{"id":13034,"date":"2016-10-27T00:00:00","date_gmt":"2016-10-27T08:00:00","guid":{"rendered":"http:\/\/www.hearandplay.com\/main\/?p=13034"},"modified":"2024-10-07T15:25:10","modified_gmt":"2024-10-07T23:25:10","slug":"harmonization-of-the-major-scale-using-drop-2-voicing-neighboring-chord-couples","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/harmonization-of-the-major-scale-using-drop-2-voicing-neighboring-chord-couples\/","title":{"rendered":"Harmonization 202: “Drop-2 Voicings” Of Neighboring Chord Couples"},"content":{"rendered":"

If you want to take your knowledge of the harmonization of the major scale to another level, then this lesson is for you.<\/p>\n

In a previous lesson, we began an intensive study on the harmonization of the major scale using two chords (aka – “the neighboring chord couple<\/a>“). To take you a step further, you’ll be learning how to revolutionize this harmonization using the drop-2 voicing concept.<\/p>\n

Let’s get started by reviewing the neighboring chord couple concept.<\/p>\n

Harmonization Using The Neighboring Chord Couple Concept<\/h2>\n

Right before we talk about harmonization <\/em>which is our subject, let’s define harmony<\/strong>.<\/p>\n

There are twelve musical notes:
\n
\n…and the relationship between these notes produces music.<\/p>\n

In a previous lesson, we learned that the relationship between notes can either be classified as melodic or harmonic. The relationship between notes that are heard separately produces melody<\/strong> while the relationship between notes that are heard together produces harmony.<\/strong><\/p>\n

“What Is Harmonization?”<\/em><\/h3>\n

Harmonization is the musical process of adding notes to a melody to produce harmony. Let’s use the melody of the song Mary Had A Little Lamb<\/em> as an example.<\/p>\n

Ma:
\n
\n…ry:
\n
\n…had:
\n
\n…a:
\n
\nLi:
\n
\n…ttle:
\n
\n…lamb:
\n
\nThe addition of notes to every note in the melody (Mary had a little lamb) harmonizes it.<\/p>\n

“Check It Out…”<\/em><\/p>\n

Ma:
\n
\n…ry:
\n
\n…had:
\n
\n…a:
\n
\nLi:
\n
\n…ttle:
\n
\n…lamb:
\n
\nIt is important for every serious musician who wants to learn about harmonization to start with the harmonization of the tones of traditional scales<\/a> like the natural major<\/a> and natural minor<\/a> scales. However, in this lesson we’ll be focusing on the former – the natural major scale.<\/p>\n

There are a variety of approaches to the harmonization of the tones of the major scale and we’re focusing on the neighboring chord couple concept.<\/p>\n

The Neighboring Chord Couple Concept To The Harmonization Of The Tones Of The Major Scale<\/h3>\n

The neighboring chord couple concept is a technique in harmonization that harmonizes six (out of the seven) tones of the natural major scale using only two adjacent chords.<\/p>\n

In the key of C major:
\n
\n…the scale degree triads of the first and second degrees – which are the C major:
\n
\n…and D minor:
\n
\n…triads are used to harmonize six tones of the C natural major scale:
\n
\n“Here’s How It Works…”<\/em><\/p>\n

C:
\n
\n…is harmonized by the first inversion of the C major triad:
\n
\nD:
\n
\n…is harmonized by the first inversion of the D minor triad:
\n
\nE:
\n
\n…is harmonized by the second inversion of the C major triad:
\n
\nF:
\n
\n…is harmonized by the second inversion of the D minor triad:
\n
\nG:
\n
\n…is harmonized by the root position of the C major triad:
\n<\/p>\n

A:
\n
\n…is harmonized by the root position of the D minor triad:
\n
\nC:
\n
\n…is harmonized by the first inversion of the C major triad:
\n
\nThat’s basically how the notes of the natural major scale (save the seventh) can be harmonized using neighboring chords.<\/p>\n

We’ll be spicing up this harmonization concept with the drop-2 voicing concept. However, before going into that, it is important that we take a closer look at the drop-2 voicing concept.<\/p>\n

A Short Note On The Drop-2 Voicing Concept<\/h2>\n

Voicing is the consideration of the notes of a chord as voices or voice parts. In any given chord, the voices are numbered from the highest in pitch to the lowest in pitch.<\/p>\n

In the C major seventh chord:
\n
\n…the first voice (aka – “soprano”) is B:
\n
\n…the second voice (aka – “alto”) is G:
\n
\n…the third voice (aka – “tenor”) is E:
\n
\n…and the fourth voice (aka – “bass”) is C:
\n
\nDue to the consideration of chord tones as voices, the voices are rearranged using certain rearrangement techniques known as voicing techniques.<\/em><\/p>\n

