ONLINE CHAPTER 1 EXTENDED CHORDS: THE NINTH,

2y ago
113 Views
4 Downloads
6.24 MB
21 Pages
Last View : 1m ago
Last Download : 2m ago
Upload by : River Barajas
Transcription

ONLINE CHAPTER 1EXTENDED CHORDS:THE NINTH, ELEVENTH, AND THIRTEENTHChapter ObjectivesArtists in Residence: Barbara Hendricks and Walter Gieseking Define uses of the ninth, eleventh, and thirteenth chords Notate extended triads when given lead sheet symbol Identify extended triads in a musical context (popular and classical) Translate notation into correct lead sheet symbol in terms of extended harmonies Complete a lead sheet analysis for extended triadsIn Chapter 5, we studied how the triad can be extended to form a seventh chord. As youprobably realize by now, seventh chords are found extensively in all music, whether it beclassical, jazz, folk, musical theater, or popular. With the rise in prominence of jazz in theearly 20th century, classical composers became increasingly interested in extending thetriad beyond the seventh. Play the following progression on the guitar or piano.G:IIViiVviGCA-DE-V7/IV IVG7CIGExtended Chords: The Ninth, Eleventh, and Thirteenth OL1-1

By extending several of the triads to include ninths, elevenths, and thirteenths, theentire color of the progression is altered. Many times the added notes create unresolveddissonances, but it is important to note that the function of the chord does not change. Forinstance, the second subdominant chord would still function as a subdominant regardlessof the added notes. Let’s change the progression to include several common extendedchords. The pitches used in each extended chord are notated below the progression.G:G# ww& wIC maj 9IIVM9iiV13viGC maj 9A-D 13E-D 13wwwwwA-wwwwwwwwwwIVM9iiV13E-wwwviV7/IV IVM11 ICmaj 11G7G7n wwwwV7/IVGC maj 11wwwwwwIVM11GwwwIBACKSTAGE PASSEBSITEWThe Original Blurred Lines: ImpressionismVIDEOTR ACK 1By the late 19th century, the impressionistic movement was in full swing in both thevisual and musical art communities. Visual artists such as Monet and Renoir began toexperiment with colors, painting blurred lines to illuminate their masterpieces. In music,the clear structural components and functional harmonies that dominated the works ofcomposers in the 18th and 19th centuries gave way to ambiguity in both harmony andform. Composers writing during this era preferred to use extended triads, such as theninth, eleventh, and thirteenth chord, as a technique to create ambiguity in terms of function. Claude Debussy, one of the prominent composers of the era explains, “I love musicpassionately. And because I love it, I try to free it from barren traditions that stifle it. It isa free art gushing forth, an open-air art boundless as the elements, the wind, the sky, thesea. It must never be shut in and become an academic art.”When listening to the music or viewing a painting from this time period, you caneasily see and hear this “open-air art.” Take a few minutes to browse the Internet for a fewexamples of impressionistic art. As you are viewing the paintings, play La Mer by Debussyin the background. Do you feel a sense of blurring of the musical structure? Is the tonicpitch as clear as it once was in earlier music? How does this musical blending carry overinto the images you see?NINTH CHORDSAny seventh chord can be extended to become a ninth chord; however, it is most commonto see the ninth on the supertonic, subdominant, and dominant chord. Only three possible ninth chords—the diatonic ninth, lowered ninth, and raised ninth—exist in bothpopular and classical music. The example on the following staff illustrates all of thepossibilities for 9th chords built on the dominant, including lead sheet symbols. Unlessspecifically notated in the chord symbol, the extensions will all be diatonic in relation tothe key of the song or composition.OL1-2 Extended Chords: The Ninth, Eleventh, and Thirteenth

Play through the chords above on your keyboard or guitar. Which chord sounds themost dissonant? The raised ninth chord is used extensively in popular music and jazz,producing the dissonance of a half step between the third of the chord and the ninth. Thepitch E cannot be explained in the key of G major (or G minor) and is merely added ascolor to the dominant chord to create tension.In many lead sheet transcriptions, you may see the symbol Dadd9. Is this a true ninthchord? The answer is no. The lead sheet notation for Dadd9 would be a D major chord withan added E, again to create tension through an unresolved suspension. In order for a ninthchord to function as an extended triad, the seventh of the chord must be present.Another question you might ask is, why we simply don’t use the number 2 to show theaddition of the ninth? After all, the ninth is really the second scale degree above the root,right? It is important to note that the extended triad is just that: an extension of the triadand not an added pitch.Study the following chords in order to see common chord extensions. The extension ofthe ninth can be added to any type of seventh chord.D maj 9&www## wwD- 9wwwwwD9www# ww!D7 9b www# ww#D7 9# www# wwD ª9b wwwwwD μ9b b wwwwwARTIST IN RESIDENCEBarbara Hendricks:Curious Student, Scholar, Philanthropist, and ArtistThe home page of Barbara Hendricks’s website shows a striking African American womanwith the quote, “I was born curious.” How does this curiosity carry over into famous operasinger Barbara Hendricks’s professional life? Raised in a small town in Arkansas, Hendricks was determined to make something of herself. She studied both mathematics andchemistry in college before graduating at the age of 20! That in itself is a huge accomplishment, only to be eclipsed by her acceptance at Juilliard in the same year. After studying atJuilliard, Hendricks became one of the most sought after opera singers of her generation.In a quick glance at her discography, it is easy to see that Hendricks’s curiosity led her tostudy and perform in a wide variety of genres. She has made more than eighty recordingsof various works, including art songs, lieder, jazz, and opera.Hendricks has sung in the premier opera houses across the globe, but it is perhaps of herhumanitarian effort that she is the most dedicated and proud. In recognition of her commitment to serving refugees, in 2002 she was named Honorary Goodwill Ambassador for Life bythe United Nations Refugee Agency. According to the agency website, “In 1998 she foundedthe Barbara Hendricks Foundation for Peace and Reconciliation to personalize her strugglefor the prevention of conflicts in the world and to facilitate reconciliation and enduring peacewhere conflicts have already occurred.” Beyond her success in music, Hendricks is determinedto make the world a better place with her artistic performances and humanitarian efforts.Extended Chords: The Ninth, Eleventh, and Thirteenth OL1-3

