Lesson with luderart

I'm glad this exercise gave you a workout in your scales :P

Anyway here goes...

1) E minor - One key is missing in this example

2) D Augmented - Correct

3) F Major - You have 1 error

4) G diminished - One key is missing

5) C# Major - You have 1 error

6) Ab minor - You have 1 error

7) C Augmented - Correct

*Just a note, the Augmented chord exisits in the Ascending Melodic minor as well as the Harmonic minor.

I know it looks as if you have a lot of mistakes but actually you don't. Some of these were tricky. So, I would like for you to review the exercise and see if you can find and correct the errors or missing keys.

Here goes:

1) E minor: Missing key: vii in F Major

3) F Major: Error: I in F Major

4) G diminished: Missing key: vi in Bb Minor Melodic Ascending

5) C# Major: Error: III in Ab Minor, Correct: III in A# Minor

6) Ab minor: Error: vi in Gb Major, Correct: ii in Gb Major

Ok,

You still have an incorrect answer for:

1) E minor

4) G diminshed

I will let you have one more try to see if you can find the answer for these two.

Thanks for this last chance to discover my mistakes. It is always better to be given the opportunity to discover one's own mistakes than to be told them. As a teacher it is obvious you have come to realize that.

Here are my final answers:

1) E Minor: vii in F Major was incorrect. I also discovered the additional instances in the following keys: ii in D Major and iv in B Minor. Are they right?

4) G Diminished: Sorry I couldn't find any error here. Either you yourself are in error or I am missing something! Here at last I need you to point out my error for I cannot discover it myself.

Ok,

You corrected the issue with the E minor example.

For the G diminished, the only key you forgot was Ab Minor (Harmonic and Ascending Melodic). You had Ab Major but forgot the minor. It is vii in both keys.

Thanks. Now I understand it. But it was the most tricky one, wasn't it?

I actually thought that the C# Major would have been the trickiest.

Ok, lets do another.

1) A minor

2) D dminished

3) B Major

4) Eb minor

5) Ab Augmented

6) Gb Major

7) C diminished

Here, at last, are my answers. This time I am quite confident that I have them all correct.

1) A minor – A-C-E

a) i in A Minor (Natural, Harmonic & Melodic Ascending and Descending)

b) iv in C Major

c) iv in E Minor (Natural, Harmonic, and Melodic Descending)

d) ii in G Major

e) iii in F Major

f) v in D Minor (Natural, Melodic Ascending and Descending)

g) ii in G Minor (Melodic Ascending)

2) D diminished – D-F-Ab

vi in F Minor Melodic Ascending (only one)

3) B Major – B-D#-F#

a) V in E Major

b) VII in C# Minor (Natural and Melodic Descending)

c) III in G# Minor (Natural and Melodic Descending)

d) I in B Major

e) IV in F# Major

f) IV in D# Minor (Natural, Harmonic and Melodic Descending)

4) Eb minor – Eb-Gb-Bb

a) ii in Db Major

b) vi in Gb Major

c) iii in Cb Major

d) iv in Bb Minor (Natural, Harmonic, and Melodic Descending)

e) i in Eb Minor (Natural, Harmonic, and Melodic Ascending and Descending)

f) v in Ab Minor (Natural and Melodic Descending)

5) Ab Augmented – Ab-C-E

III in F Minor (Harmonic and Melodic Ascending)

6) Gb Major – Gb-Bb-Db

a) IV in Bb Major

b) I in Gb Major

c) V in Cb Major

d) VI in Bb Minor (Natural, Harmonic, and Melodic Descending)

e) III in Eb Minor (Natural and Melodic Descending)

f) VII in Ab Minor (Natural and Melodic Descending)

7) C diminished – C-Eb-Gb

a) vii in Db Major

b) ii in Bb Minor (Natural, Harmonic, and Melodic Descending)

c) vi in Eb Minor (Melodic Ascending)

Just to get some perspective, how quickly do you give the answers to these questions? Is it automatic for you, or do you still have to figure them out taking some time, or even as I do, consult a list of the sharps and flats of each scale?

