FINAL ENTRY COMPOSITION https://www.arrangeme.com/title/A443572
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LESSON 5B COMPOSITION WORKSHOP This is a composition I have written using the Italian augmented 6 th chord and the V7/V chord. In this video, I am performing the melody above. While in composition class with Mr. Justinian, one of the things he spoke about was the four-bar phrasing. He said once you get the first four-bar phrase, you can easily vary it A few times before switching to something else. The next thing I taught about was how to keep it simple. Therefore, the next thing, I used crotchet notes to develop my chord structures. After completing that, I further added a bit of rhythm to it. After I was pleased with the melody and rhythm, I looked for areas where I could add The Italian augmented 6th chord and the V7/V chord according to class studies.
LESSON 8 Jazz The arrangement below Is consists of three different modes of the melodic minor scale and three different starting pitches of the diminished scale. The first four bars consist of the D melodic minor scale, written in three different moods. The first mode begins in bar three, which is the Dorian b2. The second in bar three is the Lydian augmented. And the 3rd in bar four is the Lydian dominant. Bar five begins the diminished scale. The first scale begins on E. The second starts with A, and the third begins with B. This video is a performance of the scale above.
LESSON 7 POPULAR MUSIC Ø Popular songs came about in the late 19th century. As time progressed, It brought on many changes. After following many changes, today, songs like jazz, hip-hop, metal, and rock are a few genres that evolved from popular songs. Even though there were changes, it incorporated both techniques. These changes made some differences in musical forms, scales, meter, rhythm, and harmony. Tritone substitutions Ø When arranging a tritone substitution, the first thing you may want to do is to consider V 7 /bV 7, which calls for using the dominant 7 th chord. If in the key of C major, the dominant 7 th chord will be G, B, D, F, and the V/V flats will be Db, F, Ab, Cb. B, the enharmonic equivalent to Cb, now is substituting C flat, a tritone of F. The middle row of this diagram shows the V/V tritone substitution and the key to which it belongs. https://th.bing.com/th/id/R.b56845729a739a4b9ff131113e73f290?rik=%2b%2fez3jUy1VDjMA&riu=http%3a%2f%2fwww.apassion4
LESSON 6 AUGMENTED 6 CHORD Ø The focus of this lesson is to construct and resolve The Italian, French and German augmented 6 th chord in the minor key. This image will view Napoleon's 6 th , Italian, French, and German augmented 6th and the cadential 6/4 chord. https://th.bing.com/th/id/R.21f98fdfd0a080e60bf4d46791f7b15d?rik=kB0jbHk8mfahYg&riu=http%3a%2f%2fbeststudentviolins.com%2fLargeExample.jpg&ehk=vGU45hV%2fAdU5FRKyAuXtncTGEyUWrTbQhDIP23N14Zw%3d&risl=&pid=ImgRaw&r=0 Ø When constructing the augmented 6th chord, the first is to place the 6th scale degree in the base for either of them. This image shows how to resolve the Italian, French, and German augmented 6 th chords. https://files.wbk.kreativmedia.ch/c9/ba/c9bacab1-5746-4571-bf05-7197a626c974.jpeg Ø Secondly, above the bass note in the soprano is where to place a sharp 4 th scale degree. This image displays the Italian 6 th chord in a four-part voice using the key of A minor. https
LESSON 5 NEAPOLITAN SIXTH Ø The Neapolitan 6 th chord is a chromatic, flattened supertonic chord , written in its 1st inversion and distinct in its sound. The image on the left displays the second scale degree chord as it appears in a minor scale, a diminished chord, and on the right, the same chord but as a lower second scale degree in 1 st inversion. https://viva.pressbooks.pub/openmusictheory/chapter/bii6/#:~:text=The%20Neapolitan%20sixth%20%28%E2%99%ADII6%29%20%28%E2%99%AD%20I%20I%206%29,of%20a%20iio6%20i%20i%20o%206%20chord . Ø The Neapolitan 6 th chord mainly comes from the second scale degree of the minor scale as a diminished chord. Having the 2 nd degree lower by a semitone, it transforms into a major chord. This image displays the function of the chords as it appears just before a fully diminished 7th chord which is before the dominant. https://viva.pressbooks.pub/openmusictheory/chapter/bii6/#:~:text=The%20Neapolitan%20sixth%20%28%E2%99%ADII6%29%20%28%E2%
LESSON 4 MODAL MIXTURE Ø Modal Mixture: defined as a ‘borrowed chord’; these chords add color and variety to the harmony and come from the parallel keys. This diagram uses the C major scale and the C minor scale to identify the borrowed chord notes highlighted in the C minor scale for the C major scale. https://viva.pressbooks.pub/openmusictheory/chapter/modal-mixture/ Ø Usually, these chords are borrowed from the parallel minor keys and used in Major keys. The chords often used are the flat third, sixth, and seventh degrees, and the most commonly used is the flatten sixth degree. This diagram exhibit notes of the melody and harmony in the C minor scale used as borrowed chords for C major. https://viva.pressbooks.pub/openmusictheory/chapter/modal-mixture/ Ø Using the flattened sixth as a borrowed chord in Major keys affects a few other chords. Such as those of the 2 nd , 4 th , and 7 th degree. This diagram exhibit notes of the melody and harmony in the C minor sca