Showing posts with label Nonchord tone. Show all posts
Showing posts with label Nonchord tone. Show all posts

What Are Blue Notes?

blue notes

I wanted to share a music article with you that I wrote awhile back. Are you familiar with the term Blue Notes?

Blue notes are specific flattened tones used in jazz and rock melodies. They create a specific quality of sound known as "blue."

When I play a simple melody line from a nursery song, like London Bridges, it is easy to pull out the melody of a familiar tune. If I wanted to color in more sound, like adding color to a painting with crayons and paints, then I would throw in an Eb note that moves to the E note.

Blue notes like to return to their neighbor tone one half step higher. Blue notes and their half step higher tones add a special feeling that first sounds a bit dark, then it has a lighter sound to the song.
 Neighboring tones lead to chord tones. Let's talk a little more about these neighboring tones when the melody goes back and forth with a non-harmonic tone that is a half or whole step placed in the melody.

An upper neighboring tone is a note that is chromatically and/or diatonically above another note. When we talk about a lower neighboring tone, we say that is a note diatonically or chromatically below another note.

Why do we use these specific tones? Well, they serve as a way for the piano player to improvise. When we flat a tone that will provide the melody line with that tension and release sound. Remember that neighboring tones are non-harmonic. Usually you will play them on a weak beat.
blue note in music


Here are a few written examples of music notes to play in a measure. Start with single notes in your right hand.

Example One:

B, B, Bb, B, D.

Example Two:
D, Eb (blue note), E, C, D, C.

Blue notes are flattened tones on the 3rd and 5th steps of the major scale that always return to the neighboring tone one half step higher. They make a huge difference in sound. Begin by playing these notes in a row to hear what I am saying: C, D, Eb, E, F, Gb, G.

Just within one measure, you will find places to add blue notes for improvising. The choice is yours. Here is what I mean. Play these single notes for one measure that receives four beats to the measure. So that means you will be playing some eighth notes along with quarter notes; Eb to E, Eb to E then play Gb to G.

Have fun creating new melodies with Blue Notes.
You may be interested in Backpocket Band Software
 Best,





"The beautiful thing about learning is that no one can take it away from you." B.B.King
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Passing Tones: Lee Evans



 I have learned music theory from one of my favorites, Lee Evans. He wrote an article in one of my Jazz Magazines about melodic embellishment and ornamentation in jazz. The content is divided into four categories. I wanted to share it with all of my many readers who have asked me about passing tones.

1. Weak beat ornaments


2. Strong or weak beat ornaments


3. Other ornamental devices


4. Combinations of devices from the above 3 categories

So, let's talk about weak beat ornaments. In the examples, I'm talking about single notes and the note highlighted in red is what I'm talking about.

Passing Tone - a chromatic tone between two adjacent scale tones. In traditional usage, half or whole step scale notes which, in a melody, pass between the tones of a triad or chord are sometimes referred to as passing tones. Only half-step tones occurring between adjacent scale notes will be called passing tones in this article.

Example: C to C# to D, then D, Db, C.

Anticipation Tone - an anticipation tone between two adjacent scale tones.

Example: C to D, D or E, D to D

Echappee - a tone occurring between two adjacent scale tones, the motion to the ornamenting tone being contrary to the motion between the scale tones.

Example: C, B to D then C, D, B

Cambiata - a tone occurring between two adjacent scale tones, the motion to the ornamenting tone being the same as the motion between the scale tones.

Example: C, A, B then C, E, D


Neighbor Tone (upper or lower) - a half or whole-step tone occurring between two of the same tones.

Example: C, C#, C and C, D, C. C, Bb, C then C, B, C

For the strong or weak beat ornament:

Jazz Appoggiatura - a leaping tone (an interval larger than a 3rd) which then moves a major or minor 2nd in the opposite direction. (Note that a jazz appoggiatura is a melodic embellishment that does not take into consideration the harmonic or rhythmic implications of the traditional appoggiatura.

Example: C, Gb, F then C, F#, G to C, G, F and C, F, G

Regarding ornamental devices:

Grace Note - an ornamental tone whose time value is not counted in the rhythm.

Example: B to C and D to C

Repeated Tone

Example: F to E (original motive) then F, F to E (repeated tone embellishment)

Tremelo - the rapid alternation of two tones.

Example: C to E, (tremelo) play C, E, C tremelo embellishment (in fragmentation)

Scale Tones - tones found in any scale other than the chromatic scale. (Chromatic  scale tones would be heard as passing tones.)

Example: C to G (original motive) then C, E, F, G (scale tone embellishment)


Chord Tones - tones outlining any chord, including altered chords.