EWListen to Hendricks’s performances of Fauré’s “Après un Rêve” (1877) and “ChansonD’amour” (1882) on the YouTube channel. Each chanson (French song) contains severalextended ninth chords, and each example provides excellent illustrations of impressionisticcompositional techniques. What is the harmonic function of the chords analyzed with leadsheet symbols? Pay careful attention to the difference between the extended triads and theadded note chords. Seventh chords are also used extensively in these two examples, so takea few minutes to complete a lead sheet analysis of each excerpt. How is Fauré’s use of theseventh chord different from that of, say, Mozart?EBSITVIDEOTR ACKS2 AND 3Barbara Hendricks, Fauré’s “Après un Rêve”G17& b 43 œœ9Cfœœœœ œ œ œ œ3Tum’ap - pe-lais& b 43 gg œœ œœœ œœœ œœœ œœœœ œœœœ œœœnœgg œgF? 3 .b 4 . . .&b œ21toiœJ nœ œvers laœœœœb 25&b œnous,3? b .b b .OL1-4 œœœœ3-œœœœœœœœ3bœrePour m’en - fuirœœœœœœœœœœœœen - tr’ou -vraient leursœœ #œœœ . . .pœre;Lesœœœœœœœœœœœœœœœœnu -es,Splenbœ-33ciuxpourjœ œ œ Jœœœ œœ œœ œœ œœ œœœ œ œ œ œ œ . .33œa - vecœœœ b œœ œœ œœ œœ b œœ œœœ œ œ œ œ œ œ . .œœœœœœœœœœœœ # œœœœ œœœœp . .œ œ œ#œ-œœœ œœ œœ œœœœ œœ œœ b œlu - mi蜜& b œœ œœ œœ œœ œœœ œ œ œ œterœ œ nœ œ œ œœœœ . .& b # œœ œœ œœ œœ œœ œœ œ œœ œ œ œ œ œ # œœœ œœœ? (add9)3et je quit- tais laœœœœEb9deursœ œ œ œ œ œœin - con - nu -œes,#œlu-œœ œœ œœœ œœœ œœœ œœœ b œœ œœ œœ œœ œœ # œœ œœ œœ œœ œœ œœ œœœ œ œ œ œ œ #œ œ œ œ œ œ# . Extended Chords: The Ninth, Eleventh, and Thirteenthœ .

cresc.29&b œ3eursjœ œ œ œ œ œ œ3di - vi3- nes en -œtrevu& b b œœ œœ œœ œœ n œœ œœœ œ œ œ œ œ?b œœ-es Hé# œœ œœ œœ œœ œœ œœœ œ œ œ œ œ œœœœTranslation: You called me and I left the earth to run away with you towards the light. The skiesopened their clouds for us, Unknown splendours, divine flashes glimpsed.Barbara Hendricks, Fauré’s “Chanson D’amour”G#3#dolceœ& cœœ œ J’ai - me tes yeus,#& c ‰ π# œœ œ &π?#11&#œœ ‰œ nœOma re - belle, ô ma fa - rou‰œ œœ ‰# œ œ œ.j nœœj’ai - me ta bouœœœœœ œ œ #œ œ œ œ‰œ‰œ n œœ-cheœœœœOù‰ -che,œ# œœ ‰ œ n œ # œ ‰ œ œœœœœ wsenza rigoreœJ’ai - me tes yeux,œ# 7# ‰j’ai - me ton front,œœ ‰œœ ‰ œ œœ ‰ œ œœœœœœœœ?# c &œ œ L 9 (no3rd)œ œ œ œ œ œa tempowmes bai- sers s’é - pui - se - ront.œœœœ ‰#nœœœ œœ œœœœœœœœœœœœœmarcato n b n œp J’ai-œ.œJmeta#œ œ œ œœ œ œ œœ œ œ œ ‰ œ œœ ‰ œ b œœœœœœœœœœœ œ œœœ œ pœ œ œ œ œ œ n ?# wwwœw&Extended Chords: The Ninth, Eleventh, and Thirteenth OL1-5