The “drop-2” voicing technique is one of the voicing techniques that lowers the second voice<\/strong> (aka – “the alto voice”) in a chord by an octave.<\/p>\n

In the C major triad<\/a>:
\n
\n…the first voice is G:
\n
\n…the second voice is E:
\n
\n…and the third voice is C:
\n
\nUsing the “drop-2” voicing technique, we can rearrange the C major triad by lowering the second voice (which is E):
\n
\n…by an octave (to this E):
\n
\n…to produce the “drop-2” voicing of the C major triad:
\n
\nFollowing the same procedure, the “drop-2” voicing of any given triad or seventh chord can be derived.<\/p>\n

Harmonization Using The “Drop-2 Voicing” Of Neighboring Chord Couples<\/h2>\n

In this practical segment, we’ll be applying the “drop-2” voicing concept to the harmonization of the major scale using the neighboring chord couples we learned in an earlier segment.<\/p>\n

A vast majority of your favorite gospel piano players use this technique and that’s why you need to learn and master it in all white keys – from C to B.<\/p>\n

Activity #1 – Harmonization Using The “Drop-2 Voicing” Of Neighboring Chord Couples In The Key Of C<\/h3>\n

Harmonization of the first tone (C):
\n
\n…using a drop-2 voicing of the C major triad in first inversion:
\n
\nAttention:<\/strong> The triad above should be played as E-C on the right hand, over G on the bass. Kindly treat other “drop-2 voicing” as such.
\nHarmonization of the second tone (D):
\n
\n…using a drop-2 voicing of the D minor triad in first inversion:
\n
\nHarmonization of the third tone (E):
\n
\n…using a drop-2 voicing of the C major triad in second inversion:
\n
\nHarmonization of the fourth tone (F):
\n
\n…using a drop-2 voicing of the D minor triad in second inversion:
\n
\nHarmonization of the fifth tone (G):
\n
\n…using a drop-2 voicing of the C major triad in root position:
\n
\nHarmonization of the sixth tone (A):
\n
\n…using a drop-2 voicing of the D minor triad in root position:
\n
\nHarmonization of the eighth tone (C):
\n
\n…using a drop-2 voicing of the C major triad in first inversion:
\n<\/p>\n

Activity #2 -Harmonization Using The “Drop-2 Voicing” Of Neighboring Chord Couples In The Key Of D<\/h3>\n

Harmonization of the first tone (D):
\n
\n…using a drop-2 voicing of the D major triad in first inversion:
\n
\nHarmonization of the second tone (E):
\n
\n…using a drop-2 voicing of the E minor triad in first inversion:
\n
\nHarmonization of the third tone (F#):
\n
\n…using a drop-2 voicing of the D major triad in second inversion:
\n
\nHarmonization of the fourth tone (G):
\n
\n…using a drop-2 voicing of the E minor triad in second inversion:
\n
\nHarmonization of the fifth tone (A):
\n
\n…using a drop-2 voicing of the D major triad in root position:
\n
\nHarmonization of the sixth tone (B):
\n
\n…using a drop-2 voicing of the E minor triad in root position:
\n
\nHarmonization of the eighth tone (D):
\n
\n…using a drop-2 voicing of the D major triad in first inversion:
\n<\/p>\n

Activity #3 – Harmonization Using The “Drop-2 Voicing” Of Neighboring Chord Couples In The Key Of E<\/h3>\n

Harmonization of the first tone (E):
\n
\n…using a drop-2 voicing of the E major triad in first inversion:
\n
\nHarmonization of the second tone (F#):
\n
\n…using a drop-2 voicing of the F# minor triad in first inversion:<\/strong>
\n
\nHarmonization of the third tone (G#):
\n
\n…using a drop-2 voicing of the E major triad in second inversion:
\n
\nHarmonization of the fourth tone (A):
\n
\n…using a drop-2 voicing of the F# minor triad in second inversion:
\n
\nHarmonization of the fifth tone (B):
\n
\n…using a drop-2 voicing of the E major triad in root position:
\n
\nHarmonization of the sixth tone (C#):
\n
\n…using a drop-2 voicing of the F# minor triad in root position:
\n
\nHarmonization of the eighth tone (E):
\n
\n…using a drop-2 voicing of the E major triad in first inversion:
\n<\/p>\n

Activity #4 – Harmonization Using The “Drop-2 Voicing” Of Neighboring Chord Couples In The Key Of F<\/h3>\n

