Download e-book for kindle: Berklee Music Theory - Book 2 (Berklee Press) by Paul Schmeling

By Paul Schmeling

ISBN-10: 0876390661

ISBN-13: 9780876390665

The second one in a two-volume sequence in keeping with over forty years of tune thought guideline at Berklee university of track. This quantity specializes in concord, together with triads, 7th chords, inversions, and voice best for jazz, blues and well known tune types. you will increase the instruments had to write melodies and create potent harmonic accompaniments from a lead sheet.

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Additional resources for Berklee Music Theory - Book 2 (Berklee Press)

Example text

4 www 4 2. Arpeggiate the voice-led chords to create an accompaniment. Be careful to arpeggiate the notes of each chord in the same order, to preserve the voice leading. # 4 4 3. Voice lead the third, fifth, and seventh from the starting position shown. FMaj7 4 &b 4 œ œ œ œ BbMaj7 w Emin7(b5) œ œ œ œ A7 w w ? 4 ww b 4 39 Berklee Music Theory, Book 2 4. Create a 2:1 pattern, using the third, fifth, and seventh to create an accompaniment. FMaj7 4 &b 4 œ œ œ œ BbMaj7 Emin7(b5) œ œ œ œ w A7 w ? 4 b 4 Ear Training 34 1.

Adjust the notes of this melody to fit the chords. Label the chord tones using numerals, as above. a. Db 4 œ . œj j j œ œ œ & 4 œœ œ œ. œ œ œ œ œ œ œ ˙. œ. Œ b. Bmin7 j j . 4 œ j œ œ œ œ & 4 œœ œ œœ œ œ œ. œ œ œ œ. ˙. 2. Write a 4-measure chord-tone melody on the following chords. FMaj7 & 44 F#min7 4 &4 42 Œ Exercises, Lessons 60–61. Melody Exercises, Lessons 60–61. Melody Ear Training 37 1. Listen to a C7 chord. You will hear it arpeggiated over more than one octave. Then, transcribe this 4-measure melody.

Follow the voice leading set up in the previous lesson (Lesson 56, p. 35). A7 4 &b 4˙ Dmin7 #œ ? 4‰œœ b 4 36 œ G7 œ œ. j œ n˙ Gmin7 C7 FMaj7 Aœ œ œ œ w Lesson 58. Using the Third, Fifth, and Seventh over the Root as Accompaniment Chords Lesson 58. Using the Third, Fifth, and Seventh over the Root as Accompaniment Chords 32 Accompaniments created from seventh chords can use the third, fifth, and seventh only with the root of the chord in the bass. FMaj7 Melody Chord Bass œ Gmin7 C7 w ? 4 ww b 4 ww w ww w ?

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Berklee Music Theory - Book 2 (Berklee Press) by Paul Schmeling


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