Music Theory for Computer Musicians by Hewitt Michael

Author:Hewitt, Michael. [Unknown]
Language: eng
Format: epub, pdf
Published: 2008-03-28T06:34:58+00:00

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T h e H a r m o n i c a n d M e l o d i c M i n o r S c a l e s

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5.

Sequence the following bass in A harmonic minor. Then, on another track, add a pad or

string part over it using the chords indicated—the three primary chords of A harmonic

minor.

6.

Play the arpeggios of the chords of A harmonic minor. Practice this exercise until you

are fluent.

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M u s i c T h e o r y f o r C o m p u t e r M u s i c i a n s

7.

Compose your own chord progressions in the key of A harmonic minor, involving at

least one secondary chord, using the boxes provided to indicate the chord. When you

have done so, spend some time either playing through or sequencing each chord pro-

gression. Listen carefully for the qualities of each progression and the particular merits

of each. The number of chords required is indicated by the number of boxes.

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T h e H a r m o n i c a n d M e l o d i c M i n o r S c a l e s

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8.

Play the A melodic minor scale. Practice the following exercise on your MIDI keyboard

until you are fluent.

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M u s i c T h e o r y f o r C o m p u t e r M u s i c i a n s

9.

Compose your own chord progressions in the key of A melodic minor, involving at least

one secondary chord, using the boxes provided to indicate the chord. When you have

done so, spend some time either playing through or sequencing each chord progression.

Listen carefully for the qualities of each progression and the particular merits of each.

The number of chords required is indicated by the number of boxes.

Augmented and

12 Diminished Intervals

and Interval Inversions

Sofar,wehavestudiedtwodistinctfamiliesofintervals—theperfectintervals,which

include the first, fourth, fifth, and octave, and the imperfect intervals, which include

the second, third, sixth, and seventh. There is yet a third family of intervals that we

have not yet considered—the family of augmented and diminished intervals. Knowledge of

these represents an essential foundation for the understanding and use of the augmented

and diminished triads you will study in Chapter 18, “Chord Progressions and Root Move-

ment.” It is also important knowledge for the understanding and use of artificial and exotic

scales, which you’ll study in Chapter 22, “Exotic Scales,” and the use of complex harmony,

which you’ll study in Chapter 23, “Complex Harmony.” So what is the family of augmented

and diminished intervals?

Augmented and Diminished Intervals

The best way to understand the family of augmented and diminished intervals is to look at the

interval of, say, a third, as found between the notes F and A. You already know that a third can

occur in two forms—a major third of four semitones and a minor third of three semitones. When

a major third is increased in size by a further semitone—say, for example, by sharpening the A—

it becomes an augmented third.

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