Berklee^usic TheorBoOk 2

Lesson 44Voice Leading

Voice leading reters to thevay that individual voiccs(nOtes of the chord)mOVe in aseries of chOrds(chord PrOgreSSiOn)The 8oa1 0f voicc loading is tO have each voicemove as litt e as pOssiblc in a lnelodicay interest ng way frOll,chOrd to chord voice lead a chOrd ProgreSSiOnfrst100k forthe cOmmon tonea note'ound in tvosuccessive chords Keepins con]mOn tOnesil,the same voiceis rctcrrod lo as cOmmonlone voice leading CommOn toncs are hish8htOd here:

Note that direrentinversions oF each chord are used to makc this movementsmoothnle10dicand linear The bass PlalrS the r00t Ofthe chOrdand movosindependent y oFthc upper vOices

F 3Nol voi`e led

"rPo,iti"

F 3,Voite ied Vori3 POSiti

"`

=

stanin8 in r001 pOs tiOntho top voice tvoiCe l)VOuld movo nsiu strate[ to thc lcFl(1)elovv, fthc chords vvere not voice edand asiustrated to thc righi`|)e10 olcclod

`f noloice ied:

Practice

l rte out the noOvement Of the middle voice(voice 2)'om theexan3le On Page 12bOth vOice ed and nOt vOice led

1J4e lean8

vc ice_leading

B,

Voice id`

movemont Of the bOttOm vOice(Voice 3) both voice Od and not

Novoice fed`

2 rite Out thevoice ed

C

|,o,|,C: voice:ed,

3 /oice lead the Fo0,ving chOrdsObserving the commOn_tOne princIPle

F ,m`" lll 4_:_ t

Berklee A4u,c llleor"B`),(J

Lesson 45OpenPosition VOice Leading and ChoraleNotation

Chords are sometimes notated in chOrale nOtationvhich places the tO higher voicesin the treble clef and thevo 10.ver voices in the bass clef TO easi y distinguish thevoicesthe stems of the hisheroices in each clef 80 upward and the stems oF theower vo ces 80 dOWnward

C Cl10rle Notctioll

Practice

l Revvrite tbese chords in chorale nOtation

Relliar IIctao": Chorale"lol:o":

8 '8 '?

??

2 /oice leading openPos tiOn chords wOrks tho sameray as close_POs tiOn: iindthe cOmmon toneand keep itin the salme voice /oice lead thc fo Oin8 0 DenPOS tiOn chOrdsObserving the cOmmon-10ne pr nciPle uSe chOra10 nOtat on

F ,min 3 G Eo C F

7 | |

Lesson 46Contrary/Parallel MOtiOn VOice Leading

hensuccessivechOrdsdOnOthaveac011:l::llili:|:]::II:iIl:|[::to a G major tladtradtiona vO ceJea

illl111:1|lillilill:Ilillilitlll:PargileI MOtlon:upper voice3 ondbass move ln sme directlll

lovc the upper vOicOs as indicatedma10r tad

Lesson 46 forar/Parael Mdbn VOice leaang

Contrary Motl":Pper voices move dOwII,

b53 moveSP

Ctrary

F cPara:lelF G

F maiortO a c

Para!lelF `

Each example mOvesfrOm an

ntrary G

``

2 :lC:li:||:l!:}|lkl::a[Fi=Rn_lclne pndehcn avjColltrar

F G

par.:lel

F c

Berklee Music TheorB00k2

3 /oice lead the fooving chordsfirstin paranel motion to the bassthen in contramotion

paratiei ContraryD mi" Cm:" F 3 m` Gmin F

Cr12Jes]'43 46 hverOns ande leang

ExercisesLessons 42-46.InersiOns and VOiceLeading

eadPOgF0:lilhi]:Ini::|:com montone principlebetlreen chOrds

B Cmin , 3, O E cmin A, 3, D E, Cmin A, 3, D

2 sP%m L.nte11lcI

ni

:11#1:|:I:"ndNC

3 Analyze each chOrdv th its chOrd syml)011,ain e

??