What's the benefit of knowing all this? Mind you, I am not questioning the benefit. I just want to know how it might be used in composition or elsewhere so that I can better take advantage of my newly acquired knowledge.

When giving the answers it becomes automatic because one learns hte nature of various scales and triads. So, you really only need to "see" the scale mentally and plug in the triads. In a way, its almost learned and memorized.

The benefit to these exercises is that you begin to understand the relationship between triads and scales. It will be useful in expanding you ability to use harmonies when applying counterpoing, to suggest keys, use surpise or jarring modulations. As you already mentioned, it is forcing you to really get a better understanding on constructing scales and being at home with them. Of course this idea and techinique has a stronger application in a more tonal setting but can be useful in a less tonal work as well.

Now for the answers:

1) A minor - 1 error

2) D diminished - missing keys

3) Correct

4) Correct

5) Correct

6) Gb Major - 1 error

7) Correct

Here are my corrections:

1) A minor: 1 error (I found 2!)

b) vi in C Major (not iv, probably a typo)

f) v in D minor (Natural & Melodic Descending, not Ascending)

2) D diminished - missing keys:

a) ii in C minor Natural, Harmonic, & Melodic Descending

b) vii in Eb Major

6) Gb Major - 1 error

Error = a) IV in Bb Major

Yes,

for 1) a minor it is Descending and not ascending. I guess my eyes glanced over that too quickly.

2) you forgot vii in Eb minor as well.

6) you found the error but did not give the correct response...

Now that I'm back from my long layoff we can resume or lesson.

So, if you need no review of what we went over I'd like for us to continue on with The Dominant 7th chord (V7).

The Dominant 7th chord is very easy to understand. The chord is built on the Dominant degree of the scale (V) and is there for a Major chord. The added ingredient is a minor 7th. Therefore in the key of C Major the Dominant 7th chord is spelled: G-B-D-F. "F" is a mionr 7th away from the root of the chord "G". So the dominant 6th can be described as a Major chord with a minor 7th added. The chord is a very unstable sound to the ears and has a sense that it needs resolution. There are a few reasonson that cause this sensation to the ears. You have the tritone interval between the 3rd of the chord and the 7th, or in this case the notes "B" and "F". So the occurance of the tritone to the ears calls for resolution. Therefore have the sense that 3rd of this chord (the leading tone), in this case the note "B" wanting to resolve up to the tonic while the 7th of the chord which would be the 4th scale degree has a strong desire to resolve down by half step. Keep in mind that this resolution is a traditional resolution and of course not the only option or occurance.

I have included an attachment of the Dominant 7th and its resolution for you to see.

Let me know if you have any questions before we continue.

Dominant 7th.pdf

Welcome back!

First let me close the file of the old lessons by giving my answers to the last lesson:

A) (No. 2) D diminished chord: You said I had missed vii in Eb minor. You meant to say vii in Eb minor harmonic and melodic ascending only, didn't you?

B) (No. 6) G b minor chord: You said I did not give the correct response in place of my error which I identified. My correct response: IV in Db Major.

Now for some questions from the new lesson which is pretty clear:

1) Perhaps I don't know my intervals well. What is the difference between the minor 7th and the major 7th? Minor is 5 tones, Major 5.5? Also, in general, are the Major intervals found in the Major scales and the minor intervals in minor scales; or doesn't it have to do anything with the nature of the scale (whether it is Major or Minor)?

2) You refer to a few reasons that cause the Dominant 7th chord to sound unstable, and mentioned the tritone interval as one. What are the other reasons?

3) Are there other unstable chords in need of resolution? Which ones are they (unless I am jumping into the next lessons)?

Welcome back!

First let me close the file of the old lessons by giving my answers to the last lesson:

A) (No. 2) D diminished chord: You said I had missed vii in Eb minor. You meant to say vii in Eb minor harmonic and melodic ascending only, didn't you?

B) (No. 6) G b minor chord: You said I did not give the correct response in place of my error which I identified. My correct response: IV in Db Major.

