Lesson with M_is_D

After speaking to M_is_D, we have decided to start our lessons on harmony. M_is_D already has a firm concept on intervals, inversions as well as Major and Minor scales. This first lesson will start with Triads in the Major scale.

If anyone would like to make comments or ask questions feel free to PM me and I will address them in the thread.

LESSON - Part I:

M_is_D,

as you know there are 7 steps within a Major scale. These "steps" are refered to as "degrees". These degrees are also identified by Roman numerals. I will use the C major scale as an example.

C D E F G A B

I ii iii IV V vi vii

Take note that the Roman numerals are either Upper case or Lower case.

Each of these degrees have their own individual properties and the cases of the Roman numerals identify these characteristics.

Not only are the scale degrees identified by Roman numerals but also by name.

I - Tonic

ii - Supertonic

iii - Mediant

IV - Subdominant

V - Dominant

vi - Submediant

vii - Leading Tone

It is very important that you learn and memorize the names of the Scale degrees. I will end part one of the lesson here to give you some time to digest the info and to learn the names of the scale degrees.

Let me know when you are ready to continue.

Perfectly ready now, since I already knew those :) but in Portuguese.

This next lesson might seem a little wordy in my attempt to make things clear. Let me know if there is anything that seems unclear. :)

Lesson 2:

Now that we have an understanding of the degrees of the scale and the identification of these degrees by Roman Numerals and names, we will now go on to building traditional triads using the scale degrees of the Major scale.

First, we must understand that a traditional triad is a chord comprised of 3 notes in intervals of 3rds. The combination of 3rds (Major or minor) will give a triad a distinct quality.

Let us begin by using the C major scale as our example.

Lets start with the note C, the first scale degree/Tonic.

Because we are using C as the foundation to build our Triad, the note C will function and be identified as the "Root" of the chord.

After establishing the note C as our root now we need two more notes and in intervals of 3rds. Therefore, our next note that is a 3rd above C would be E and our final note a 3rd above E is G.

So, our traid build on the first scale degree of C Major will be:

C-E-G

If you examine the types of 3rds used you will find that from C to E is a Major 3rd and from E to G is a minor third. You will also notice that from C to G is a Perfect 5th. This combination of intervals gives us the quality of a Major chord and that is why the first scale degree is a upper case Roman Numeral "I". The Upper case Roman numeral signifies that the quality of the chord is Major.

So, the pattern for building a major chord is making sure you have a Major 3rd with a minor 3rd stacked on top. C to E(Major 3rd), E to G (minor 3rd).

Our next chord will be built on the second scale degree (Supertonic) of the C major scale. Therefore, the note D will be the "root" of our chord. Following the previous example we will again need two more notes to complete our Triad and they must be in intervals of 3rds.

The result will be:

D-F-A

In examining our chord, this time you should notice a difference. We now have a minor 3rd with a Major 3rd stacked on top. D to F(minor 3rd), F to A (Major 3rd).

This pattern gives this the sound quality for a minor chord.

I have included an attachment that includes the C major scale. The attachment inclues the two above examples. I would like for you to build triads on the other scale degrees of the C Major scale and pay attention to the sound quality of each chord. Right now, I don't want you to worry to identify if the chord is a Major chord or otherwise. We will go over that even more once you have completed the exercise. The exercise may be a little easy but I will be a good opener to start things.

Done! :)

One of the things I was wondering was how the diminished chord of the seventh degree appears to be closely related to that of the fifth degree and how that works in harmony. But that'll come later :thumbsup:

Building Triads - completed.mus

Good. I knew the exercise would be easy for you.

You ar right in pointing out the close similarities of the chords build on the 5th and 7th scale degrees. In regards to the study of harmony and not counterpoint, the rule is that the customary resolution of the V chord is to the I chord and any other resolution is "deceptive". The customary resolution of the diminished chord on the 7th degree is to the I chord as well and usually in its 1st inversion. But that will come later. The reason for this is because the strong tendencies of the note B in both the V chord and the vii' chord in C major. The note B is the leading tone. The leading tone's natural tendency is to resolve up to the Tonic. It has the "feeling" that is wants to "lead" back to the Tonic. With the diminished chord B-D-F, you have the dissonant relationship of the tritone B to F. The tension in this relationship adds to the feeling for the Leading tone B to resolve up to the tonic and the IVth degree to resolve down to E. You will again see this later when we start talking about V7(Dominant 7ths).