' 3min C A , , 3min C A , , omin c ,

|

_1

???

??????

|

?

??

?????

?????

0

0

BerkleP Music TheorB00k2

Ear Training

) 1;|:i::RIT:[llll:]lS Thdentli each exameaSa m.llolnOI

a ma,or

b ma10r

c maJor

d maiOr

o malor

f ma10r

3 ma,orh ma,Or

a ma,Or

b ma10r

C ma,Or

d ma10r

e ma,or

f majorg ma,Orh majOr

augmentedaugmentedaU8mented

augmentedaugmontedaugmented

augnnentedau8monted

2 L`ten to the demOnstralon tads Then denleach eXamp e asa malor m nOdiminishedor augmented tr ad

MdJOr AllgmentedMaJ Minor Iini3hed MJor

m lnor

m:nor

mlnor

m lnor

m lnor

m lnor

m lnor

minor

mlnor

mlnor

m lnor

m lnor

m lnor

m inor

mlnor

i lnor

dim n`hed

dmn`hedd min`hed

d nninisheddim nisheddim n`heddim n`hed

dmn`hed

dmn`hedd min`hed

d minisheddim nisheddmn`hed

dmn`hedd min`heddiminished

au8mentedaugmented

augmentedaugmentedaugmented

augmentedau8mentedaugmented

??

MJor Allgmented1

??Or Minor

~ IW~

,imini3"ed Morl |

Lesn 47 MalorChords

Lesson 47.MajorChords

r:riPIl1::faLItach note functions as described by its corresponding scale degrees:oot,35

Bud a malor 7 chord upwardsfrom each g ven nOte

2 Analyze each chordvith a chord symbol

Berklee Music TheorBoOk 2

Lesson 48.DominantChords

The dominant 7()chord can beformed by Oweng the seventh ofthe majorchordby a halfstep

CM7

Practice

1 Bud a dominantchord upvards frOm each 8iven nOtO

2 Analyze each chord v th a chord symbol Hint: 5omedominant

are malo sOme are

Lesson 49 Minor 7 Chords

Lesson 49MinorChords

Practice

1 Bui d a minochord upvvards from each 8iven note

The minOr 7 chord(min)Can bO fOrmcd by lvering the third of the dominantbya ha fstep

CminC7

2 Analyze each chord w th a chod symbol Hint:dom nant

Some are m nOr50me are

3erklce Music Theor"3ook 2

Lesson 50Minor(5)ChordS

The minOr 7(15)chord[Symbol min(15formed by owettngtho nth ofthe m no

Cmin7

Practice

also knovvn as the ha idiminishedcan bochord l)y a ha Fstep

Bu d a min7(15,chord up.7ards frOm eac1l givcn noto

2 Ana vzc cach chOr(1h a chord sn,o1 5ome are ni nor 7some are min(,5)

Cmin71,5)

Lesson 51.DiminishedchOrds

The diminished 7 chOrd()is ltrmerl by lover ng the seventh Of a min(,5,chord bya ha Fstep

Cm`"71,51 c7

5

Compared tO the maiOrthC Seventh oithe d m n`hcdchord has beon

T1

Practice

1 Bu ld dlninished 7()chords ul)vards frOm oach 3iVCn note

2 Ana yze each chord wth a chOrdsymbo sOmOamn(,5)some adim n`hed

7

1verodto avoida so be

lesson 51 Diminished 7 Chords

??

m3

(llse enharmo"ic 7th)