Barbara Hendricks, Fauré’s “Chanson D’amour” (continued)15&# bœœvoix,&# ‰? # b 19&# œô# ‰œ œ bœ bœœj’ai - me l’é - tran- geœ bœb œœ ‰Grâ - ceœœœ œ‰de tout ce que tu-ge,dis,O‰b n fjœ nœ bœ œ œœ nœ bœœ bœ œ.wbœ ‰bœbœ bœ n œ bœ œ œb n mon cher annœ œ nœ œ œ bœpoco a poco cresc.bœMon en - ferœœ n œœ‰œ œ ma re - belle,‰bœ ‰œbœ œ œ œ œb œœœbœœ # wet mon pa - ra - dis!œœ ‰ # œb œœ ‰ œ # œœ ‰ n œ b œœ ‰ b œ œœ ‰œœœœœ#œœœ#œ œFn ? # b n n # &Translation: I love your eyes, I love your forehead, oh my rebellious and fierce one.I love your eyes, I love your mouth on which my kisses will tire themselves out.I love your voice, I love the strange gracefulness of everything you say,oh my rebellious one, my dear angel, my hell and my paradise!ARTIST IN RESIDENCEWalter Gieseking: Master of the French StyleTo accurately perform the music of great French Impressionistic composers, one mightsay that the pianist needs to transport him or herself into a dreamlike state in order tocapture the flowing lines, extended harmonies, and parallel movement. Like a dancer onthe stage, the pianist must tell the story through the movements from pitch to pitch.Walter Gieseking is one such pianist who was able to capture the ambience of the FrenchImpressionistic style. According to author Mark Satola, Gieseking’s “finger acuity, imaginative pedaling, and above all, preternaturally alert ear made him an ideal interpreter ofthis music.” Gieseking’s performances were very well received—that is, until World War IIwhen the Allies accused him of buddying up to the Nazis. Because of this political conflict, his Carnegie Hall recital in 1949 was cancelled. However, as the dust settled acrossEurope, Gieseking’s name was cleared, and he enjoyed an excellent run on the recital circuit while still maintaining an active recording agenda. A quick scan of his discographyreveals many recordings of Bach and Beethoven, but it was his recordings of the Frenchcomposers for which he received the greatest accolades. David Dubal sums up Gieseking’splaying in his book The Art of the Piano:OL1-6 Extended Chords: The Ninth, Eleventh, and Thirteenth

[Gieseking] was a painter of music, and harmony was his color. He phrased with aunique pliancy coupled to a rhythmic awareness and a sense of forward motion. Nobodyhad ever brought to piano playing, especially in Debussy, such a feeling of inspiration, asense of evanescent sound hovering in midair, vulnerable to the slightest breeze.WVIDEOTR ACK 4Walter Gieseking, Debussy’s Prelude No. 4 from Book I, Op. 28Modéré ( q 84)(harmonieux et souple)œ b œœœœ bœ### 3œ& 4 Œ œœœ( 54 ) πŒ œœ œb n œœœœ? # # # 43œœ.7( b 9)F#-œœœŒŒŒŒœ.œ.b œ œœœœœœ œ bœœœœœœ œ bn œœœœ œœœ.œœ.œœ.œ.9BŒœ œ Œπ m.d.nœn b b œœœœ # n # n œœœœ b b n œœœŒŒnœ9B###Œ n œ n œ œ b œ œ n œ b œœ # œ. œ œœ.Œ nœ nœ œ bœ&œœœ œ ŒJ # œœ. œ. . m.d. n œ b œœbnb b n n œœœœ b ? # # # n œœœ n b œœœ # n # œœœœ b b n œœœ Œ œ ŒŒŒ Œ nœŒ Œ nœŒ nœ.4EBSITEListen to Gieseking’s performance of Prelude No. 4, Op. 28, by Claude Debussy. Theextended triads are labeled for you in the score below. Take a few minutes and try to complete a lead sheet analysis for the first two measures. Why would it be difficult to completea Roman numeral analysis for this piece?. n œœ. b œœ.œ.# œ n b œœ œœ œJ .Œ nœ.ŒEn animant un peu9&###œ #œ œ# Œ œ #œ œp m.d.# .? # # # n # . . .expressifœ œ œ #œ œ œœœ œ n œœ # œ œœ œœœœœn œœn œœœœœœœ œ œ Œ œ œ œpm.d.# .# . . .œœœœ œ n œœ œ œœ œœ œ œ œœœœœn œœn œœœœœœ.œŒ # œ œ œF- # œ œn .n .œ œŒ œ œ ‰J En. retenanta tempo. œégal et doux#œœ14.œœœ.œ###œ #œ œ‰ n œœ # œ œ # œ œ ‰ # œ œ œ œ œŒ Œ œ #œ œ&#œ#œ œ œ#œ œœ #œ œ #œp dim.πn .n œœ œœ .œ nœ? # # # # .#œn . &œœœ œ œ#œ#œœœŒ œ œ ‰ Œ œen dehorsJExtended Chords: The Ninth, Eleventh, and Thirteenthœœœœœ OL1-7