Now for some questions from the new lesson which is pretty clear:

1) Perhaps I don't know my intervals well. What is the difference between the minor 7th and the major 7th? Minor is 5 tones, Major 5.5? Also, in general, are the Major intervals found in the Major scales and the minor intervals in minor scales; or doesn't it have to do anything with the nature of the scale (whether it is Major or Minor)?

2) You refer to a few reasons that cause the Dominant 7th chord to sound unstable, and mentioned the tritone interval as one. What are the other reasons?

3) Are there other unstable chords in need of resolution? Which ones are they (unless I am jumping into the next lessons)?

A) Yes, correct.

B) I believe the chord I gave you was Gb MAJOR and not MINOR. I think that is why you made the error. Therefore, you still have an error with this answer but can easily be corrected one you make the mental adjustment from Gb minor to Gb Major.

1) Yes, you are correct regarding the number of step for the minor and Major 7th. A minor 7th is 5 Whole steps while the Major 7th is 5 Whole steps and one half step.

When the term "minor" or "Major" is used to identify an interval is has to do with the number of whole and half steps that creat the interval and not whether or not the scale is Major or minor. Although in we are talking about a specific chord (the Dominant 7th), it can exisit in any key, Major or minor. You just have to remember that this particular chord will be built on the Dominant scale degree (V), it will be a Major chord, and that the additional note (the 7th) will be an interval of a minor 7th from the root (scale degree V). Therefore, in the key of C, the Dominant 7th chord is G-B-D-F. G is the root as it is scale degree V. Therefore the chord built on this degree will be a Major chord. The added note "F" is an interval of a minor 7th from the root note "G".

2) The tritone is one reason. Another reason is the interval of the minor 7th that also calls for resolution.

3) We will eventually get to the other "unstable" chords.

B) I seem to have mistyped 'minor' instead of 'Major'. So my response is still the same: IV in Db Major.

Thanks for the other answers and explanations.

B) I seem to have mistyped 'minor' instead of 'Major'. So my response is still the same: IV in Db Major.

Thanks for the other answers and explanations.

B) yes, correct.

Now I would like for you to build dominant 7th chords in these keys.

1) E Major

2) Bb Major

3) B Major,

4) Db Major

5) C Harmonic minor

6) F Harmonic minor

7) Eb Harmonic minor

8) A Harmonic minor

B) yes, correct.

Now I would like for you to build dominant 7th chords in these keys.

1) E Major

2) Bb Major

3) B Major,

4) Db Major

5) C Harmonic minor

6) F Harmonic minor

7) Eb Harmonic minor

8) A Harmonic minor

1) E Major B - D# - F# - A

2) Bb Major F - A - C - Eb

3) B Major F#-A#-C#-E

4) Db Major Ab- C - Eb- Gb

5) C Harmonic minor G - B - D - F

6) F Harmonic minor C - E - G - Bb

7) Eb Harmonic minor Bb - D - F -Ab

8) A Harmonic minor E - G# - B - D

A question: So the dominant 7th chord can appear only in the harmonic minor and not the melodic or natural minor (deducing from the exercises)?

Your answers are correct.

Before we go on, I want for you to think about the question you asked regarding what types of minors the Dominant 7th chord belongs to and you'll have the answer.

Yes I think the dominant 7th appears only in the Harmonic minor and the Melodic ascending minor, according to my calculations. This is because in the Natural Minor, and the Melodic Descending Minor there is a whole tone step from 7-8 and not a half tone step. And in the Dominant 7th we need a half tone step (or minor second) from 7-8 degree of the scale. This is because instead of a Major triad we would have a minor triad in the the first three notes of the Dominant 7th if we did not have a half step from the seventh degree to the eighth in the scale.

Yes I think the dominant 7th appears only in the Harmonic minor and the Melodic ascending minor, according to my calculations. This is because in the Natural Minor, and the Melodic Descending Minor there is a whole tone step from 7-8 and not a half tone step. And in the Dominant 7th we need a half tone step (or minor second) from 7-8 degree of the scale. This is because instead of a Major triad we would have a minor triad in the the first three notes of the Dominant 7th if we did not have a half step from the seventh degree to the eighth in the scale.