Berklee Music Theor"3o'k2

ExercisesLessons 47-51.Seventh Chord Types andSymbols

1 rite out each o'the FOovving chords from the chord symbols

E7 Cmin711,,M7 min7 3min71,,

2 Analyzc each chord vvth a chord symbOl

Ear Training

l Listen to each denlonstrat on chor(l ThenOr(10minantchorda ma10' dOm nant

b n'a10r dOl1l la nt

c ma or dom nantd maloF dom nant

denl"Cach examp e as e"hera major 7

stcn lo cach dcn,onstktion chord Thendenl,onch emlc s dherdominantorminor 7

a dom nant m nor

b dom nant minOr

c domillant minor

d dominant 7 m nor

[xerdsestessons 47 51 Seenth chord,peS and SmbOL

:, :h dem

n chaThede eaCh examedh ttna

4

a minOr

b minOr

c minor

d minOr

m n705)

min7(,5)

min15)

min15)

diminisheddiminished

dimin`hedd min`hed

Listen to each demonstralon chOrd ThendendeaCh example as elher mino5)or diminished

a min7(,5)

b min15)c min7o5)d mn('5)

Berklee Music Theor3ook 2

Lesson 52.Inversions of Seventh Chords

Root,ositlo3115t intlersion

Like tr ads seventh chOrds can be inverted There arc three inverslons pOssiblev thseventh chords The rirst invers on has the th rd on the botlomi secOnd invers on hasthe Fith on the bottol,th rd invcrsion has the seventh on thc bottom

Wiite the three inversions of the foovving seventh chords

Practice

1

3,M7

2 1denleach nVCrted sevcnth chordlh a chord

Ist 2"d 3rd 15 211d 3rd lst 2"d ttd

,vnbol

F7

tesson 53 Voice Leading Seventh chOrds

Lesson 53.Voice Leading Seenth Chords

Asv th triadsseventh chords can be voice led frnovvin8 the COmmon-lone pr nc l)eln these exampleseach voice moves sm00thl"as the common tone is observed

FM 3,M CM A,MaJ7 F7 3,7 07

Practice

l Complete the voice lending irom the stalo8 PoS tiOn

FMa:7 ,Mai7 6Mai7 ,Mai7 F7

2 Complete the voice leading from the staning position

Amin7 ,min7 Cmi"7 Cmin7 :,6

- ???????

:"7115),min71151mi"7175,Cmin7051

BerklMusic Theor"B00k2

3 Complete the voice leading frOm the starting pOsitiOn Hint:Tbere wl be nocommon tones VO ce ead moving each vOice down,/halStep moon

7 7

Lesson 54 Contrary and Paracl Voice teadng of Seventh chOrds

Lesson 54.Contrary and Parael Voice Leading ofSeventh Chords

As vith tr ads seventh chords vvth no cOmmoncontrary Or parael motion

GMaJ7 FMaJ7 0MaJ7 ,MaJ7

Clltrary Moti"

para"e!Motion

,

tones

CMaJ7

mav be voice led

FMaJ7 E12M7

in either

OIM7

Practice

l /oice lead theovin8 ProgreSS10n using i rst contrarthen Parael moton

2 /oice lead using contrary and Parael mOt On

FMaJ7 CMaJ7 AM7 FMaJ7 GMaJ7 AMdJ7

Cotrdry par.1lel

CM7 0,MaJ7 ,MaJ7 CM7 BIM7 'M7

Comtrary Parc:!el

Berklee Music TheorBOok 2

Lesson 55hirdFifthand seventh overthe Bass

Frequently seventh chords cOntain the thirdfifth and seventh in the chordand therootin the bassmaking a total offour voices This sOund is especiay commonin popmusic

Fmi7

/oice leading the th rd filth and seventh vvorks tho sametriads

CMaJ7 CM7

as voice leading re8ular

Practice

l VN/rte thc Fo0ving seventh chOrds v th the third fifth, a ld sOventh Over theroot

Lcss()n55 ThirdFi"hand Seventh over the Bass

min7'M7 Cmi15)

2 /oice lead tho Fcll10N7in3 Seventh chordslth t1le thirdfiffhand sevonth Overthorootusing the common_tone pr ncIPle

FM7 Cmin7

?

