tle or no difficulty whether each note Once you are able to determine with litt of the melody is a chord note or a non-chord note, the next step will be to | lock style". Here are the fill out the chord under each and every note in " rules for producing a four-part block harmonization. 1, HARMONIZE CHORD NOTES WITH CHORD, BUILDING DOWN FROM THE MELODY NOTE IN THE CLOSEST POSSIBLE INVERSION. : a. c Gm Av Dm? G7 c RN 5 ee a © € cS o .. i c Gm Av Dm? G7 c | are | ~ (b) block harmonization 2. HARMONIZE NON-CHORD NOTES WITH CHORD, BUILDING DOWN FROM THE MELODY NOTE IN THE CLOSEST POSSIBLE INVERSION, BUT LEAVING OUT THE NEAREST REGULAR CHORD NOTE JUST BELOW THE MELODY NOTE. \ For example, if we were harmonising the note "B" with a Gm chord (C, Eby Cy 'A"" (the nearest chord note below "B") A), we would have to leave out the note " before filling in the rest of the chord notes. kx. 4 mn " omitted Here are several more illustrations of the harmonization of non-chord notes. b, block harmonization OMIT "G" OMIT "A" OMIT "CG" Page Ste and popular songs, will chord notes. Here ie a melody of this sort ‘ow it would be harmonized. Next| we move on to melodies which, like all standard intermingle both chord and non~ seerietelwith chord symbols, and an iltuatration of h Remember that this same procedure may be followed in effectively harmonizing a eemst the standard or popular melodies with which you are familiar. If scored wy orchestrated properly, the resulting harmonizations, while quite simple, would nevertheless produ mal sound featured by many Teading band se eane, where the three lower voices do not change between chords, a smoother In caer wher cpleved by sustaining, rather than re-attacking the notes” Remem- Cite this applice only where each of the three lower voices would have re- peated. E # might be me Pot treated: In the following illustration, the lower three voices cannot be sustained, since they actually change from one chord to the next. the same profe:part while the three-lower voice: of how often this sustaining employed, it is far more effective in smooth ballads, rather type" tunes. (It is also more generally used in saxes rather -) } i om / ASSIGNMENTIMPROVISATION ON A GIVEN MELODY, 7 faction of an original melody from fe principles are in continual use He has, however, the additional The preceding has dealt with the cog a given chord progression. These 5 by the instromentalist oF arranger problem of writing a melodic variation (improvisation) on an already established melody. In improvising on a given tune, it is normally advisable that the original melody be recognizable. The type of band or combo for which you happen to be playing or writing should ve your guide in determining just how far from the original melody you dare to go. All of the melodic techniques discussed in Lessons V and VI (i.e, Chord Notes, Chromatic Approach Notes, Scalewise Approach Notes, Delayed Resolutions, Double Chromatic Approaches) may be applied to a given melody. Of course, in order that the original melody remain recognizable, notes. of the original melody should be retained, especially those notes which are important in feeling or duration. Notice in the following examples that the characteristics of the original ons (b). In addition to ‘melody will now beTle Berklee 'S 02215NOTE: In certain instances more than one possibility for analysis exists In those cases the most desirable choice has been noted. Where an approach note may be classified as either scale-wise or chromatic, it is usually (but not always) advisable to treat it asa scalewise approach. ‘As you complete the block harmonization of the assigned melodies, it is advisable that you play each of the possible harmonizations wherever a choice exists so that you may select the one that sounds best to you. {At this point complete problems No. | and No. 2 of the assignment) RR, MODERN BLOCK HARMONIZATION ‘Once each note of the melodic line has been properly analyzed, the actual harmonization becomes a relatively simple procedure. 