Example: C to C (original motive) then, C, E, G, A, C c(chord tone embellishment)

Free Tone - an ornamental tone having no relationship to any chord being sounded.

Example: G (G7/D), to F# then C

I think that's tons of information for now. There's so many combination examples to write out that I'll skip the final part but you get the idea. Here are some more related former posts:

Passing-chords

Neighboring-tones

Passing-tones

Three-steps-to-passing-chords

Until next time, be sure and stop by and take a look at this music resource, Song Robot







"The beautiful thing about learning is that no one can take it away from you." B.B.King
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Release Your Power: Passing Chords Series

On page 252 of Jermaine Grigg's, The secrets To Playing Piano By Ear, he explains Passing Tones and Neighboring Tones. As a piano teacher I am continually using this wonderful resource book for information on music theory. Yes, I am an affiliate member and have many of the Hear and Play music products in my library that I personally have reviewed. This music theory book is complete. Piano Course


Jermaine Griggs, the founder of http://www.hearandplay.com
explains passing chords:

"Most melodies include tones that are not apart of the chord used for harmony. These non-chord tones are called NON-HARMONIC TONES. When a melody passes from one chord tone to a different chord tone with a non-harmonic tone (a half or whole step) between, the non-harmonic tone is called a PASSING TONE."
I thought I would enclose a song for you to practice chord tones with. I've enjoyed sharing some information regarding passing tones on this series with you.

Jermaine Griggs, teaching folks how to play the piano by ear continues with neighboring tones from
Learn The Secrets To Playing Piano By Ear

"When a melody passes from one chord tone back to the same chord tone with a non-harmonic tone (a half or whole step) between, the non-harmonic tone is called a NEIGHBORING TONE. It is an UPPER NEIGHBORING TONE when it is above the chord tone, and a LOWER NEIGHBORING TONE when it is below the chord tone."


 "Release Your Power" feat. Jimmie Thomas
on the "T.D. Jakes Presents WTAL Worship 2002 : Run To The Water…The River Within" album
arr. by pp
Key : F to Ab

* L.H./R.H. notes - (chord/bass) symbols - words
* (,) notes in parentheses are single notes [runs/riffs]
* everything to left of slash is bass [either single notes or bass runs]/
* /everything to right of slash is done in right hand [either chords, single notes or runs]

Verse 1:

F/CFA – (FM) – Lord
F/BbDG – (Gm/F) - we
F/CFA – (FM) – pro-
F/DGBb – (Gm/F) -claim
F/CFA – (FM)– You
E/CDG – (CM(add9)/E) - now
/(F,G) – and Your
F/CFA – (FM) – migh-
A/GCF – (FM(add9)/A) –ty
Bb/FACD – (BbM9) - power
/(D,E) – and Your
A/GCF – (FM(add9)/A) – awe-
D/FAC – (Dm7) -some
G/FBbD – (Gm7) - ma
/(E) -ja
C/GCE – (CM) – sty

D/BbCF – (BbM(add9)/D) – (passing)
E/CDG – (CM(add9)/E) – (passing)

F/CFA – (FM) – Lord
F/BbDG – (Gm/F) - come
F/CFA – (FM) – u-
F/DGBb – (Gm/F) -pon
F/CFA – (FM)– us
E/CDG – (CM(add9)/E) - now
/(F,G) – and re-
F/CFA – (FM) –lease
A/GCF – (FM(add9)/A) – Your
Bb/FACD – (BbM9) - power
/(D,E) – and
A/GCF – (FM(add9)/A) – let
D/FAC – (Dm7) - Your
G/FBbD – (Gm7) - pre
C/GCE – (CM) –sence
FEb/GBbDF – (EbM9/F) – fa-
FEb/GbADF – (EbmM9(b5)/F) –a-
FD/FACF – (Dm7/F) –a-
FDb/FGCF – (DbM7(b5)/F) –a-
FC/GACF – (FM(Add9)) -all

C/BbFGC – (C7sus4) – (passing)
C/BbEGC(Bb) – ( C7) – (passing)

(repeat verse)

Chorus:

C/BbFGC – (C7sus4) – (passing)
C/BbEGC – ( C7) – (passing)

C/CFA – (FM/C) – O-
Bb/DGBb – (Bb6) –h
A/FAC – (FM/A) – Lo-
/DGBb
/CFA
Bb/DGBb – (Bb6) –o-
/CFA
/ACF
C/CDEG – (CM(add9)) -ord

D/ADF – (Dm) – (passing)
E/CEG – (CM(add9)/E) – (passing)

