I started new piano lessons this week with a Dublin based instructor Fergus Shiel.

This week I am learning the jazzy version of "On the Sunny side of the Street".  Using a lot to 10th so my left hand is being stretched to its limit (comfortably).

I also now understand the theory behind playing block chords from this lessons and also reading Levines "Jazz Piano Book" which I highly recommend.  Will hopefully do a video lesson on Block Chords and drop 2 technique for Intermediate players.

Anyway the quick lessons is in the key of lets say C you play a C6 inversion on C, E, G and A. For notes D, F, and G you play the G9b Diminished inverted.  This will become clearer when I do the video.

 

POSITION 
Harmonic interval relationships between the four voices occur in specific arrangements. When the harmonic interval between the Soprano and Tenor voices is a simple interval, close position occurs.

FIGURE 3.1: Close Position 
When the harmonic interval between the Soprano and Tenor voices is a compound interval, open position occurs. The Bass voice is not considered in determining close or open position.

FIGURE 3.2: Open Position 
ADJACENT VOICE SPACING 
Harmonic intervals which occur between the Soprano and Alto or Alto and Tenor voices must be simple intervals. Compound intervals may occur between the Tenor and Bass voices.

FIGURE 3.3: Adjacent Voice Spacing 

A phrase in music is defined in Basic Music (TC 12-41/ NAVEDTRA 10244). Additionally, a phrase should convey a definite feeling of beginning and ending (repose). Repose is accomplished by melodic and/ or harmonic cessation (caesura), called a cadence. Two phrases form a period; the first called an antecedent phrase, the second called a consequent phrase. When there is similarity between the two phrases, they are parallel.

FIGURE 2.16: Parallel Phrases 
When there is no similarity between the two phrases, they are contrasting.

FIGURE 2.17: Contrasting Phrases 
RHYTHM 
Rhythms employed in the study of Harmony appear in the following order of frequency: 
(1) Regular rhythm. 
(2) Irregular rhythm. 
(3) Uniform rhythm. 
(4) Syncopation (used primarily with special melodic/ harmonic devices)

The term melody is applied to all four voices. Each voice should stand alone as a melody rather than as a succession of chord tones. The Bass voice does not always follow melody guidelines as closely as the other voices because it supplies the harmonic foundation.

TYPES OF MOTION
Conjunct motion occurs when one pitch of a melody moves step-wise to another. Disjunct motion occurs when one pitch of a melody leaps to another. Conjunct motion occurs more often than disjunct motion.

FIGURE 2.1: Examples of Conjunct and Disjunct Motion 
MELODY GUIDELINES 
Disjunct motion greater than a fifth may be followed by any of the following, listed in order of frequency:

(1) Conjunct motion in the opposite direction.

FIGURE 2.2: Disjunct motion followed by conjunct motion in the opposite direction 
(2) Disjunct motion in the opposite direction.

FIGURE 2.3: Disjunct motion followed by disjunct motion in the opposite direction 
(3) Conjunct motion in the same direction.

FIGURE 2.4: Disjunct motion followed by conjunct motion in the same direction 
(4) Disjunct motion in the same direction.

FIGURE 2.5: Disjunct motion followed by disjunct motion in the same direction 
Two consecutive moves in the same direction which form a compound interval are forbidden. Generally, two or three consecutive moves in the same direction which form an octave or greater are rare. Melodies usually have a maximum range of an octave. This range may occasionally extend a step above or below. Some intervals in melodies require special considerations. They are as follows:

(1) Augmented intervals are forbidden.

FIGURE 2.6: Examples of Augmented Intervals 
(2) Compound intervals are forbidden.

FIGURE 2.7: Examples of Compound Intervals 
(3) Major sevenths are forbidden.

FIGURE 2.8: Examples of Major Sevenths 
(4) Minor sevenths must be followed by conjunct motion in the opposite direction.

FIGURE 2.9: Use of Minor Seventh 
(5) Diminished intervals should be followed by conjunct motion in the opposite direction.

FIGURE 2.10: Use of Diminished Intervals 
Scale degree activity is discussed in Basic Music (TC 12-41/ NAVEDTRA 10244). Further explanation of those concepts is necessary for the proper construction of melodies.

Any number of stable tones may follow one another, but their overuse will emphasize the tonic triad.

FIGURE 2.11: Succession of Stable Tones 
No more than two tendency tones may occur in succession.

FIGURE 2.12: Succession of Tendency Tones 
When one active tone is followed by another which is more than a third away, the first active tone is disregarded.

FIGURE 2.13: Two active tones separated by more than a third 
When two active tones surround a stable tone: 
that stable tone may then follow,

FIGURE 2.14. a: Two Active Tones Surrounding a Stable Tone 
OR 
the latter active tone may be considered for movement,

FIGURE 2.14. b: Two Active Tones Surrounding a Stable Tone 
OR 
another active tone may follow.

FIGURE 2.14. c: Two Active Tones Surrounding a Stable Tone
When employing broken chords, scale degree activity may not apply.

FIGURE 2.15: Broken Chord

Introduction

PRINCIPLES OF WRITING 
The study of Harmony examines the structure and relationship between vertical combinations of musical tones and their succession, Counterpoint examines the structure and relationship between horizontal combinations of musical tones and their succession. When these successions center on a key they becomeprogressions that establish a tonality.

Therefore: 
harmonic progression establishes tonality vertically; melodic progression establishes tonality horizontally. In practice they are directly related.

SCALE DEGREE FUNCTION 
In the major and minor key systems, the tonic, subdominant, and dominant scale degrees are primary tones or tonal notes because the ear perceives them as most effective in establishing a tonal center. The leading tone/ subtonic, mediant and submediant are secondary tones and are also classed as modal notes because the ear perceives them as establishing the mode. The supersonic tends to be a secondary tone but can have the effect of a primary tone.

PRIMARY AND SECONDARY TRIADS 
Primary triads occur on the tonic, subdominant, and dominant scale degrees. Secondary triads occur on the supersonic, mediant, submediant, and leading tone/ subtonic.

VOICES 
There are four traditional voices (parts) used in the study of Harmony. They are Soprano, Alto, Tenor, and Bass, using the grand staff for notating parts.

The Soprano part is written on the treble clef of the grand staff, stems up. Its range is

The Alto part is written on the treble clef of the grand staff, stems down. Its range is g to d²

The Tenor part is written on the bass clef of the grand staff, stems up. Its range is c to a¹

The Bass part is written on the bass clef of the grand staff, stems down. Its range is F to d¹

Although the full range of each voice maybe used, it is advisable to confine the voices to the middle of their respective ranges. Range extremes should occur only for reasons of melodic line. Parts should not remain in those registers.

FIGURE 1.1: Example of Four Voice Notation

Hi I have just added live streaming video to the site on the home page.  I will soon have a popup widow so you can see the live video while still being able to browse the website.  I will have this streaming on Friday 26th Feb at 21:00 GMT(4:00pm Eastern)

Well its Sunday 18th Janurary and I'm playing piano, listening to radio and doing my VAT returns all at the same time.  This is not a good idea and would recommend doing one thing at a time. No need to prove that I can multitask to anyone.

I've put aside next Saturday to try and create some new beginer videos for the website.

Hi this is my first blog ever. I will try to keep it updated a few days a week so please add it to your rss feed.  I will just be telling you what I'm at in relation to the piano and this website.