??

3 /oico lead the th rdf fth,and seventhusin8 cOntrary then Parael nnOt On

FM7 `m:"7 min7 3,M7 FMJ `:h7 Amin7 3,M7

Cchtrary Pargl!e:

'min7

Berklee Music Theor"BoOk 2

ExercisesLessons 52-55SeventhChord lnversionsand Voice Leading

1 7oico lead this prOgression oF seventh chords using the cominon_lone principle

3,M7 Gmin7 Cmin7 F7 3,M7 0,MaJ Cm`7 Cmin7 F7 3,MdJ7

B:"7 E7

2 /oice lead the same progression using the common tone pr nciplev th the thirdf lthand seventh overthe rOotin the bass

F"M7 Cmlll'Cmin7 F7 3,MaJ7

[xercisesLessons 52-55 SeventhChOrd inversions and VOie Leading

Ear Training

l[[lwL"f

n otPmm The.a maiOr

b malor

c malor

d majOre malor

f m0g majOrh ma10r

dominantdominant

dom nantdominantdominantdOminant

dominantdominant

minOr

mino

minOr

minor

m ino7

m[nOr

minor

m no7

Berklee Music Theor"3ook 2

Lesson 56.Harmonic Accompanirnent frorrl aLead Sheet

in POPU ar muJc andiazzmuc ansirequenJy work w"h a lead sheetrather than acomplcte score The lead sheetincludesthe melody and the chords expressed in chordsym5olswhereas the score contains anotes vrtten out Accompanists use thc leadsheet as a guide ine to creatc thc r ov]PariS irom the chord symbOlinformation

FM7

Tho frst stcp to creat 18 harmonic accompaniment(suppOrtrthe meloddevisedfrom the chord symbols)is to voice lead the chords in thc ra118e oi notes iusiratcdbelo vhere theyv l sound rich and fu but not so lov asto sound muddy Themelody is plaved separately abovo tho chords

FMoJ7 Cmi"7 C7 FM7

`min7

???

4

|

|

/oice lead thesignaturel 'om the ttrst

G77

chords

'min7

Lesson s6HarmOnic AcconPariment'Om a Lead Sheet

pOsitiOn shOwn vratch outfor the key

FM7Cmi"7 c7

???

,

| |

Berklee lusic TheorBook 2

Lesson 57.Arpeggiating AccompanirYlent Chords

Arpe88iating chords__playing each notoF thc chord soParatCl"rather than aat thcsame timc is a common way to create harmon c accompaniment Nolce thatthenotes oF each chord are argeggiated in the sarre order/start n8 vvith the lovvest nclte tothe hi3hest nOle and back againvhi e the Ori3inal voice leading frOm the previouslessOn remains intact(Lesson 5 6P 34)

FM7 Cmin7 FM7

Practice

1 Complete the arpo8giatOd accOml)animent hensame measureuso tho nrst chord br the irst twosecond chord ltlrthe lasttvvo boats FoHow the voicelessOn(Lesson 56P 35)

there arevo chords in thebeats of the pattern and theleading set up in the previOus

7 ,min7 Gmin7 FMJ7

7

_,,_ _ ,_

_ ^.

[eson 58 Using the Third Fifthand Seventh over thc Root as Accompaniment chOrds

Lesson 58.sing the ThirdFiithand Seventh overthe Root as AccompanirYlent Chords

Accompan mencad'om sevetth chords can use he h"dithand sevetth~ only with the r00t Ofthe chord in the bass

FM7 FM7

McId

Chord

3o38

Practice

l /oice lead the Fc1l o ving chords from tho start ng POs tion sho.nusin8 only thethirdfillhand seventh of each seventchord

7 ,min7 G7 Gmin7 FMdJ7

|

,

|

Berklee4usic TheOr"3ook 2

Lesson 59.2:l Accompanirlnent Pattern

I Anotheraccompan ment Pattern that works wcand seventh is the 2:l pattern T 0 0fthe thrcc

lil:ills:1r:eby nsdr Th sv th the throo notes o'the third,fthnotes are struck togethel a tcrnai ngis a 21l partern based on the voice

