HOSTS- Jeremy Burns, Matthew Scott Phillips
TYPE- Ear Training
BUMPER MUSIC- "The Secondary Jig" (Area 47 Music)
ANNOUNCER- Mike Cunliffe
Continuing where episode 63 left off, this episode will review our previous discussions on diatonic chords and secondary functions. We will now add the secondary seven of V and seven of ii (iiº) chords. Listen for the chord qualities and use your theory brain to find out how to decipher these chord progressions. Use this skill to learn songs faster and know music better!
-See the second chord in the first measure. This chord is a diminished chord built on scale degree #4 (F#), in the bass and tenor voices.
-In the key of C major, the F#º is a CHROMATIC chord. It is the SECONDARY DOMINANT of the V chord (G major). The once natural F, is now an F#. It is acting as the LEADING TONE, moving up to the G (scale degree 5) in the chord that follows.
-The viiº/V in minor is the same chord as it is in major. Again, this chord is a diminished chord built on scale degree #4 (F#) that resolves to scale degree 5 (G).
-See the second chord in the first measure. This chord is a diminished chord built on scale degree #1 (C#), in the soprano voice.
-In the key of C major, the C#º is a CHROMATIC chord. It is the SECONDARY DOMINANT of the ii chord (D minor). The once natural C, is now a C#. It is acting as the LEADING TONE, moving up to the D (scale degree 2) in the chord that follows.
-Like the viiº/V example, the viiº/ii in minor is the same chord as it is in major. Again, this chord is a diminished chord built on scale degree #1 (C#) that resolves to scale degree 2 (D). The difference is that we have a diminished chord passing to another diminished chord. That's okay!
In this episode, our first example features a V/V chord, rather than the SECONDARY SEVEN chord, our focus. For more on that, check out episode 63. Meanwhile, we will skip to the next (2nd) example for our notated aids. Key of C major!
Let's take four listens to identify this chord progression. Below is a good strategy on how to use your listens wisely for each time the progression is played.
1st LISTEN-THE BASS
Use this listen to focus on the bass line. In our first example, we hear the following scale degrees in the bass, beginning with scale degree 1 (C):
1 - 4 - #4 - 5 - 1
3rd LISTEN-THE THEORY BRAIN
Something harmonic is coming together! We now have enough information to ENGAGE OUR THEORY BRAIN and start making educated guesses at how this progression might develop. Here's an example of the process:
Ideally, this listen will be your confirmation listen. Check out all the voices you filled in and make sure they make sense with what you're hearing.
Here's what it will look like:
NOW LISTEN AS WE APPLY THIS APPROACH TO THE NEXT EXAMPLES
-When trying to determine which scale degree is in the highest voice, try singing down the scale from that note. If you feel you've reached the TONIC on the 3rd note down, that note is the 3rd. If you can keep going, perhaps not.
-Try practicing progressions using these chords, using CHORALE or KEYBOARD styles.
-Don't neglect the MINOR keys while working on these progressions.
-Try to get good at singing "in your head" or to your self. When you hear a chord, try to arpeggiate the notes in your head.
-Try to get good at identifying the bass lines when listening to music. These will be the first that you will want to identify when taking your listening exams.
-Budget your listens wisely. First identify the lowest notes. Second, identify the highest notes. Use the third listen to engage your theory brain and then the fourth to confirm.
MUSIC STUDENT 101