C/CFA – (FM/C) – O-
Bb/DGBb – (Bb6) –h
A/FAC – (FM/A) – Lo-
/DGBb
/CFA
Bb/DGBb – (Bb6) –o-
/CFA
/ACF
C/CDEG – (CM(add9)) -ord

/(A) -Re
F/CFA – (FM) –lease
A/GCF – (FM(add9)/A) – Your
Bb/FACD – (BbM9) – po
A/DbFGC – (A7(#5add#9)) -wer
/(D,E) – and
D/GCF – (Dm7) – let
D/FAC – (Dm7) - Your
G/FBbD – (Gm7) - pre
C/GCE – (CM) –sence

FEb/GBbDF – (EbM9/F) – fa-
FEb/GbADF – (EbmM9(b5)/F) –a-
FD/FACF – (Dm7/F) –a-
FDb/FGCF – (DbM7(b5)/F) –a-
FC/GACF – (FM(add9)) -all

C/BbFGC – (C7sus4) – (passing)
C/BbEGC – ( C7) – (passing)

C/CFA – (FM/C) – O-
Bb/DGBb – (Bb6) –h
A/FAC – (FM/A) – Lo-
/DGBb
/CFA
Bb/DGBb – (Bb6) –o-
/CFA
/ACF
C/CDEG – (CM(add9)) -ord

Key Change (F to Gb):

Db/AbDbF – (DbM) – (passing)
Eb/BbEbGb – (Ebm) – (passing)
F/DbFAb – (DbM/F) – (passing)

Db/DbGbBb – (GbM/Db) – O-
B/EbAbB – (B6) –h
Bb/GbBbDb – (GbM/Bb) – Lo-
/EbAbB
/DbGbBb
B/EbAbB – (B6) –o-
/DbGbBb
/BbDbGb
Db/DbEbFAb – (DbM(add9)) –ord

/(Bb) -Re
Gb/DbGbBb – (GbM) –lease
Bb/AbDbGb – (GbM(add9)/Bb) – Your
B/GbBbDbEb – (BM9) – po-
Bb/DGbAbDb – (Bb7(#5add#9)) -wer
/(Eb,F) – and
Eb/BbDbGb – (Ebm7) – let
Eb/GbBbDb – (Ebm7) - Your
Ab/GbBEb – (Abm7) - pre
Db/AbDbF – (DbM) –sence

GbE/AbBEbGb – (EM9/Gb) – fa-
GbE/GBbEbGb – (EmM9(b5)/Gb) –a-
GbEb/GbBbDbGb – (Ebm7/Gb) –a-
GbD/GbAbDbGb – (DM7(b5)/Gb) –a-
GbDb/AbBbDbGb – (GbM(add9)) -all

Db/BGbAbDb – (Db7sus4) – (passing)
Db/BFAbDb – ( Db7) – (passing)

Db/DbGbBb – (GbM/Db) – O-
B/EbAbB – (B6) –h
Bb/GbBbDb – (GbM/Bb) – Lo-
/EbAbB
/DbGbBb
B/EbAbB – (B6) –o-
/DbGbBb
/BbDbGb
Db/DbEbFAb – (DbM(add9)) –ord

Key Change (Gb to G):

D/ADF# – (DM) – (passing)
E/BEG – (Em) – (passing)
F#/DF#A – (DM/F#) – (passing)

D/DGB – (GM/D) – O-
C/EAC – (C6) –h
B/GBD – (GM/B) – Lo-
D/EAC – (Am/D) –o-
G/DGB – (GM) –o-
C/EAC – (C6) –o-
A/DGB – (GM/A) –o-
C/BDEG – (CM9) –o-
D/DEF#A – (DbM(add9)) –ord

/(B) -Re
G/DGB – (GM) –lease
B/ADG – (GM(add9)/B) – Your
C/GBDE – (CM9) – po-
B/D#GAD – (B7(#5add#9)) -wer
/(E,F#) – and
E/BDG – (Em7) – let
E/GBD – (Em7) - Your
A/GCE – (Am7) - pre
D#/ACF# – (D#dim7) –sence
E/BDG – (Em7) – fa-
F#/DEA – (F#M(add9)) –all
(repeat as desired)

/(B) -Re
G/DGB – (GM) –lease
B/ADG – (GM(add9)/B) – Your
C/GBDE – (CM9) – po-
B/D#GAD – (B7(#5add#9)) -wer
/(E,F#) – and
E/BDG – (Em7) – let
E/GBD – (Em7) - Your
A/GCE – (Am7) - pre
D/ACF# – (DM) –sence

