Tag Archives: chord extensions

Colors of the Wind – Guide Tone Lines Revealed, Part II

As you may recall from the first post about this particular piece, the harmonic structures in the bridge are more sophisticated than the rest of the song. This is due to the use of an extended chord, in the word … Continue reading

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Colors of The Wind (The Song)

Before I continue on from where I left off  with 13th chords back on Friday the 13th of April, I’m going to respond to a request made by one of my readers and take a look at a modern pop … Continue reading

Posted in alan menken, algonquian, changes, chord extensions, chord progression, color tones, disney musicals, dissonance, dissonant intervals, film scores, guide tone lines, harmonic structures, Hollywood Scores, john smith, key change, modal scales, music theory, pentatonic scale, pocahantas, powhatan indian, stephen schwarz, us history | Tagged , , , , , , , , , , , , , , , , , , | 8 Comments

Lucky Thirteenth

Today being Friday the 13th, I thought this might be an appropriate topic. However, if you suffer from triskedekaphobia (fear of the number 13), you may want to skip this one. On the other hand, if you’re looking to get … Continue reading

Posted in 12 bar blues, 13th chords, blues progression, changes, chord extensions, chord progression, color tones, common tones, film scores, flatted seventh, guide tone lines, guitar shortcuts, harmonic structures, Hollywood Scores, mathematics, thirteenth chords, truncated chords, truncated guitar chords, truncated harmonies, Uncategorized | Tagged , , , , , , , , , , , , , , , , , , , , , , | Comments Off on Lucky Thirteenth

The Shell and More

When it comes to extended harmonies, the most important tones are the third, seventh and ninth. So, in the key of C (major, dominant and minor), these are: Of course, this doesn’t make much sense in the ear until the … Continue reading

Posted in changes, chord extensions, chord progression, color tones, guide tone lines, guitar shortcuts, harmonic structures, modal scales, modes, music theory, truncated chords, truncated harmonies | Tagged , , , , , , , , , , , , , , , , , | 1 Comment

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

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

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

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

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

A Tale of Two Ditties

Actually, it’s two versions of the same ditty – in this case, the Harry Warren example we’ve been working with so far. You’ll remember the first version in which we simply used the guide tone lines. Here’s what it looks … Continue reading

Posted in chord progression, common tones, contrary motion, counterpoint, Great American Songbook, guide tone lines, harmonic structures, neighbor tones, Orchestration | Tagged , , , , , , , , , , , , , , | 2 Comments

Guide Tone Lines In Action, Part 3 – Colors of the Winds

So – what’s wrong with the guide tone line in the second ending in terms of orchestration? Nothing, provided we drop the line an octave. In simplest terms, the second ending of the “A” section in the current example (Harry … Continue reading

Posted in Big Bands, cadence, changes, chord progression, common tones, counterpoint, Great American Songbook, guide tone lines, harmonic structures, Hollywood Scores, Improvisation, Orchestration | Tagged , , , , , , , , , , , , , , , | 1 Comment