MKT Jazz lecture 1 chords

Introduction to Cortex Phoneme Chords

The lecture begins by introducing the concept of cortex phoneme chords, differentiating them from triads which are traditionally viewed as basic chords in music theory. The instructor emphasizes how cortex phoneme chords operate according to a different structure within harmonic theory.

Basic Structures of Chords

In constructing chords, the instructor outlines a standard formula:

  • Cortex Phoneme Chord Structure: Chords are built stacking notes of the scale. For example, using the notes of the C major scale:
    • The notes for a basic chord using this structure are: 1 (C), 3 (E), 5 (G), and optionally 7 (B).

When focusing strictly on the first three notes: C, E, and G, the reference is made to C major chord.

Diminished Chords

Full Diminished Chord

The discussion transitions into different types of chords, specifically full diminished chords.

  • A full diminished chord is defined as consisting of:
    • Root: C
    • Flat third: E♭
    • Flat fifth: G♭
    • Flat seventh: B♭ (commonly referred to as double flat, B♭♭).

Half Diminished Chord

Contrasting with the full diminished chord, a half diminished chord has:

  • Similar root and structure but only uses a flat seventh, for example, B♭ rather than its double flat form in the full diminished chord.
  • Notes for Half Diminished: B, D, F, A♭ reflect this alteration, distinguishing it from the full diminished construct.

Roman Numeral System for Chord Structure

The instructor highlights the importance of using Roman numerals to describe chord structures:

  • One (I): Represents the tonic (root chord)
  • Three (III): Refers to the mediant,
  • Flat three (♭III): Refers to the flattened third, giving rise to a minor tonality.

Application Across Keys

The instructor emphasizes how the system applies universally across different keys, creating broader contexts for understanding:

  • Example in D Major: D major triad comprises the notes D, F♯, A, whereas D minor triad switches F♯ to F.

Chord Alterations

Furthermore, alterations of major and minor chords through flattening notes create variations of harmony, impacting the learnt scales:

  • The concept of reaching beyond standard harmonic structures (e.g., duple scales) enables musicians to apply their theoretical understanding practically.

Extended Dominant and Seventh Chords

Dominant Seventh Chord

The lecture covers dominant seventh chords as crucial components in harmonic progression:

  • In C Major: The chords are constructed from the scale, primarily interacting with the related key signatures, reinforcing understanding of functional harmony.
  • Example: D is identified as a minor seventh chord (D, F♯, A, C), where the flattening of the third (F♯ to F) gives rise to a minor tonality.

Raising the Seventh to Create Dominance

To achieve harmonic tension leading to resolution, raising the seventh in minor chords becomes vital, leading to a dominant resolution in the harmonic cycle:

  • For instance, D minor can transition into dominant D7 through the raising of C to C♯.

Understanding Chord Functions

The importance of understanding how chords function across the keys is discussed:

  • Many chords can function as multiple degrees depending on the context (e.g., C can be chord I in C major or chord IV in G major).

The Role of Key Signatures

By knowing key signatures, musicians can predict the probable chord alterations and their effects during performance and composition.

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