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Copy file name to clipboardExpand all lines: chapters/foundations/music-fundamentals/fundamentals.tex
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\bookExample{Triads We Need To Know}{./excerpts/triads-to-know.ly}
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In terms of four note chords, also called \emph{seventh chords}, we need to know the \emph{major sixth}, \emph{minor sixth}, \emph{major seventh}, \emph{minor seventh}, \emph{dominant seventh}, \emph{minor 7 flat 5} \emph{dominant seventh flat five}, and \emph{diminished chord}:
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In terms of four note chords, that we refer to as \emph{tetrads}, we need to know the \emph{major sixth}, \emph{minor sixth}, \emph{major seventh}, \emph{minor seventh}, \emph{dominant seventh}, \emph{minor 7 flat 5} \emph{dominant seventh flat five}, and \emph{diminished chord}:
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\bookExample{Seventh Chords We Need To Know}{./excerpts/sevenths-to-know.ly}
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\bookExample{Tetrads We Need To Know}{./excerpts/sevenths-to-know.ly}
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\section{Chord Symbols}
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It may take some time to get familiar with the chords in all of the keys, but it's well worth the struggle. Because quickly recognizing them is an essential skill in jazz. As a short hand jazz, players have devised chord symbols that are placed above a melody that tell you what chords go with said melody. These will be commonly used through out the book:
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It may take some time to get familiar with the chords in all of the keys, but it's well worth the struggle. Because quickly recognizing them is an essential skill in jazz. As a shorthand, jazz players have devised chord symbols that are placed above a melody that tell you what chords go with said melody. These will be commonly used through out the book:
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\bookExample{Attaching Chord Symbols to our Chords}{./excerpts/chord-symbols.ly}
Copy file name to clipboardExpand all lines: chapters/harmonic-concepts/barrys-harmonic-concepts/exposition.tex
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\bookExample{Dominant Seventh Flat Five Diminished Scale of Chords}{./excerpts/dom-7-flat-5-dim.ly}
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\section{Borrowing}
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The concept of \emph{borrowing} is quite similar to the appoggiatura. Looking at the above scale of chords example, we call the diminshed chords, \emph{off chords}. When we talk about borrowing notes, we are talking about play a single chord whose notes belong to the on chord and the off chord. For example, we can play the \MusicChord{root=C, quality=maj6} chord and borrow the \mnote{B} from the \MusicChord{root=D, quality=dim}. We can even do the in sequence like so:
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The concept of \emph{borrowing} is quite similar to the appoggiatura. Looking at the above scale of chords example, we call the diminshed chords, \emph{off chords}. When we talk about borrowing notes, we are talking about play a single chord whose notes belong to the on chord and the off chord. For example, we can play the \MusicChord{root=C, quality=maj6} chord and borrow the \mnote{B} from the \MusicChord{root=D, quality=dim}. We can even do this in sequence like so:
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\bookExample{Borrowing a Notes from the Off Chord}{./excerpts/borrowing-basics.ly}
Barry would often go into a whimsical explanation of where music comes from. He would say that in the beginning God created the twelve notes of the chromatic scale. And, from that scale He divided it in two to create the two whole tone scales. The two whole tone scales are man and woman, because when you combine two notes from each you can create the three diminished chords. When you take the diminished chord and lower a note, you get a dominant chord. If you do this for each of the four notes, you will see that a diminished chord contains four dominant chords. These chords are said to be related, they're \emph{family}. If you raise a note, you get a minor seventh flat five. The minor seventh flat five chords are the what barry called the \emph{minor sixth on the fifth} of each of the dominant chords.
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Barry would often go into a whimsical explanation of where music comes from. He would say that in the beginning God created the twelve notes of the chromatic scale. And, from that scale He divided it in two to create the two whole tone scales. The two whole tone scales are \emph{man} and \emph{woman}. We can see in each diminished chord that, two of the notes come from one whole tone scale, and the other two come from the other whole tone scale. When you take the diminished chord and lower a note, you get a dominant chord. If you do this for each of the four notes, you will see that a diminished chord contains four dominant chords. These chords are said to be related, they're \emph{family}. If you raise a note, you get a minor seventh flat five. The minor seventh flat five chords are the what barry called the \emph{minor sixth on the fifth} of each of the dominant chords.
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