Does this make sense?

If so let me know and we can go on. :)

Good. I knew the exercise would be easy for you.

You ar right in pointing out the close similarities of the chords build on the 5th and 7th scale degrees. In regards to the study of harmony and not counterpoint, the rule is that the customary resolution of the V chord is to the I chord and any other resolution is "deceptive". The customary resolution of the diminished chord on the 7th degree is to the I chord as well and usually in its 1st inversion. But that will come later. The reason for this is because the strong tendencies of the note B in both the V chord and the vii' chord in C major. The note B is the leading tone. The leading tone's natural tendency is to resolve up to the Tonic. It has the "feeling" that is wants to "lead" back to the Tonic. With the diminished chord B-D-F, you have the dissonant relationship of the tritone B to F. The tension in this relationship adds to the feeling for the Leading tone B to resolve up to the tonic and the IVth degree to resolve down to E. You will again see this later when we start talking about V7(Dominant 7ths).

Does this make sense?

If so let me know and we can go on. :)

Ah yes, it does :)

Good. Glad everything is clear.

I'm also sure that after completing the rather easy exercise you have figured out what chords are Major and what ones are minor. It seems you already understand that the chord build on the scale degree vii is diminished. To clarify, the diminished triad is consists of two minor thirds, B-D(minor 3rd) and D-F(minor 3rd) creating the diminished 5th B-F(Tritone).

In review of chords build from the Major scale, I had created a list that identiys the quality of each chord.

I - Major

ii - minor

iii - minor

IV - Major

V - Major

vi- minor

vii' - diminished (the punctuation ' is added in place of the degree circle that accompanies the roman numeral of the diminished chord. We will go into this more in later lessons)

You next exercise is to build chords on all the scale degrees from the Major scales of Eb, B, Gb, A. You can use Finale in the same for this exercise just as you did for the first one.

If there is anything that is unclear let me know. :)

Done! :P no, I had no doubts, thanks.

exercise 2.mus

Seems like you've got everything under control so far. :D

Now let's go on to traids of the minor scale. As you know there are three forms of the minor scale. We will use the harmonic scale for exercises but I will make referenece to the differences of the other two minor scales when they occur.

As you can imagine the properties of the scale degrees will change in the minor scale. I will use C harmonic minor for the example.

C D Eb F G Ab B(natural)

i ii' III+ iv V VI vii'

i - minor

ii' - diminished

III+ - Augmented

iv - minor

V - Major

VI - Major

vii' - diminished

The principle for building triads in the minor scale is exactly the same as it is for the Major scale. The chords will be build using intervals of thirds. And so, I want for you to build traids on the scale degrees of B minor, Ab minor, G minor and Db minor (remember we are using the harmonic minor but be prepared to tell me what differences if any that occur in the natural and melodic minor). Try to pay attention to the quality of each chord in the context of the minor scale.

Done! I'm not entirely sure about Db minor, but we'll see.

Oh and I'll post this one here cuz I don't know what your e-mail address is :)

(Don't worry about attachment space, these things are the only stuff I'll post :))

exercise 3.mus

I got your exercise. I've been a bit busy but I will check it over and get back to you. :)

I checked your exercise. There were a few mistakes. It seems that you had forgotten to raise the 7th in the III+ and V chords of the minor scales. The 7th scale degree must be raised in those chords in order to have the appropriate properties. For example, in G minor your III+ chord consisted of Bb-D-F (A major triad). But in the Harmonic minor III+ is an augmented chord. The augmented property comes from the raising of the 7th scale degree in the chord. Therefore, in G minor your III+ chord should be:

Bb-D-F# Remember that an augmented triad requires to Major 3rds stacked on on top of the other. Bb-D (Major 3rd #1), D-F#(Major 3rd #2).

I've attached the exercise pointing out where you left our the raised 7th degrees in various chords.

Make sense? You also had the same problem with you V chords.

By the way, your Db chords were fine. Of course you would need the B double flat in the key signature as well.

I would like for you to do another exercise so for a little more practice. This time the keys are: C minor, Eb minor, A minor, F# minor. This exercise will also be in Harmonic minor. Don't forget to raise your 7th scale degrees at all times!:o

Going away and will return on Wednesday. We will resume lessons when I return. :D