ELEVENTH AND THIRTEENTH CHORDSThe following chart shows the most common eleventh and thirteenth chords in the contextof G major/minor.1 It is important to note that not all chord members beyond the seventhneed to be notated in order to label the chord as an extended triad. Also, notice that thereis no diatonic eleventh added to the dominant seventh chord and the 11 is used instead.Why do you think that most composers opt for the 11?#D maj 11# www#& # wwwwwwwwwwb wwwwwD maj 13D μ 11# www# wwwwb b wwwww!D 7 13D 13D- 13www& # # wwwwwwwwwwwwww# wwwwb www# wwwwListen to Barbara Hendricks’s performance of Fauré’s “Automne” on the YouTube channel. The chords in measures 29 and 30 clearly outline C minor. (Fauré is certainly notusing one of the conventional six-four chords from chapter 8!) By measure 31, the harmonicrhythm speeds up, and a succession of seventh chords and triads push toward the finalcadence in measure 36. The triads notated in measures 34 and 35 are not extended triadsbecause the seventh of the chord is not present.EBSITEW#D 7 11D ª11D- 11VIDEOTR ACK 5Barbara Hendricks, Fauré’s “Automne”# # # # 12&8 .28##& # # 128 œœ œ œœ œœ œ? # # # # 128 #œ.#œ.31&####œ.es,pjœ œ œ.menoœ œJ œ .Re - fleu - rirenbou - quetsœœ œ œœ œ œœ œ œœ œ œœ œ œœ œœ œ œ œœ œœœ œ œœ œœ œŒ.jœ jjœ œ œ nœ œ œ .œ œ nœ œ œ .Œ.Œ.œ œ œ œ œ œ .JJJ lesœœœœro - ses dé - li 霜 œ œœ œ œœ œ œœ œœ œ œ œÓ.Ó.œœ-œœŒ.#œjœ œ.œœJ #œ.œ.Etmon - teràmes yeuxdescresc.##& # # œœ œ œœ œ œœ œ ‹ œ œ œ œ œ œœœœ # œ ‹œ œ œ œ œpocopocoaœjjj? #### œœ œœ œ.œœœ œœ œ.œœœœ œœŒ œjœœœœ œ œ œ œ œ ‹œ œ œ œ œ œœ œ œ œ œ œ # œ ‹œ œ œ œ œcresc. œjjjœ œœ œ.œœœœ œœ œ.œœ 1Although there are exceptions, triad extensions beyond the ninth are typically used on triads that are dominant in function. Often composers and artists call these chords altered dominants—meaning that the chordincludes pitches that are not diatonic and/or contain borrowed pitches from the parallel key.OL1-8 œœExtended Chords: The Ninth, Eleventh, and Thirteenth

33&####jœ œ.œœJmon coeurMesvingtsempre al fineœœ nœJlar-mes, qu’enfœ.œ œ.Jœans# ##& # œ œ œ œ œ œ œ œ œ œ œœ œœ œ œ œ œ œ œ œ œ œœjj? #### œ#œ.œœœ#œ.œ œ œœ #œ.#œ. C#35#### .w.# .&D(add9)a - vaientœounœJ-bli -œœ œ œœ n œ œœ œ n œœ œ œœ œ œœ d (add9)é-es! œ# ##& # # œœ œ œœ œ œœ œ œ œ œ œ œ œœ œ œ # œ œ œ œ œ œ sempre fœ? ####œœw.œw.œ œœ .JJœ œ œ œ # œ œ œ œœœ œ œ œ œ #œ œ J ‰ ‰WEBSITEThe opening two measures of Debussy’s “Deux Arabesques” contain an example of anextended triad. The pitches of the first chord are C , E, A, F , G , D , and B. One of themore difficult tasks of recognizing the extended chord is to determine the root. This pieceis written in the key of E major, and the pitches can be arranged in such a manner to bebased on the dominant. While it would be easy to eliminate the F as a passing tone, theother pitches are all functioning as part of the chord. Listen to Gieseking’s performance ofthis piece as you follow along with the score.VIDEOTR ACK 6Walter Gieseking, Debussy’s “Arabesque No. 1” from Deux ArabesquesAndantino con moto&####œœœœœœ13c##& ## cB3p3œœ# ##& # œœ3? # # # # œ œ33œœ œœœœœ œœ3œœ33œ 3œ œ œœœ333œœœœrit. œ œ œ œœŒ3œ œ œœœœ œ œœœ413B?œ œ3œ œœ œœa tempoŒπ3œ œœ& œ œ œ œ œ œœœœ333?œœœ3œ œ3œ œœœœœœœ œœ œ333œœ œ œ œ œœœ3Extended Chords: The Ninth, Eleventh, and Thirteenth OL1-9