Harmonization of the first tone (F):
\n
\n…using a drop-2 voicing of the F major triad in first inversion:
\n
\nHarmonization of the second tone (G):
\n
\n…using a drop-2 voicing of the G minor triad in first inversion:
\n
\nHarmonization of the third tone (A):
\n
\n…using a drop-2 voicing of the F major triad in second inversion:
\n
\nHarmonization of the fourth tone (Bb):
\n
\n…using a drop-2 voicing of the G minor triad in second inversion:
\n
\nHarmonization of the fifth tone (C):
\n
\n…using a drop-2 voicing of the F major triad in root position:
\n
\nHarmonization of the sixth tone (D):
\n
\n…using a drop-2 voicing of the G minor triad in root position:
\n
\nHarmonization of the eighth tone (F):
\n
\n…using a drop-2 voicing of the F major triad in first inversion:
\n<\/p>\n

Activity #5 – Harmonization Using The “Drop-2 Voicing” Of Neighboring Chord Couples In The Key Of G<\/h3>\n

Harmonization of the first tone (G):
\n
\n…using a drop-2 voicing of the G major triad in first inversion:
\n
\nHarmonization of the second tone (A):
\n
\n…using a drop-2 voicing of the A minor triad in first inversion:
\n
\nHarmonization of the third tone (B):
\n
\n…using a drop-2 voicing of the G major triad in second inversion:
\n
\nHarmonization of the fourth tone (C):
\n
\n…using a drop-2 voicing of the A minor triad in second inversion:
\n
\nHarmonization of the fifth tone (D):
\n
\n…using a drop-2 voicing of the G major triad in root position:
\n
\nHarmonization of the sixth tone (E):
\n
\n…using a drop-2 voicing of the A minor triad in root position:
\n
\nHarmonization of the eighth tone (G):
\n
\n…using a drop-2 voicing of the G major triad in first inversion:
\n<\/p>\n

Activity #6 – Harmonization Using The “Drop-2 Voicing” Of Neighboring Chord Couples In The Key Of A<\/h3>\n

Harmonization of the first tone (A):
\n
\n…using a drop-2 voicing of the A major triad in first inversion:
\n
\nHarmonization of the second tone (B):
\n
\n…using a drop-2 voicing of the B minor triad in first inversion:
\n
\nHarmonization of the third tone (C#):
\n
\n…using a drop-2 voicing of the A major triad in second inversion:
\n
\nHarmonization of the fourth tone (D):
\n
\n…using a drop-2 voicing of the B minor triad in second inversion:
\n
\nHarmonization of the fifth tone (E):
\n
\n…using a drop-2 voicing of the A major triad in root position:
\n
\nHarmonization of the sixth tone (F#):
\n
\n…using a drop-2 voicing of the B minor triad in root position:
\n
\nHarmonization of the eighth tone (A):
\n
\n…using a drop-2 voicing of the A major triad in first inversion:
\n<\/p>\n

Activity #7 – Harmonization Using The “Drop-2 Voicing” Of Neighboring Chord Couples In The Key Of B<\/h3>\n

Harmonization of the first tone (B):
\n
\n…using a drop-2 voicing of the B major triad in first inversion:
\n
\nHarmonization of the second tone (C#):
\n
\n…using a drop-2 voicing of the C# minor triad in first inversion:
\n
\nHarmonization of the third tone (D#):
\n
\n…using a drop-2 voicing of the B major triad in second inversion:
\n
\nHarmonization of the fourth tone (E):
\n
\n…using a drop-2 voicing of the C# minor triad in second inversion:
\n
\nHarmonization of the fifth tone (F#):
\n
\n…using a drop-2 voicing of the B major triad in root position:
\n
\nHarmonization of the sixth tone (G#):
\n
\n…using a drop-2 voicing of the C# minor triad in root position:
\n
\nHarmonization of the eighth tone (B):
\n
\n…using a drop-2 voicing of the B major triad in first inversion:
\n<\/p>\n

Final Words<\/h2>\n

Making it to this final segment let’s me know that you’re really serious about taking your knowledge of the harmonization of the major scale to another level.<\/p>\n

Thank you for your time and I’ll see you in another lesson.<\/p>\n","protected":false},"excerpt":{"rendered":"

In this lesson, you’ll hit your next level in the harmonization of the major scale with the use of neighboring chord couples and the drop-2 voicing concept.<\/p>\n","protected":false},"author":9,"featured_media":22737,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[25,478,416,350,21,9],"tags":[17,2321,2320,865,2319,2322,2045],"class_list":["post-13034","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chords-progressions","category-exercises-piano","category-experienced-players","category-music-etc","category-gospel-music","category-piano","tag-basic-songs","tag-drop-2-voicing-concept","tag-drop-2-voicing-technique","tag-harmonization","tag-harmonization-of-the-major-scale","tag-neighboring-chord-couples","tag-neighboring-chords","post-wrapper","thrv_wrapper"],"yoast_head":"\nHarmonization 202: "Drop-2 Voicings" Of Neighboring Chord Couples - Hear and Play 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