1, CHORD NOTES.... Harmonize chord notes with Uesignated chord. (as in four-part harmonization - Ref. Lesson No. 4) 2. NON-CHORD, NON-APPROACH NOTES .... Harmonize inon-chord, non-approsch notes with chord, omitting the it chord note just below the lead.» Harmonize inished chord 3. SCALEWISE APPROACH NOT! scalewise approach notes with the of the note being harmonized 4. CHROMATIC APPROACH NOTES ..... Harmonize ‘Chromatic approach notes chromatically in all voices (Each note moves chromatically in the same direction into its adjacent chord note.)She Berklee CGoudpondence Cioulte eS ) | 2 ; ec ia: laa \oilang « | Rrsletpe ohse Ate tt deft ay ell able Powe ole, nee ike i a0( Notice in the preceding examples that the chord symbols stisi appear over the first or third beats of the bar even though the melody and the block harmony have been anticipated. 2. HARMONIZATION OF THE DOUBLE-CHROMATIC APPROACH (See Lesson 6.) Harmonize each of the chromatic approaches so that all voices move chromaticaily into the following chora. (Chromatic approach —> chromatic approach ——» chord) HARMONIZATION OF THE DELAYED RESOLVE (See Lesson 6) I Harmonize each approach note of the delayed resolve as though the other approach did not exis:. ee APPROACH APPROACH CHORD NOTE ned Ex. 6(Bx. 4 conta important closely, being, depends upon your understanding of these examples. ©. HARMONIZATION OF IMPROVISED MELODIES described in Lessons No. 7 and No. 8 ndard oF pop well. Here is an exami improvised melody. yn have been dicussed in Lessons 5 and 6. UL of the techniq block harmonizat creating the im; Ex, 10 {a) given melody : C7 Gn? B7 EEE ql‘As previously noted, we can now specifically identify those notes which formerly had! been classified simply as "non-chord, he melody which could be treated as approach notes. chord notes tensions «+ scalewise approach notes chromatic approach notes(ex. 9 cont'd) Dom. 7th: 9 12 13 Aug. 7th: 9 #11 = Min. Teh: 9 11 tg (oes 8 fete 9) wut 5 b7 (9F #5 b7 5 bT Sash a Fs bs 8 } % 9 for 1 substitution in Dom. 7th chord. Dim. 7th: Omit related low-degree chord note Ex, 9 in musical notation would appear as follows: MAJOR: Rereada 3 oy teat at Modem Block harmonization of the given melody analyzed in Ex. 8, = P= 7 b ets Am C5) or = AREA Sie \ f= \ . TENSION-RESOLVE (HI-LO) “| || en DOMINANT 7th: 9 to 1; 11 (scale or raised) to 3 ; 13 to 5 c7 sr a 18 Be. 16 MINOR 7th: AUGMENTED 7th: 9 to 1; scale il to 3 9 to 1; raised 11 to 3 Cm? Cae? 9 7 HS DIMINISHED 7th: one whole step above any chord note olving down to the related low degree chord note. 2 2 : Cotim? Here is an example showing how an‘original theme might be composed using only hi-lo. The resulting sound should give you some idea of'the value of having a good working know- ledge of these tension-resolve patterns. -HARMONIZATION OF HI-LO Since the harmonization of both the tension and its related low degree call for the same lower voices, any hi-lo may be harmonized by simply sustaining the three lower voices while the lead moves. c co wos Ss 13S mo) y ¥ ‘The following table may be used in checking the harmonization of any tengion-resolve pattern. I be. 20 7 MAJOR Gace ox 5 wow wae ©i a - 3 AUG. Tth: bt b7 5 #5 DIM, 7th: bb7 ete. 5 b3 20 here is Ex. To be certain that the foregoing is perfectly clear, in musical notation. a = 9-7Utilizing the foregoing principles, the harmonization of Ex. 18 would appear as follows: Gare CT. e gE er eceies 78-5 9-7 7-6 Hh ‘An alternate technique used in the harmonization of tension-resolve is as follows: Two simultaneous hi-lo's may be used, provided that they are separated by the interval of a third, ‘This "double hi-lo" would appear as follows: ‘The following illustration would be incorrect, since not separated by the interval of a third. #! XN Harmonization of tension-resolve usi (Only practical cases) "double hi-lo". MAJOR: Boab cpa 5 3 MINOR: 3 a Tee 5 b3 DOM. 7th: a 3 13-5 9-2 Me 3 v7 9 5 b7 \ ‘MIN, 7th: 1 - b3 1 at b7 5 Ex. 25 in musical notation would have the following appearance:he Berklee Sourpondence Ciuise{At this point it would be advisable to complete Problems I, 2 and 3 of the lesson assignment. ) interesting melodic line may be composed by applying the preceding iven chord progression. In the following example, only Hi-Lo and variations of Hi-Lo have been used. nN ae - 3 7-ch-6" 7-6 9-ch-/ 7-6 TN On OMS a —_—_ pop db pp 9-1 B-ch-F 1-43 B-cB-§ 7 -~ch-6 B. HARMONIZATION OF VARIATIONS OF Il1-LO 1, LO-HI-LO may be harmonized either of two ways. a. sustain three lower voices while lead moves: 1 we z2. HI-CHROMATIG-LO may be harmonized as follows: a. sustain three lower voices while lead moves: fe oe Bes ages ga b, sustain two lower voices while two upper voices move in thirds: {possible only where double Hi-Lo may be used) « ~ or 3. LO-HI-CHROMATIG-LO may be harmonized by any of the following methods: a. sustain