Walter Gieseking, Debussy’s “Arabesque No. 1” from Deux Arabesques (continued)7&####? ####3œœœœœœ œ‰jœ œ œœœ œ3333œœœ œœ3œœ œ œ œœœœœpoco a poco cresc.œœœ œœœœœœ œ œ œœ œœ œœœœœ œ œ œ œ œ œ œœœœœstring.11&####3 œœœ œ? ####œ œœ œœœœ œ œ œœ œ œ œœ œœ œœ œœœœ3 #œ œ œœœ œ œ œ #œœ#œsempre cresc.a temporit.14&####EBSITEW? ####VIDEOTR ACK 7œ Jœ- œJœ- n œ œ.œ œ. œ œ œ.œœ œ œJJJœ33p#œœœ3œœœœœœ #œœœnœ&œ œ œ œ #œœ œ œ œ #œœ œ#œ#œWhile extended triads are found throughout music from the Impressionistic Era andbeyond, they are even more prevalent in jazz music. It is, after all, jazz that influenced theFrench composers to experiment with extended triads. Listen to Bernadette Peters’s performance of “My Romance” on the YouTube channel. Most of the chords are extended to theseventh; however, a few of the chords are extended to the ninth, eleventh, and thirteenth.The notation for each of the extended triads is listed below the score. How do the extendedtriads create a sense of dissonance?Bernadette Peters, Hart and Rodgers’s “My Romance”&C œ œC maj 7 D- 7 .My Ro - mance5A- A- (maj 7 )& .A- 7œ œœ œ œ œdoes - n’t have to have aA7D- 7 G 7œ .œ œ œ œ œmance does - n’t need a blue la - goonOL1-10 E !μ7E-7D- 7 .moonC maj 7 C7œ œ .stand - ingby;Extended Chords: The Ninth, Eleventh, and ThirteenthG7C maj 7 B ! 13œ œ .œ œin the sky,F maj 7œ .no monthMy Ro -F #μ 7 Cmaj 7 C7œ .ofMa yœ nP

11F maj 7 F # μ7 C 7maj& . œ F # - 7 F7 .twin - kling stars,18E-7E !μ7Cmaj 7 C 7frain.28A-7no hidea - way,no soft& .true;Cmaj 7 B ! 13œ œ .F maj 7œ œ .F maj 7/EMy Ro - manceMy Ro - mance does -n’tD- 7œA7D- 7 G 7œ œ .œœ œ œœ œ .œ œto a con -stant - ly sur - pris - ing re -D-7/CœI can make my mostC maj 7 A-7œ œ .gui - tars,A- A- (maj 7 ) A- 7œ œ œWide a - wakeA !9Cmaj 7 D-7D- 7 G 7œ . œ .œ œ . œ œris - ing in Spain, nor a danceF& .A- 9 D 7œ .& œ œ œ œ .24E-7 E !7œ .D -7 G 7need a cas - tle!5œB-7œœB!9œ# 11œfan - tas - tic dreams comFD-7D-7/G G7does - n’t needa thing butœ œ œ œ œ œC6w .Œyou.B !13&wwwbb wwwbwA-9&wwwwwB ! # 11Nw& b wwwwbwA !9b b bb wwwww&Extended Chords: The Ninth, Eleventh, and Thirteenth OL1-11

Reviewing Chapter Objectives Define uses of the ninth, eleventh, and thirteenth chords (pages 2–3, 8) Notate extended triads when given lead sheet symbol (pages 12, 15–17) Identify extended triads in a musical context (popular and classical) (pages 7, 10,13–15) Translate notation into correct lead sheet symbol in terms of extended harmonies(page 12) Complete a lead sheet analysis for extended triads (pages 13–15)EXERCISESI. Notate the chords on the staff when given the lead sheet symbol.&#DM9G7M 11Bb13Eº 9Eø 11?Bø 11F #7m11A9Eb(add9)G9&C #13C7# M11F 7 b13D 7m9F b7M13II. Given the pitches on the staff, provide the appropriate lead sheet symbol. Thekey is given as a guide in order to determine altered tones.? ##w# wwww&n wwwwwwEb :OL1-12 bbBb :D:bbbb b wwwwwwbF:bbGmin:Exerciseswwwwbwb wwwb n wwww#b wwww # # #C #min:Amin:#G:wwwwwwwwwwwwC:wwwwwww###F #min:‹ ww# wwww

wwwwwww? ##wn wwww#D:Emin:bwwwb ww####F:n wwww#w# # wwwwwB:Amin:ANALYSISDebussy, La Cathédrale Engloutie (“The Sunken Cathedral”) (measures 1 and 3) ww .w .6&4 Œ( 32 ) π?6 Œ4 w.ww . ww .œ œœ œœ.w . œœ œœ œœ œ œŒ œ œœœ œœœœŒ œœ œœww .w.Profondément calme (Dans une brume doucement sonore)œ œœ œœœœ œœ œœ œ œœ œœœ œœœœœœ œœ ww .5œœ œœ œœ.œ.& wŒ œœœ œœ œ œœ? Œ œœ œœ œ & œœ œww .w.Œ . .ww . œw.œ œ œ œ œ œ œ -̇œ -̇ w # # w& - # w # w-& w ## # # - # ## w # -9ww .œœœ.œ.& wŒ œœ œœ œπ (sans nuances)Œ? œœ œœ œœœ œ œww .w.14œ œœœœ œ w w-# w- # w -# # w w- w # ## - # -# # # # w- œœ œ œœ œœ œ œœœ œœ œ œ œœ œww .w. *)# # # # # # ww .w.πŒ Œw. ?œww .œ Peu à peu sortant de la brume?# # œœœ # # œœœ# œ #œŒsempreœœ œœœ œŒ . .ww . œ w .œ œ w # w-w w- # # -œœ œœ œœ œœ œœ œœ œ œ œœ œœVIDEOTR ACK 8*) Doux et fluide 3EBSITEWI. Complete a lead sheet analysis for the measures indicated by each musicalexample. Be sure to correctly identify any extended triads. Do not attempt aRoman numeral analysis.œœœ#œ ? œ& # œœ#œ œ . œ œœœœ&π33œ# œ œ œ œ œ œ œw# œ # œœ œ3œœœ œ œœ œ33Exercises OL1-13

