Appendix VI - Lesson 4
Simple Chord Analysis
Notes to Appendix VI - Lesson 4
Mickey tells us that is finally time to figure out what we're doing with the chord progressions of two previous lessons. That is, we're holding either a major or minor triad, while we're playing a descending scale, starting at 9 (which is also 2), to 8 (or 1), 7, then ending on 6. Does the concept seem familiar? Way back at Lesson 10 of the Volume 1 course, we discovered that the chord substitutions for Major and minor could be thought of as playing the triad and adding a descending scale, 7 to 6, in C Maj7 to C Maj6 or C min7 to C min6.
So we're just expanding a well known concept, right? Right! We can also go down to 5, which might be useful at times. I'm sure that the reason Mickey stops us at 6 is because a Maj6 chord is useful for endings, and a ii6 (like a D min6 in the key of C) is also a V9 without a root (or a G9 in C). It's also a vii7 chord (or a B min7b5, sometimes referred to as a B 1/2 diminished 7) which likes to resolve to a iii chord (like E min in C).
That's a lot to think about. That's why Mickey gives us a whole week to continue the exercises of Lessons 2 and 3, and to spend more time with conditioning the pinkie. Mickey finally states that if Position 1 is just too difficult now, move up to Position 4 or 5, something we realized in Lesson 2.
To add a little interest, I've written out a couple of variations on these exercises that will add a little fun and interest, plus maybe stimulation of more variations. I'll just do a variation in one position and you can transpose each to any and all keys.
Errata: Sad to say, I've discovered some more errors in this lesson. I think I may have a guess as to why there are so many errors. If you write the key signatures for where these chords are likely to be found, then the errors disappear. So rather than blame Mickey for this (if you find the need to place blame), I'd say a better candidate is the publisher's editors that created the master for publishing.
Bb min9 example: a flat symbol is missing from the third beat (should be Ab). Bb min is the ii of Ab and if there were an Ab key signature this wouldn't have happened.
F min9 example: a flat symbol is missing from the third beat (should be Eb). F min is the ii of Eb.
F Maj9: It's OK.
Bb Maj9: A flat symbol is missing from the second beat (should be a Bb or the root). Bb Maj of course is the I or tonic of Bb.
Be sure to check out some of the variations I've given. If you come up with some variations that you're proud of, send them to me and I'll add them to the lesson.
Keep on having FUN!