GF/ACEG – (FM9/G) – fa-
GF/GBEG – (FmM9(b5)/G) –a-
GE/GBDG – (Em7/G) –a-
GD/GADG – (DM7(b5)/G) –a-
GD/ABDG – (GM(add9)) -all

D/CGAD – (D7sus4) – (passing)
D/CF#AD – ( D7) – (passing)

D/DGB – (GM/D) – O-
C/EAC – (C6) –h
B/GBD – (GM/B) – Lo-
/EAC –o-
/DGB –o-
C/EAC – (C6) –o-
/DGB –o-
/BDG –o-
D/DEF#A – (DbM(add9)) –ord

Key Change (G to Ab):

Bb/CDbFAb – (Bbm9) – (passing)
B/BDFAb – (Bdim7) – (passing)

-Oh
C/BbEbEAb – (C7(#5add#9)) – Lo-
Db/CEbFAb – (DbM9) –o-
D/CFBb – (BbM(add9)) –o-
Eb/EbFGBb – (EbM(add9)) -ord

/(C) -Re
Ab/EbAbC – (AbM) –lease
C/BbEbAb – (AbM(add9)/C) – Your
Db/AbCEbF – (DbM9) – po-
C/EAbBbEb – (C7(#5add#9)) -wer
/(F,G) – and
F/CEbAb – (Fm7) – let
F/AbCEb – (Fm7) - Your
Bb/AbDbF – (Bbm7) - pre
E/BbDbG – (Edim7) –sence
F/CEbAb – (Fm7) – fa-
G/EbFBb – (GM(add9)) –all
(repeat as desired)

/(C) -Re
Ab/EbAbC – (AbM) –lease
C/BbEbAb – (AbM(add9)/C) – Your
Db/AbCEbF – (DbM9) – po-
C/EAbBbEb – (C7(#5add#9)) -wer
/(F,G) – and
F/CEbAb – (Fm7) – let
F/AbCEb – (Fm7) - Your
Bb/AbDbF – (Bbm7) - pre
Eb/BbEbG – (Edim7) –sence

Ending:

Ab/GbBbDbF – (GbM7/Ab) – Fa
Ab/GbACF – (GbmM7(b5)/Ab) –a-
Ab/FAbCEb – (Fm7/Ab) –a-
Ab/EAbBbEb – (EM7(b5)/Ab) –a-
Ab/GbBbDb – (GbM/Ab) – a-
Ab/GbAC – (GbmM(b5)/Ab) –a-
Ab/FAbC – (Fm/Ab) -all
Ab/EAbBb – (EM(b5)/Ab)
(repeat as desired)

AbG/CEbFBb – (AbM13) - Fall


All the best,
Lady D

Charlie Parker once said "Learn the changes and then forget them."
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Neighboring Tones Series

 A neighbor tone (NT) or auxiliary note (AUX) is a nonchord tone that passes stepwise from a chord tone directly above or below it (which frequently causes the NT to create dissonance with the chord) and resolves to the same chord tone:
http://en.wikipedia.org/wiki/Nonchord_tone


In practice and analysis, neighboring tones are sometimes differentiated depending upon whether or not they are lower or higher than the chord tones surrounding them. A neighboring tone that is a step higher than the surrounding chord tones is called an upper neighboring tone or an upper auxiliary note while a neighboring tone that is a step lower than the surrounding chord tones is a lower neighboring tone or lower auxiliary note.

Learn 12 Secret gospel passing chords from http://www.gospel-chords.com


Here are some Passing and Neighboring Tones in the Melody:

1. CEG/ C, Passing Tone D, E  Chord Tones in melody- C-E-G
(play these single notes in r.h. melody)


2. FAC/ A,  Passing Tone G, F Chord Tones in melody-F-A-C


3. DFA/ D, Upper Neighbor E, Chord Tone D


4. GBD/ G, Lower Neighbor F, Chord Tone G


The G, B, and D notes of the G chord can be played in succession, one after the other, as another way  to harmonize the melody.


What are neighboring tones?


NEIGHBORING TONES


A non harmonic embellishing tone (note) can usually be found in the melody between two chord tones (notes) of the same pitch. It's an "upper neighbor", if the non harmonic tone is a scale step (either a whole or half step) ABOVE the previous chord tone and a "lower neighbor", if it's a scale step BELOW. 

One of my favorite Dvd resources is shown on this short clip by Jonathan Powell from http://www.hearandplay.com:

Gospel Keys Urban Pro Clip - Learn Phat Passing Chords 

Gospel Keys Urban Pro


All the best,
LadyD




Charlie Parker once said "Learn the changes and then forget them."
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