FMaJ7

Practice

l COml)ete tho 2:l harmonic accO]]Danin]cnt tsing the sanlO vOice leadin8 as theprevious tvO 10ssons(l esso1ls 5ald 58 , 36-3

Cmin7 0

Cmi7

Omin7

Exerc scs tcs,ons 56-5' Harmonizing and Accompaniment Patterns

ExercisesLessons 56-59.Harrllonizing andAccompaniment Patterns

1 /oicc load the accompanYing chOrds using the commontone pr nctple

GM7 Emi7

3,M7

min7

crente an accolnPanimcni Be careFul toin the saine odei to PrcServe the voice

Emin7125) 7

,7??

2 Arpeg8iatearpeggiateleading

FM7

the voice ed chords tothe notes oi each chord

3 /oice lead the thirdFifthand seventh from thc stari ng pos tiOn shovn

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Berklee Music TheorBoOk 2

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4 using the third Fih and seventh lo crcate anCreate a 2:l patternaccompan ment

FM7

a ma10r dOm nantb nnajor dom nantC ma10r dOm nantd major dom nantO ma10r dOminantf ma10r dOminant

8 majOr dominant

3,M7 Emin71,5)7

Ear Training

::llit,IWarpe8'aFd ChOrd,and demhem as m

2n:FTmpamepgand dem,chS

mlnor

minor

minor

m lnor

minor

m lnor

mlnor 7

1]10r

minor

minor

m lnor

minor

m lnor

minor

a major dom nant

b ma10r dOm nantC ma10r dOm nant 7d ma10r dOm nant

e ma10r dOm nant

f major, donnant 7

8 ma10r dOm nant

0 |

teSson 60 MelodicOtiOn

Lesson 60Me10dic MOtiOn

Practice

l Analyze thO noOt Onor L

:[l : " step`am SecO

Mor 2nd .``_^_,_J

Steps(s)and loaps tL)are analyzed as this me10dY mOves irom One noto 10 the next

betveen tho nOtes OFthe,ooving me10dY by using e ther S

Minor 211d

Berklee Music TheOr"B00k2

Lesson 61.1/Vriting a ChordTOne Melody

The nOtes that make up a chord are caed chOrd tOnes A chord_tOne melody is onethat uses only notes Ofthe curent chordin anY Orden Notes may be used in diflerentoctavesand some may be used more than once before others are used

Practice

l Adjust the nOtes oF th me Ody to ttt the chords Label the chord tones usingnumeralsas abovea D,

b Bmin

2 |rte a 4-mcasure chord tone lmelody on the foovin8 chOrds

FMa7

,min

Flmin

Exerc,,L6sons O1

ExercisesLessonS 60-61Melody

Ear Training

::L"apeN ereoOVe Then

2 Stn o a cnl Thet

be`

mm mdody

uSen o a cMd Thmbe msm mdO"

Berklee Music TheOr"3ook 2

Lesson 62.Melodic MOtiOn over Change of Harrl10ny

sPIt::Ll:Ii:alttdhamon"wepayttemOn b how hcit note oitho next chord fthe lasi nOte oFa chord is alsO a chord 10ne ofthe next chOrdit may bc descr bed as a cOmmon tone(CT)In these casesa leap into the Frst nOte ofthe l]ext chOrd is Possible f the lastnote of a chOrd is nOt a chord tOnc ofthe next chOrd lknovn asa noncom mOn-10neOr NC)a stepvisc resOlut on intO the frst note ofthe next chord is ca ed fo