Right. Now I just want for you to try some more. This time I will either give a key or I will give you a Dominant7th chord and you'll have to identify which key(s) it may belong to.

1) D minor

2) A Major

3) Db-F-Ab-Cb

4) C-E-G-Bb

5) F# minor

6) Eb-G-Bb-Db

7) G Major

Right. Now I just want for you to try some more. This time I will either give a key or I will give you a Dominant7th chord and you'll have to identify which key(s) it may belong to.

1) D minor

2) A Major

3) Db-F-Ab-Cb

4) C-E-G-Bb

5) F# minor

6) Eb-G-Bb-Db

7) G Major

1) D minor - A - C# - E

2) A Major E - G# - B

3) Db-F-Ab-Cb Gb Major

4) C-E-G-Bb F Major

5) F# minor C#- E#- G#

6) Eb-G-Bb-Db Ab Harmonic Minor

7) G Major D - F - A

Ok, I have checked you answers.

There is an error with number 7. Otherwise all others are correct.

So please correct number 7 before continuing.

For you next exercise with Dominant 7ths I will give you a note for you to build a dominant 7th chord on.

1) G

2) Bb

3) F

4) Cb

5) G#

6) B

Ok, I have checked you answers.

There is an error with number 7. Otherwise all others are correct.

So please correct number 7 before continuing.

For you next exercise with Dominant 7ths I will give you a note for you to build a dominant 7th chord on.

1) G

2) Bb

3) F

4) Cb

5) G#

6) B

Here is the corrected version of my answers for the previous exercise:

1) D minor - A - C# - E - G

2) A Major - E - G# - B - D

3) Db-F-Ab-Cb Gb Major

4) C-E-G-Bb F Major

5) F# minor C#- E#- G# -B

6) Eb-G-Bb-Db Ab Harmonic Minor

7) G Major D - F# - A - C

(I had mistakenly only built triads and not 7ths, so I added the 7ths in the other answers also in addition to correcting No. 7)

My answers for the new exercise:

1) G : G - B - D - F (C Major/Minor Harmonic Scale)

2) Bb: Bb - D - F - Ab (Eb Major/Minor " " )

3) F : F - A - C - Eb (Bb Major/Minor " " )

4) Cb: Cb - Eb - Gb - Bbb (Fb Major/Minor " " )

5) G#: G# - B# - D# - F## (C# Major/Minor " " )

6) B : B - D# - F# - A (E Major/Minor " " )

Here is the corrected version of my answers for the previous exercise:

1) D minor - A - C# - E - G

2) A Major - E - G# - B - D

3) Db-F-Ab-Cb Gb Major

4) C-E-G-Bb F Major

5) F# minor C#- E#- G# -B

6) Eb-G-Bb-Db Ab Harmonic Minor

7) G Major D - F# - A - C

(I had mistakenly only built triads and not 7ths, so I added the 7ths in the other answers also in addition to correcting No. 7)

My answers for the new exercise:

1) G : G - B - D - F (C Major/Minor Harmonic Scale)

2) Bb: Bb - D - F - Ab (Eb Major/Minor " " )

3) F : F - A - C - Eb (Bb Major/Minor " " )

4) Cb: Cb - Eb - Gb - Bbb (Fb Major/Minor " " )

5) G#: G# - B# - D# - F## (C# Major/Minor " " )

6) B : B - D# - F# - A (E Major/Minor " " )

Ok, the answers to your previous assignment are correct. You have one error in the answers in your new assignment. The error is in No.5...

After you have corrected this error we will continue :)

Ok, the answers to your previous assignment are correct. You have one error in the answers in your new assignment. The error is in No.5...

After you have corrected this error we will continue :)

Here's the corrected No. 5:

5) G#: G# - B# - D# - F# (C# Major/Minor " " )