Embedded Files
Objectives
Objectives
By the end of this lesson, students will be able to:
Describe how inversions are used to create different types of bass lines and expressive effects in popular music.
Explain what the lament progression is and compose an example of this progression.
Compose examples of both ascending and descending stepwise progressions that use chord inversions, using both Roman numeral and chord notation.
Embellish a given chord progression using chord inversions that incorporate stepwise or pedal movement.
Spell and identify IV/5 “sus” chords in repertoire, and explain its typical function within phrases and progressions.
Preparation for Class
Preparation for Class
Read:
Read:
Classical Schemas (in a Pop Context) (Hughes & Schaffer, OMT) - Just read the first section "Lament"
Inversions & Basslines (Wilmoth, Pop Grammar)
Triads in 1st Inversion and Triads in 2nd Inversion (Kaitlin Bove)
The IV/5 “Sus” Chord (Hutchinson, MT 21st Century)
Watch
Watch
Songs that use Pedal Point
(David Bennett, 14 mins)
Songs that use Pedal Point
(David Bennett, 14 mins)
Special Slash Chords: The IV/5
(David Bennett, 3 mins) - Just watch from 0:00–2:37
Special Slash Chords: The IV/5
(David Bennett, 3 mins) - Just watch from 0:00–2:37
Songs that Use Descending Stepwise Progressions
(David Bennett, 11 mins)
Songs that Use Descending Stepwise Progressions
(David Bennett, 11 mins)
Songs that Use Inversions
(David Bennett, 14 mins)
Songs that Use Inversions
(David Bennett, 14 mins)
How Elton John Uses Inversions
(David Bennett, 12 mins)
How Elton John Uses Inversions
(David Bennett, 12 mins)
In-Class Activities
In-Class Activities
Discussion
Discussion
Pedals and Inversions: Why use pedal tones or inversions in the bass? How does this change the way you hear the progression?
IV/5 ("Sus"): The IV/5 is also commonly referred to as the “sus” chord or a V11 in popular music repertoire. What is this chord and how is it typically used? What is the effect of this chord? (Listen to a few examples and contrast them with a performance of the same song that uses a root-position IV instead. )
ID the lead sheet notation and spell examples of this chord in a few different keys.
Write a 4-bar chord progression that uses this chord in a typical way, then voice lead the progression in 3- or 4-voices.
Activities
Activities
Songs for Analysis:
For each of the songs included below:
Identify the song sections (e.g. intro, verse, chorus, bridge, etc.) and cadences.
Identify the Roman numerals and repeated progressions. Both songs use a limited chord palette (3–4 chords) throughout most of the song, but vary the harmonic material in key sections. Identify where harmonic material changes and why you think the artists chose to vary the material where they did.
Examine the way that both songs use chord inversions and bass movement. For any passage that uses inverted chords, listen to and consider those passages played with root-position harmonies instead. What is the effect of the bass movement in those sections? How does it change the way you hear the music?
“And So It Goes,” additionally uses a number of extended and sus chords. Listen to the song played with all of these embellishments removed. Consider how these chordal embellishments alter your overall perception of the song and lyrics. Here's a simplified version for comparison: MuseScore | MP3 Audio.
Queen & David Bowie, "Under Pressure," single (1981)
Billy Joel, “And So It Goes,” from Storm Front (1989)
Analyze other songs in the anthology in the section linked below. Indicate Roman numerals and identify any implied modes or schemata.
Modifying Chord Schema with Inversions: Start with one of the pop schemas discussed in the last 5 lessons. Modify the progression to include inverted chords to smoothly connect chords in the progression with stepwise bass motion or to add pedal motion. Use examples from the anthology as models.
Notate the chord progression using both Roman numerals and lead sheet notation. Each example should be 4 bars in length in a different key. Indicate harmonic rhythm (e.g. | I IV | V | I IV | V | ). Then, compose a chordal accompaniment and melody. Compose the harmony in a 3- or 4-part texture, applying voice leading guidelines from Unit 2. Add a rhythmic accompaniment; use one of the accompanimental patterns here (PDF | MuseScore) or create your own. Then, compose a simple melody for your progression that uses only chord tones. Include a IV/5 chord in at least one of the progressions.
Repertoire for Practice
Repertoire for Practice
Basslines & Inversions: This anthology section includes examples of the lament progression, as well as progressions using chord inversions in stepwise bass motion, pedal motion, and other types of inversions.
Further Reading
Further Reading
John Peterson, “6/4 Chords as Forms of Prolongation,” in Open Music Theory.
Or check out other examples of chromatic ascending/descending lines in popular music supported by various harmony in:
Walter Everett, “Table 11.01: Common Chromatic Lines Given Various Chordal Supports,” p. 275, in The Foundations of Rock: From" Blue Suede Shoes" to" Suite: Judy Blue Eyes". Oxford University Press, 2008.
Practice
Practice
Musition:
Chords: Level 7a
Pop Progressions: Levels 6a, 6b
Chords: Level 6b (IV/5 “Sus” Chords)
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