Practice

1 17tc a short simplC meL)d01, this 2chOrd Progression t,se each Ofthe FourCnl n7 notes as the last note o1lhe ir51 measureand resolve thatnext chOrd bv lcap ir its a (,]110n tOnc or resolve by steP if ilStone

note into thca lon_chd_

Cmim7

Fmin7

Les,oo 63 Repeating a Melodic Phrase on DifFerent Chords

chOrds

A7 Cmin A7

3,MaJ7

Nttce mtt hehc and mdOdC Shapes d metl11:il[:chordsin measures 3 and 4vere differentthe melody nollo accommodate the nev chords

Practice

Rllli:!;12mewe phe on

Lesson 63.Repeating a Melodic Phrase on Diferent

S1:Ti::[dnfTIWt

lc phrase markings:

`, Cmin7

Flmin719

2 Wrte your ovVn melodyin the frstO m easuresVith a repeat ofthat me10dy inthe second tv.o measures Pract Ce playing itV th the chords

,MaJ7 FM7

Berklee 14usic Theor"300k2

Lesson 64.The Melodic Sequence

,mim7

Varied

Practice

l Complete these melodic81Ven

Cmin7

i::T::al:I :11[li:fourth one is olen completely differentto bring thin3s to a COnclusion

Complete:v OifFerellt

sequences usin8 the le10dic mator al and chords

C7 FMgi7 0'Mi7

Repeated

3,M7

melodic sequences using

ReFeat,

,MaJ7

Concillde:

the melodic mater al and chords2 ComPlete these81Ven

Cmin7

Emin7115)

,m`"7

P

Repedt:

G7A7

[xercisestes5ons 62-64 Melod Writing

ExercisesLessons 62-64.Melody lA/riting

A'requently used song FOrm uses a 4 measure pbrasevhich repeats in the f rstsect onthen a shOrter 2-measure phraso is repeated sequent ayrthesecOnd sect on Not cethe double barine after measure 8 scParai ng the tvO sect ons

4-med`ure pltr3e

CMaJ Fmin7 "7

BertteMEicr13oo _ _ _ _

iTb:;ll Try Your ovn mclody4-mcasure phrase inrepeated sequcntiay

CM7

CM7

AM7

Ear Training

l ten to the CMaland

7rt n8 0n this satne chOrdthe second fJur measUresr the last eight measures

Fm`7 B17

2 Listen to thC

Omin7

FMalchOrds Thentransclbe th`4-measure me ody

Dminand Gchords Thentranscr be this 4-measure mC10dy

G7

DminGand CMa17 chords Then transcbe th`4-m easure3 Lstn to theme odv

O`"7

mi"7

,min7

7

I What/s Nex17

WhatNext?

Congratulations on finishing Berklees,cheO 2 Novlu have a basicunderstanding of chords and chOrd typesincluding malominO,diminishedand

1 nttir

ave even written melodies Of yOur onContinuevorking withthis materialas much as yOu possibly can VriteoutandPlaythechordsofsongsfrOmaleadsheet practicevoiceleadinganddevisingaccOmpanimentpatterns based On the chords,twriting your ovn me10dy On those same chords Allof these activ ties wl help to reintorce and even further the theorct cal knowledgegained in this couseUntil thenkeep practicingand continue to bui d your knOvledge of music theoltl make you a bettemusician

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Berklee Music Theor3ook 2

About the Author

Paul Schme ingChair Emeritus ofthe PianO Department at Berklee Coege of Musicis a master pianist interprete improvisec and arranger He has inspired cOuntlessstudents since he began teaching at Berklee in 1961 He has perlormed or recordedWlh iaZZ greats such as Crk Ter%Rebecca hrHsGeorge Colemancaro S oane

ttm!w : RYl albums,interpreting the music Of Hoagy Carmichael and songs assOciatedvith FrankS natra He`the co author Ofthe 3erklee Pracce Mettdi

"

ard(Berklee Press2001)andettke rns[ard Cerdee PFss 2002 He`Jso the author andinstructor of three online courses on Berkleemusic com s,c rrle/ 70 As,ce 207and ere

"atred

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