EWEBSITVIDEOTR ACK 9Ravel, “Pavane pour une Infante Défunte” (measures 1–3, 6–7, and 11–12)Assez doux, mais d'une sonorité large ( q 54)#& c œ œ œ œœ œ œ œ œœ œ œ œœ œ œ. . . . . . . . . . .p?# c Œœœ. ‰ ‰ . ‰ œ ‰ œ œ. #& œ œ œ œ œ œ œ œ ‰ œœœœœœ œœœœ œ œ œ‰œ œ œ œ œœ œ œœ œœ œ œ œœ œœ œ œ œ œ œ œ œ œ. . .‰ ‰ œ ‰ Œ œ̄ ‰ œ̄ ‰ œ̄ ‰ œ ‰œ-œœœœ œœ œœ ‰œ Œ Ó œ œœ œ œ œœF.œ? # œ. ‰ ‰ ‰ œ. ‰ ‰ Œ œœ.œ œœ Cédez5un peu retenu#‰& œ œ œ‰ œ. . . Œ π? # œÓœœ .œœ ‰œ œ œ œœœ .œœœ œœœ œ œœ œ œ‰ œ œ œœ-fœ#œœŒœ-En élargissantœ. .‰ œ ‰ œ ‰En mesure œ œ œ œœ œ œ œ œ œ‰œ œœœ œ œœ œœœ œœ. . .pŒ œ œœœœ œœ œ œ‰ œœ œœ wJœœ œ œ - 3- œ œœ -EBSITEW10œ œœ œ œœ œ œœœ œ œVIDEOTR ACK 107Billie Holiday, “Prelude to a Kiss” (measures 7–12). Songwriter: Duke Ellington& c œ bœ nœ #œIfyou heara& c œ b œ # n œ # œ P? c # OL1-14 nœsong3jœ œj œ œ œ#œ nœ #œ nœœjœ œj inflow - erforthe dewbluelike3aœ œ œ œ œn b n œœœ .œœ Jcry - ing# # œ n œ n # œ n œ# œ œ œœ œn # œœ .œ œJ3n Exercisesœ.œ.jœœ b œ. œ.3jœ œ œ œœ J

1133& œ œ œ œ #œ œThat wasj j œj # œj œœ œœJ Jœ œmy heart ser - e - nad - ing you33& n œ œ œ # œ # œ œ F? My pre - lude toœ œ œœ œœakissœœ œ œ # # œœœ œœœ .Jœ œœJjœ œ.œ œ.œœJjj jœ œ œ #œ nœ.œ œ.Jœ.œ.j jœ œ .œ̇ .b œ n œœ # œ bœEBSITEWII. The lead sheet symbols, along with the melody, are given for the jazz standards“A Cottage for Sale” and “Cheek to Cheek.” Using the staff paper below, correctly notate each chord for the lead sheet symbol given.Judy Garland, “A Cottage for Sale.” Songwriters: Willard Robison and Larry Conleyb 4& b b 4 œJOu rC7E ! maj 7œ œ œ œ œJ œlit - tle dream cas!9F ª7b& b b œ œ b œ œ œJ œ3-œJ œtleG7jœnœ œ œ œ œ.œJwithev - ’ry dream goneB !7!9isC7G- 7œ b œ œ œ . œj œ œ œ œ œ œ œjJlone - ly and si - lent. The shades are all drawn, and my heart is heav - yF-7B !7bbb& œ œ œœ 6I gaze up - onF7B !7E!maj 7Œ œ œ œ œ a cot - tage forG7C7VIDEOTR ACK 11F- 7 B! 7sale.asE ! maj 7œ œ œœ œœœœ.œ JJ JThe lawn we were proud of is!9Fª 7B !7!9b. j& b b n œ œ œ œ œ œ œ œ b œ œ œJ œ Jœ œ œ b œ œ œ . œj10wav - ing in hay;G- 7our beau - ti - ful gar - den has with - ered a - way.C7F- 7bj& b b œ œ œ œ œJ œ œ œ13B !7œ œœ you plant - ed ros - es, the weeds seem to say,F7B!7Wheremaj 7E!Œ œ œ œ œ w“A cot - tage forsale.”Exercises OL1-15

