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40 Lessons in how to correctly play improvisations.

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Further Harmonic Developments
In Lesson XXII we considered chromatic tones, and noticed how their use led to the forming of new harmonic combinations. By a process of ellipse the fleeting chro­matic tone or tones may be left standing alone, and by frequent use may further be established as recognized har-
by ellipse this may be further changed to
Here the C sharp is on its way to D, and to that note it naturally rises; but familiarity may prolong its use and even bend its course.
The general principle of 'altered' chords is that any diatonic chord may have one or more of its notes raised or lowered chromatically, and be used in that form inde­pendently of its original shape.
In many cases the chords so formed look like modula­tions, and they will be such unless we are careful to prevent this by resolving them to the tonic or the dominant 7th of the original key.
In a former Lesson we dealt with the V7, V9, and II7. To these may now be added chords of the 7th on all other degrees of the scale, which all resolve in the usual way, with the root falling a 5th, or with a stationary 7th.
The I in C may now have its root raised
Follow these by the V7.
It may have its 5th raised
by the IV. There is here no feeling of modulation.
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