Teaching)Composi/on) · PDF fileThe)dominant7 thchord • thUnlike)triads,)the)dominant7...

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Teaching Composi/on

Transcript of Teaching)Composi/on) · PDF fileThe)dominant7 thchord • thUnlike)triads,)the)dominant7...

Page 1: Teaching)Composi/on) · PDF fileThe)dominant7 thchord • thUnlike)triads,)the)dominant7 )chord)has)astrong)sense)of) direcon.)) • thThe)presence)of)the)augmented)4 /diminished5

Teaching  Composi/on  

Page 2: Teaching)Composi/on) · PDF fileThe)dominant7 thchord • thUnlike)triads,)the)dominant7 )chord)has)astrong)sense)of) direcon.)) • thThe)presence)of)the)augmented)4 /diminished5

Harmony  in  mid-­‐grade  composi/on  There  will  be  a  general  sense  of  consonance  However,  one  or  more  of  the  following  will  be  apparent  §  There  will  be  a  totally  diatonic  musical  landscape  §  All  chords  will  be  in  root  posi/on  §  The  only  chords  used  will  be  primary  triads  OR  there  will  be  

a  repe//ve  pa@ern  of  3  or  4  chords  §  Harmonic  rhythm  will  be  unvarying  throughout  §  There  will  be  li@le  sense  of  direc/on  in  the  harmonic  

wri/ng,  and  li@le  sense  of  harmonic  progression;  there  will  be  few  clear  cadences  

§  There  will  be  no  modula/ons  §  ….although  the  music  may  change  key!  

Page 3: Teaching)Composi/on) · PDF fileThe)dominant7 thchord • thUnlike)triads,)the)dominant7 )chord)has)astrong)sense)of) direcon.)) • thThe)presence)of)the)augmented)4 /diminished5

Harmony  :  Aspects  to  consider  today  

§  The  rela/onship  of  harmony  to  tonality  §  How  to  establish  your  key  § Mixing  Primary  and  Secondary  Triads  §  How  to  change  key  §  How  to  find  harmonic  colour  

Page 4: Teaching)Composi/on) · PDF fileThe)dominant7 thchord • thUnlike)triads,)the)dominant7 )chord)has)astrong)sense)of) direcon.)) • thThe)presence)of)the)augmented)4 /diminished5

Spot  the  Key…  

Page 5: Teaching)Composi/on) · PDF fileThe)dominant7 thchord • thUnlike)triads,)the)dominant7 )chord)has)astrong)sense)of) direcon.)) • thThe)presence)of)the)augmented)4 /diminished5

It  could  of  course  be  the  tonic  key  of  C  major…  

Page 6: Teaching)Composi/on) · PDF fileThe)dominant7 thchord • thUnlike)triads,)the)dominant7 )chord)has)astrong)sense)of) direcon.)) • thThe)presence)of)the)augmented)4 /diminished5

But  it  could  be  chord  IV  of  F  major…  

Page 7: Teaching)Composi/on) · PDF fileThe)dominant7 thchord • thUnlike)triads,)the)dominant7 )chord)has)astrong)sense)of) direcon.)) • thThe)presence)of)the)augmented)4 /diminished5

….or  chord  IV  in  G  major  

Page 8: Teaching)Composi/on) · PDF fileThe)dominant7 thchord • thUnlike)triads,)the)dominant7 )chord)has)astrong)sense)of) direcon.)) • thThe)presence)of)the)augmented)4 /diminished5

Then  again  it  could  be  chord  VI  in  E  minor  

Page 9: Teaching)Composi/on) · PDF fileThe)dominant7 thchord • thUnlike)triads,)the)dominant7 )chord)has)astrong)sense)of) direcon.)) • thThe)presence)of)the)augmented)4 /diminished5

But  actually…..  

It  is  the  Neapolitan  6th  in  B  minor!  

Page 10: Teaching)Composi/on) · PDF fileThe)dominant7 thchord • thUnlike)triads,)the)dominant7 )chord)has)astrong)sense)of) direcon.)) • thThe)presence)of)the)augmented)4 /diminished5

How  to  start  a  symphony…  

“if  only  I  could  think  of  what  comes  next…”  

Page 11: Teaching)Composi/on) · PDF fileThe)dominant7 thchord • thUnlike)triads,)the)dominant7 )chord)has)astrong)sense)of) direcon.)) • thThe)presence)of)the)augmented)4 /diminished5

The  dominant  7th  chord  •  Unlike  triads,  the  dominant  7th  chord  has  a  strong  sense  of  direc/on….  

   

•  The  presence  of  the  augmented  4th/diminished  5th  •  Makes  the  dominant  7th  unstable  •  Explains  why  leaving  a  dominant  7th  hanging  in  the  air  is  frustra/ng  

•  Is  a  clear  signpost  to  the  tonic  chord  

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Establish  the  key  using  I  and  V7  

•  With  thee  chords,  confidently  used,  it  quickly  becomes  clear  what  is  the  key  of  your  piece.  For  example;  

•  …and  one  can  use  this  scheme  to  create  one’s  own  key-­‐defining  opening  tune;  

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Star/ng  with  Chords  I  and  V7:an  alterna/ve  scheme  

 •  Here  is  the  opening  of  Mozart’s  Piano  Concerto  in    C,  K457  

 •  One  can  also  use  this  as  a  scheme  for  establishing  a  key;  

Page 14: Teaching)Composi/on) · PDF fileThe)dominant7 thchord • thUnlike)triads,)the)dominant7 )chord)has)astrong)sense)of) direcon.)) • thThe)presence)of)the)augmented)4 /diminished5

Primary  triads  •  In  a  major  key,  chords  I,IV  and  V  are  major  triads  

•  These  chords  are  part  of  the  key  that  is  ‘in  the  sun’…  

•  Note  the  change  of  harmonic  rhythm  in  bars  6-­‐7  

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Secondary  triads  •  In  a  major  key,  chords  II,  III  and  VI  are  major  triads:  

•  These  chords  are  part  of  the  key  that  is  ‘in  the  shade’.  Use  them  to  avoid  sunburn  when  the  glare  of  the  primary  triads  has  got  too  intense…  

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Mixing  Primary  and  secondary  triads  

•  With  a  li@le  careful  planning,  mixing  primary  and  secondary  triads  can  help  the  sense  of  structure  in  a  piece  


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