Judy Garland, “A Cottage for Sale.” Songwriters: Willard Robison and Larry Conley (continued)E ! maj 7b 4&bb 4Ou rC7b&bb3G7lit - tle dream cas-!9tlewithF ª7ev - ’ry dream goneB !7!9isC7G- 7lone - ly and si - lent. The shades are all drawn, and my heart is heav - yF-7b&bb6B !7B !7F7I gaze up - ona cot - tage forG7b&bb10C7wav - ing in hay;b&bbmaj 7F- 7 B! 7sale.The lawn we were proud of is!9Fª 7F- 7B !7F7you plant - ed ros - es, the weeds seem to say,B !7!9Wheremaj 7B!7E!“A cot - tage forsale.”EBSITEWE ! maj 7our beau - ti - ful gar - den has with - ered a - way.C7G- 713E!asVIDEOTR ACK 12Fred Astaire and Ginger Rogers, “Cheek to Cheek.” Songwriter: Irving BerlinCmaj 7 A-7& 44 œ .G7 œœI’mI’mininHeav - en,Heav - en,Cmaj 7&œD-7œœœheart beats sothatcares that hung a OL1-16 ExercisesCmaj 7 A-7D-7E !μ7œœIcanround meC maj 7/Eœœ .D-7G7 œœandandmytheheav - en,heav - en,œhard - lythru theB !7w# 11speak,weekA7 œ œand Iseem to

D-7&œ œ œ œseem tovan - ishfind thelike a#G7œœhap - pigamb - ler'sœœnessIluck - yB !7 11A7wœwhen we’re1.Cj j j j jœ& œ œ œ œ œ œ œ œj œj œjœout to - geth - er danc -Cmaj 7 A-7& 44ing cheekD-7I’mI’mE !μ7D-7maj 7inin2.A-7D-7w G7.cheek.Cmaj 7 A-7G7Heav - en,Heav - en,Cmaj 7toœœseekstreakG7D-7ŒD-7G7heav - en,heav - en,andand# 11C maj 7/EB !7hard - lythru thespeak,weekmytheA7&heart beats sothatcares that hung a -Icanround me#B !7 11G7D-7and Iseem toA7&seem tovan - ishfind thelike ahap - pigamb - ler'snessIluck - yseekstreak1.&D-7G7out to - geth - er danc -Cing cheektowhen we’remaj 72.A-7 D-7 G7.cheek.Exercises OL1-17

THE FINAL NOTE: REAL-WORLD PERSPECTIVEBarbara HendricksI N T E R N AT I O N A L O P E R A S TA RWhat, or who, inspired you to pursue music?I grew up with music being a part of my life long before I had any idea that I would have it asa profession. I began singing in my father’s church and sang in choirs all through junior andsenior high. At that time, my greatest influences were my school choir directors. They introduced me to an enormous amount of repertoire. They gave me the background about different types of music (jazz, spirituals, classical). I actually was Amahl in the opera Amahl andthe Night Visitors at age 12. Those choir directors really inspired me to continue to do music.When I was studying at university, I received a scholarship to the Aspen Music Festival.It was there that I met Jenny Tourel, my voice teacher. I spent 9 weeks in Aspen, and itbecame clear that I had to figure out my talent, what it was about, why I had the voicethat I had. I was surrounded by classical music for the first time in my life, and I felt quiteat home. It was on a suggestion by Jenny Tourel that I came to study with her at Juilliard.She became my greatest, greatest mentor. She was able to see my talent in a different light.Arkansas (my home state) was still quite segregated at the time, [and] the thought of mebecoming an opera singer was just too far-fetched for my earliest influences. My choraldirectors opened the door for me and helped to create the curiosity inside of me, but it wasJenny Tourel that provided the example and the support.Has the study of music theory and musicianship helped you in your career?If so, how?Oh yes, of course! I didn’t start studying music theory until I entered Juilliard, after I completed my degrees in mathematics and chemistry at the University of Nebraska. I alwaysconsidered myself a good student, and there I was in the remedial music theory courses atOL1-18 Extended Chords: The Ninth, Eleventh, and Thirteenth

Juilliard. I had a long way to go to catch up with the instrumentalists who had been studying music since they were 4 or 5! It was absolutely important to me to do these studies.I needed to know what I was doing, how does this all work together?Ear training was very difficult for me, especially solfège. I had a different way of hearing music. I had to work very hard, and I still cannot sing in solfège like the French children. I had to learn my own way. I had scholarships to Juilliard, and I just knew that I hadthis opportunity to be in one of the most fascinating cities in the world and attendingone of the best schools in the world. I was determined to soak up every bit of informationI could. Of course, I would have rather have been in my acting or dancing class rather thanmy theory class (solfège was painful) but I wanted to be involved with everything thatJuilliard had to offer.It is not something I think about at all when I stand on the stage. But it does help mewhen I am learning music; it helps me to understand a composer’s work and the language.I don’t think we should take an intellectual approach to performance, but you must absorbany information you can in order to enrich your reading of scores.If you had one bit of advice for an aspiring opera singer, what would it be?You have to love what you do. It is also very important to know why you want to do it. Itcan be that you love wearing nice dresses and love the applause, but you must be clear toyourself on what that is. Be honest about that. I was lucky to study with someone who wasa true artist, one who was always in observance of her art. Having her as a role model madeit very possible for me to stand for what I believe. It made it easier for me to make choicesfor my life and career. Love what you do and know why you do it.In a world full of input and media on who you are supposed to be and how you aresupposed to behave, holding on to your real values is what makes it possible to make goodlife choices.I would also tell students to be versatile and be open to all types of musical experiences and repertoire. I found that, especially after a certain age, nobody wants you to singSusannah anymore. You have to be curious and versatile so that you are not dependenton singing your standard opera roles until you reach retirement. That may not happendepending on the roles you are singing. Jenny Tourel was a big influence on my listeningto all types of music. I went to the theater and dance productions almost more than I wentto the opera. That curiosity and versatility is something that will carry you much furtherthan being in one little box.Most significant learning experience of your career.They happen all the time because I keep learning. Working with Jenny Tourel was ofcourse a huge learning experience. But of course working with a few great conductors tookme to another level; conductors such as Leonard Bernstein, Herbert von Karajan, and CarloMaria Giulini. Those three always took me further than I imagined that I could. Part ofit was their own greatness, but it was also their supporting my talent and my abilities togive the best of myself.Greatest moment of your life so far.Being a grandmother to a 1-year-old brilliant boy. It gives me enormous hope to see thatlife constantly renews itself.Extended Chords: The Ninth, Eleventh, and Thirteenth OL1-19