three lower voices while lead moves:— She Berklee Souesponlene StUle BERKLEE PRESS PUBLICATIONS 140 POYLSTON STREET — BOSTON — MASSACHUSETTS — 02215Eb ALTO TENOR _ ARI. RANGE CHART Page 5 Transposed PracticalREFERENCE CHART EXPRESSION MARKS i [ i q on BEEP Ving)z's S8R "BES ae loud very loud very, very loud medium loud give full value attack on pitch litt, oF ups litt oF drop to legato (play » hold gradually louder gradually softerShe Berklee Souespondence Cowise ee [12] = PRESS PUBLICATIONS TON — MASSACHUSETTS — 02215 eeHUME). ecugrelty feta 339/74-5q GZ,SNOlLvonEnd s WH) anudpunypeua®) 33/749q “Taeaaa————————- - E. BRASS SOLI The principles of modern block harmonization as discussed in relation to the sax section may be effectively applied to the brass section as well. (See examples 4, 6, 8 and 10 of this lesson.) All of the previously mentioned approach techniques may be employed as well as all of the principles of impro- vization covered in earlier lessons. iene ge than this will result in a muddy and cumbersome sound. When writing an improvised version of the original melody for the brass section, a rhythmic treatment is usually more effective than the smooth, flowing melodic style that is so effective in the sax section. Although it is true that brass may occasionally be written in this flowing "sax-like" style (just as saxes are occasionally used to provide a rhythmic, percussive "brass-like" effect) , it is gen~ erally advisable to maintain some rhythmic interest in the brass soli. Ex. 1 given melody = eS aS. 2 = | b. improvised melody for brass solihe Berklee Sowuspondence Guise Post OFFICE ee ncee prcuicarion Sox asa osTon = tassacivserTs creeSle Berklee CGouesponience Coulle ey ce creas PuaLiCATIONSSle Berklee Covtesponidence CGiise POST OFFICE BOX 489 BOSTON - MASSACHUSETTS Torre PRESS PUBLICATIONSLe Berklee Souresponiente Couise > PRESS PUBLICATIONS $140 BOYLSTON STREET — BOSTON ~ MASSACHUSETTS — 02215syeodox peor °5NOTE: In relating the new approach methods described in this lesson to previously discussed approach techniques, it should be noted that most "diminished chord" harmonizations of scalewise approach notes, are simply special applications of the dominant approach. (V7 b9} Also, chromatic approach wees harmonized "chromatically in all voices" may be considered to be application: parallel approach. 5 of the Following is an illustration of the four-part block harmonization of a given melody employing these new approach sounds. Naturally es of this particular example is somewhat overdone for purpos illustration. Ex. 20 IL... Independent lead Diatonie approach 1 Parallel approach Dominant approach Fmt gar fear) @om) Bb7_par) rikhe Berklee Goureponidence SOMME TE eericcce PRESS PUBLICATIONS 1140 BOYLSTON STREET — BOSTON — MASSACHUSETTS — 02215Ban 4, Cadence directly to the I chord established by this Iim7 - V7, or progress as desired to any other key. (See Ex.7) PAN ects yt pit Se D. COMPOSING INTRODUCTIONS AND MODULATIONS All of the techniques of harmonic progression and melodization discussed in these lessons may be applied to the construction of introductions and modulations. ‘One harmonic-factor that all introductions and modulations will have in common is-that the final chord or chords must form some sort of cadence into the first chord of the chorus. 1. INTRODUCTIONS (most commonly four bars in length, but may be two, four, six or eight bars long.) Generally speaking, introductions may be classified as being either thematic, i.e., based on the material contained in the tune itsell based on new material not contained in t the tune. It is virtually impossible to present an objective cover- Page 6ons Ba/448g “Uea he Berklee Correspondence Colle ce on PRESS PUBLICATIONS {140 BOYLSTON STREET —GOSTON — MASSACHUSETTS — 02215She Berklee Sotespondenie Coulde Te sccce PRESS PUBLICATIONSa peel? “| 1. Unison5, Duet style soli with counter-melod) Ex. 1 6. Three-part soli ‘a soli voicing for three horns, try to observe (a) every chordal harmonization should include the third. () every Dominant 7th chord harmonization | should include the seventh. altered chords (#5, b5, b9, etc..) should the altered function. ‘hit’ and related "lo" in the notes, approach notes, etc., harmoni: a the least importantBelow are listed the most common voicing | scoring for four melody instruments "say, many other effective combinations -part background etc., etc... of the four-part horn voicings