Music-Theory-JazzTheory by Unknown

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Melody Analysis Exercise Number each note according to the chord. D7 l ^ =1 1 G7 > * l ^ r 'H 1 EM 1 j A7 D-7 G7 1 * 7 J^7 jj «y 1 i 7 i 5 6 7 8 i 2 tt G7 C C7 B7' 9) r 35= '-MJJjl 1 * ' • »1>» 3 ► O Jazz Theory I, New England Conservatory Extension Division, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA) - 19

Summary of Chord and Tension • The definition of a Chord is any combination of more than one note piled up vertically. • The definition of Tension is one of the non-chord tones from the scale (including the church mode scales), and can be placed an octave above the chord and yet does not create t»9th interval with any one of the chord tones. However, the t»9th violation will not affect the dominant chord which Avoid Note is always (4). CMaj7 C2 CMaj6 CMaj13 T T T This is still a chord. Note that there is no 3rd, 5th or 7th, because 2nd is the highest chord tone. Note the difference. The Major 13th chord may have hidden 9th and #llth. C-7 C-6 c-^6) C-7C13) • As shown above, the number attached to the chord name indicates the available tensions. In 6 chord, because 6 is the highest number, 7th, 9th, 11th, and 13th will not be available in the strict sense in theory. However, composers often write 6 chord to prohibit only 7th. Especially in Major chord, Major 7th chord cannot be used if the melody is the root. Because the melody always sounds an 8va above the chord no matter what the actual range of the note is, it will sound the violation with the t>9th interval. Even though the melody is played in a close range on the same harmony instrument, it will still be weak sounding by a 1/2 step above the M7th of the chord. Thus, when the melody is the root of the chord, M6th or 6/9th chord must be used to maintain the integrity of the melody. • The minor t»6th chord in the example above may be easier if treated as an inversion of At>Maj7 chord. However, spelling this chord this way maintains minor quality which affects the performance, and indicates Aeolian mode as well. • Important Chord spelling rule: If a number appears with no prefix (i.e., C9, C13), it is a dominant chord; while the Maj sign must be used to indicate a Major chord (i.e., CMaj9, CMajl3), except on 6 chord, which does not need any prefix to identify whether Dominant or Major because 6 chord is prohibited to have 7th note which is needed to create Tritone in the dominant chord, and therefore it will never be a dominant chord. ■ 20 - Jazz Theory I, New England Conservatory Extension Division, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)

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