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) Thischapteris inspiringnot only
) from my To illustratethis point further,
perspective asa pianist,but alsofroma philo_ think of a
) sophicalpenpective-that chord right-handed pianouolcingfo, un e.i
s unO (from bomomnorcro top) ct o.O
) Qikeotherthingsin life) canb. rh;il;;u,
"froirOing like B_C_E-G
fluid andhavingpotentialro. againstA in rheleft hand.acmaUy
) conrturiiinterac_ tfriJuoi._
) tion.Wearerequired,then,,o ing canbe foundin therepertoi..lir".r:*,
*t pianists;however,nor many
) eachchordoriginates,andto examine
"onriJ.. playerswould
frow"r.
me considerincorporating? D,
) chordsarerelatedoneto eachother. anF or an eU inro
Themisconception that specificchordalsffucture.
I . that chordsarefixed
pointsin thetune,boundby Clarificationof how Am7 (going
I to
movement,
verticalfru*onl.
may be theculprit behindthe the key of G) is acually c6 foil;;;'#l*u, D7 in
dencyto play thesametwo or ten_ B, D, F, andAb_beingpart
threeuoi"ing. of the C6 dimin_
overandoverfor the samechange. :T9. r.T*ureauperrecuy
*."p"L!'i"i r"
tntroduced menfioninteresting)
hereis a'scalefor chording,,*i notechoicesfor me amZ
u *"rtoO chord.
assjsrung virtually anychordro on. oi*o "f
scales-rftemajor 6 diminishea Barry masterfullydemonstrates
anati, mio, a the con_
hed. ceptandapplicationof movable
tr,evarious
!:(:i:is .rhrough
wnlcnpracticing
w;;; ;;'- thesegmentwithin thecontext "fr".O, fr",,"
chordson theirrespective of several
scalesis demonstrated, funes.
seehow,ir;;;;;_ *(Transcriptions
tionsaboutharmonicrigidity of rubatopassages are
Oisperr="--'*" meantto illustratetheharmony*O
ti uppro*i_
r E-'
matetherhphmicshapeof the
Notesfor guitar players: tune.)
60
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Fig.3-la
Fig.3-lb
Fig.3-2b
o-@-o-
Fig.3-3a
Fig.3-3b
Fig.3-4
61
Cls*an3
3-5) Chords found on the C minor 6 diminished scaleare illustrated
here: a) C minor triad on the lst degree;b) the D minor triad on the 2nd
degree;c) 2nd inversion Ab major triad on the b3rd degree;d) 2nd
inversion Ab minor triad also on the b3rd degree;e) the F minor triad
on the 4th degree;f) the F major triad also on the 4th degree.
3-7) This figure illustrates the movement of an EbmT chord on the Gb6
diminishedscale,resolvingto Ab7. It is performedin the context of
"Body and Soul."
The movement over the Ab7 chord to get to the Dbmaj7 makes
use of the A minor 6 diminished scale, the altered scalefor the Ab7
chord, also referred to as 'the tritone's minor.' (This term comesfrom
the'important minor,' seeFig.2-8, and is being usedhereto refer to the
chord on the 5th degreeof the tritone of Ab-Am.)
62
l'l o^u,l/tC/,",r/4Nf" Plr*. aal Qr^;aa,
Fig.3-5a
Fig.3-6 "ALONETOGETHER"
..BODY
& SOUL''
?t 1'- v. q t.'
*C,b6 Fo Ci O Fo C,tO
* EL6T = C,f6
Fig. 3-8
C/i*e"43
3-10a)Moving a voicing through the C major scale
Here, chordsare played up a C major scale.Fig.3-10billustratesvoicings
for the guitar.
64
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i! = t ca
t J i) =
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r=
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3-12) The 6 diminished scalecontains two dominant 7th chords
Illustrated in this figure is a key difference betweenthe major scale and
the major 6 diminishedscale.As Barry mentions,notice that the major
6 diminished scalecontainsthe dominant 7th chord belonging to the
key, (in this caseG7), aswell asthe dominant7th chord belongingto
the relative minor of the key (87).
66
l'l o^,al,ItCl.r,/4 N,t"PW. ail Qr,:at"t
Fig.3-13a
Fig.3-13b
.d.J
rl - ]
ry . e J: LN 4T E-
6)
Ak*Ar43
3-15) Using the C6 diminished scaleon II-V-I in G major
a&b) Thesetwo figures illustratethe movementof an ArnTchord (C6)
on the C6 diminished scalewithin the context of a llrn7-Y7-Imaj pro-
gressionin the key of G.
3-11)'Borrowed Notes'
This example demonstratesthe samechord progressionas the previous
figure; however, it incorporates 'borrowed' dirrnnishednotes. The 'C'
and 'Eb' are notes of the F# diminished chord-the related diminished
to D7. Borrowed diminishednotesare circled in Figures 3-17, 3-18,
3-19,and3-22.
69
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Ch,J4 lf" P*r*. r,'il Qr^;aa,
Fig.3-l5a Fig.3-15b
Fig.3-15c CVtr
Fig.3-16a Fig.3-l6b
Fig.3-l6c
Fig.3-r7
3
e/,/f,errr
3-18a&b) The following two examplesillustratediminishednotes
(circled),borrowedfrom B diminishedon the Cm6 chord.
70
l'l o^,al'LCh,r/4 lon P,u,l*./"J qr,Atu,
Fig.3-l8a
Fig.3-l8c
Fig. 3-l8d
a)
Am
vr/f iin Am
Dm6 Bm7 lr :
C/i4A-r3
3-19b)Basedon "If I ShouldLoseYou'oby Robin-Rainger
Fig.3-20
13
CkFr43
3-2la) The previousprogressionbasedon bars24-25 of "Stella by
Starlight" by Young-Washington. The chord movementsare I major-
Ill7-relative minor-bVldim-Im ail5 -minorI 6"
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