By the end of this lesson, students will be able to:
Aurally identify different seventh chord and sus chord types in musical contexts
Explain how dissonance is a larger driver of harmonic tension in pop contexts over functional tonal tension
Optional Review: "Simple Sus Chords" (Hutchinson, Music Theory for the 21st Century Classroom)
"Dissonance and Root Salience" (Rozin & Rimple, A New Approach to Music Theory)
Why YOU Love SUS Chords
Rick Beato (13 mins)
Producer Rick Beato explains what sus chords are and how they add color and dissonance compared to triads
Songs that use Sus4 and Sus2 Chords
David Bennett (9 mins) - Just watch 0:00–9:35
Check out the Chord Player here. Put together a 4-bar chord progression that uses a Sus4 and/or Sus2 chord.
Try to sing the suspended 4th or 2nd of the chord.
Then, try improvising over the top of the chords. Be sure to use solfège so that you're conscious of which scale degrees and members of the chord you're singing.
Creating Drama with Pop Harmony: Building on the discussion in the last lesson about tension and closure in pop harmony, consider how composer Jeanine Tesori creates harmonic tension while using several pop schema in her song "Ring of Keys" from the musical Fun Home. Work through the transcription and the discussion topics below as you transcribe:
Transcription of "Ring of Keys": Transcribe the chords to the first part of "Ring of Keys" by Jeanine Tesori. This excerpt has 3 sections, each one with a different schema. There are notable examples of sus chords and seventh chords!
Discussion Topics for "Ring of Keys"
Section 1 - through the second "I feel..."
What kind of pop harmonic schema does this part feature? Does this schema create a sense of goal-oriented motion, or a sense of time standing still/moving in circles?
What kind of chord type features heavily in this section? What meaning or emotion do you think Tesori is trying to evoke with these chord types?
The final chord of the section feels quite a bit different than what came before—what might that chord reveal about what the character of Alison is feeling in this moment?
Section 2 - through "lace-up boots"
This section features a new schema, and not necessarily one we've heard before
The bass has a very distinctive motion—how does it move?
Like in the last section, the final chord of this section feels distinct. What is that chord and once again, what may it reveal about Alison?
Section 3 - "Ring of Keys!"
The harmony here feels quite surprising! It is related to a schema we've heard before, and starting at the end of the phrase (where the harmony resets to the tonic) might help you figure it out.
What does this surprise reveal about Alison?
A big guiding question:
Does the song use any goal-oriented, tonal harmony (tonic-predominant-dominant-tonic)? Does Alison have a goal or realization? If these things are at odds, how can we square them from an interpretive standpoint?
Sight Reading:
Rhythm: Continued work with compound subdivisions with ties.
Melody: Continued work with other diatonic leaps and skips.