CREDITSPHOTO CREDITSp. OL1-1 (left): Jan Persson/Lebrecht Music & Arts/Corbis; (right): Courtesy of Library ofCongress (LC-USZ62-105229); p. OL1-18: Uri Sharf (CC BY 2.0)MUSIC CREDITS(alphabetical by song title)Cheek To CheekWords and Music by Irving

Extended Chords: The Ninth, Eleventh, and Thirteenth OL1-3 Play through the chords above on your keyboard or guitar. Which chord sounds the most dissonant? The raised ninth chord is used extensively in popular music

Related Documents:

Part One: Heir of Ash Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5 Chapter 6 Chapter 7 Chapter 8 Chapter 9 Chapter 10 Chapter 11 Chapter 12 Chapter 13 Chapter 14 Chapter 15 Chapter 16 Chapter 17 Chapter 18 Chapter 19 Chapter 20 Chapter 21 Chapter 22 Chapter 23 Chapter 24 Chapter 25 Chapter 26 Chapter 27 Chapter 28 Chapter 29 Chapter 30 .

The following lessons introduce some of the basics of jazz guitar chords. Topics include: 1. Some of the most common chord voicings used 2. Intervals 3. Triads 4. Seventh Chords, Drop 2 and Drop 3 5. Extensions and Sus chords 6. Quartal Chords 7. Freddie Green Style 8. Sample Comping Rhythms 9. Bossa Nova Style 10. Chords with Bass Line

BARRE CHORDS FOR THE GUITAR by DON COMANDA FOREWORD Following are over 1,700 chords. Barre chords are shown throughout except in cases where a Barre chord would give too “thick” a sound. A quick reference section is included showing major, minor, and dominant seventh chords. Similarly fingered chords appear with different names.

Use: Interactive Textbook, 12-2 670 12-2 1. Plan Objectives 1 To use congruent chords, arcs, and central angles 2 To recognize properties of lines through the center of a circle Examples 1 Using Theorem 12-4 2 Using Theorem 12-5 3 Using Diameters and Chords Math Background Theorem 12-8 can be used to prove the theorem of analytic geometry that .File Size: 619KBPage Count: 7Explore furtherDownload Free Practice 12 2 Chords And Arcs Answer Key .www.findanswerkey.com12-2 Practice Chords and Arcs - studyres.comstudyres.comCircles - Arcs and chords Worksheetswww.math-worksheet.orgUnit Circle Worksheet with Answers. Find angle based on .www.mathwarehouse.comCircles worksheet day #1 - Ms. Sullivan's Geometry Websitesullivangeometry.weebly.comRecommended to you based on what's popular Feedback

The green octave: Low string chords (C2-B2) Major & Minor chords triggered by velocity The blue octave: Low, Mid, High chords played together (C1-B1) Major & Minor chords triggered by velocity Dynamics: The mod wheel gives you further possibilities to adjust the dynamics and enables you to mix sustain and tremolo chords.

TO KILL A MOCKINGBIRD. Contents Dedication Epigraph Part One Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5 Chapter 6 Chapter 7 Chapter 8 Chapter 9 Chapter 10 Chapter 11 Part Two Chapter 12 Chapter 13 Chapter 14 Chapter 15 Chapter 16 Chapter 17 Chapter 18. Chapter 19 Chapter 20 Chapter 21 Chapter 22 Chapter 23 Chapter 24 Chapter 25 Chapter 26

DEDICATION PART ONE Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5 Chapter 6 Chapter 7 Chapter 8 Chapter 9 Chapter 10 Chapter 11 PART TWO Chapter 12 Chapter 13 Chapter 14 Chapter 15 Chapter 16 Chapter 17 Chapter 18 Chapter 19 Chapter 20 Chapter 21 Chapter 22 Chapter 23 .

SWITCH TO OPEN G 7 Tuning 8 Chords compared 9 First chords 10 First chords 11 First chords 12 First chords 13 Powerchords 14 Capo 15 FRETBOARD-ORIENTATION 16 Division of the notes 17 Division of the notes 18 Octaves 19 Octaves, notes with same pitches 20 INTERVALS 21 Minor third 22 Major third 23