The Complete Idiot''s Guide to Music Theory

Tip

---

Exercises
Exercise 15-1
Find and correct the voice-leading errors in the following piece of harmony.
Part 5:
Embellishing
Realize, however, that this is one rule that’s definitely meant to be broken. There
are so many instances of close harmony out there that it’s hard to argue against
the practice. The problem is that this type of close harmony is difficult to pull
off; especially for beginners. Wait until you’re more comfortable with your har-
mony and counterpoint before you try writing voices this close together.
The Least You Need to Know
◆
Harmony is a vertical combination of notes within the underlying chord
structure; counterpoint is an integrated series of horizontal melodies relat-
ing to the underlying chords.
◆
Harmony is facilitated when you vary chord voicings throughout a pro-
gression.
◆
Each harmony part must be singable on its own and follow established
voice leading conventions.
◆
Each melody within a counterpoint should be able to function as a stand-
alone melody, and at the same time complement the other melodies.
◆
Whether you’re creating harmony or counterpoint, you should generally
avoid extended movement in parallel fourths, fifths, or octaves—especially
in classical music. (Popular music typically has fewer—and looser—
conventions.)
200

---

Chapter 15:
Harmony and Counterpoint
201
Exercise 15-2
Create two-voice harmony for the following melody, using half notes and quarter notes.
Exercise 15-3
Create a second melody part in counterpoint to the following melody.
Exercise 15-4
Based on the following chord progression, create a two-voice counterpoint.

---

---

16
Chord Substitutions and
Turnarounds
In This Chapter
◆
Learn how to spice up boring chord progressions with extensions
◆
Discover how to alter a chord’s bass note and play two chords simultaneously
◆
Master the art of chord substitution
This section of the book is all about embellishing your music. You can embellish
your melody with harmony and counterpoint (as you learned in the previous
chapter); embellish individual notes (as you’ll learn in the next chapter); and
embellish your chords and chord progressions.
Which is what this chapter is all about.
Even if you’re stuck with a boring I-IV-V progression, there is still a lot you
can do to put your own personal stamp on things. For example, you don’t have
to settle for precisely those chords; you can extend the chords, alter the bass
line, and even substitute other chords for the originals. You’ll still maintain the
song’s original harmonic structure—more or less—but you’ll really jazz up the
way things sound.
All this will impress your listeners and fellow musicians. A few key chord alter-
ations and substitutions will make folks think you have the right touch—and
that you really know your music theory!
Extending a Good Thing
The simplest way to spice up a boring chord progression is to use seventh chords,
or even add a few extensions beyond that. As you learned back in Chapter 9, the
basic chord is a triad consisting of the 1-3-5 notes. When you start adding notes
on top of the triad—sevenths, ninths, and elevenths—you’re extending the
chord upward.
Chapter

---