Category Archives: common tone diminished

You Don’t Have To Play Every Note

Seems that most of the people who are seriously reading this blog are guitar players, so I’m going to take another break from actual guide tone lines and address this one to any guitar player who has encountered a chord … Continue reading

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Posted in changes, chord extensions, chord progression, color tones, common tone diminished, common tones, diminished chords, dissonance, dissonant intervals, harmonic structures, music theory, rhythm | Tagged , , , , , , , | 1 Comment

Part 3: Not Not-Quite-As-Amazing (But Still Useful) Augmented Chord

When we arrive at the “B” section of All The Things You Are, the piece returns to the key of G major, where it started in the verse. Harmonically, this part of the piece consists of nothing more than a … Continue reading

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Posted in cadence, changes, changing keys, chord progression, common tone diminished, common tones, diminished chords, Great American Songbook, harmonic structures, Improvisation, key change, modulation, music theory, Orchestration | Tagged , , , , , , , , , | Comments Off on Part 3: Not Not-Quite-As-Amazing (But Still Useful) Augmented Chord

Going Fourth, Part 2

Before we continue with our analysis of the refrain of Jerome Kern’s  All The Things You Are,  you may wish to go back and review the recording – then review my last post. After you’ve done that, give this a listen: These … Continue reading

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Posted in cadence, changes, changing keys, chord progression, common tone diminished, Great American Songbook, guide tone lines, harmonic structures, key change, modulation, music theory | Tagged , , , , , , , , , , , | Comments Off on Going Fourth, Part 2

Getting From Here To There – Go Fourth…

In the last post, we examined the verse of Jerome Kern’s All The Things You Are – which, while not especially memorable from a melodic standpoint when compared to what follows (Oscar Hammerstein’s lyrics here do set up the refrain … Continue reading

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Posted in baroque composers, baroque era, cadence, changing keys, chord progression, common tone diminished, common tones, diminished chords, dissonance, dissonant intervals, Great American Songbook, guide tone lines, harmonic structures, Improvisation, key change, modal scales, modes, music theory, Orchestration, Shenkerian Analysis | Tagged , , , , , , , , , , , , , , , , , , , , , , , | 3 Comments

The Incredible and Amazing Diminished Seventh Chord

I have to give one of my former instructors credit for this one. Dr. Peter Gries, who until his recent retirement was the music department chairman at my old alma mater, spent quite a bit of time on this in … Continue reading

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Posted in cadence, central washington university, changes, chord progression, common tone diminished, common tones, diminished chords, guide tone lines, harmonic structures, Improvisation, modulation, music theory, neighbor tones, Orchestration, Shenkerian Analysis | Tagged , , , , , , , , , , , , | 11 Comments