LA ARMONÍA EN EL JAZZ
SAMUEL E. JIMÉNEZ SANABRIA
1
INDICE
Amododeintroducción
ElBebop:Unarevoluciónarmónica Basesdelaarmoníaeneljazz
-Los acordes cuatríadas
Formación
Los siete acorde diatónicos Cifrados más usuales
-Acordes no diatónicos
El bVII y el bVIIMaj7
Acordes de la familia de dominante Ampliaciones en cadenas Nomenclatura resumen
-Superestructuras
En modo menor
En modo mayor
Bibliografía
2
A MODO DE INTRODUCCIÓN
Armónicamente, el jazz utiliza las reglas que son comunes a la música occidental moderna y contemporánea, aunque en los últimos veinte años se hayan introducido, merced al contacto con realidades culturales, como la asiática, módulos distintos. Se ha asistido asimismo a un desarrollo intensivo de la atonalidad y la politonalidad.
EL BEBOP: UNA REVOLUCIÓN ARMÓNICA
A comienzos de la década de los cuarenta nació el llamado " bebop". Fue, quizá, la forma más revolucionaria y creativa de la música improvisada, y sin duda la primera manifestación de independencia cultural por parte de los músicos negro-americanos. Se caracteriza por un estilo particularmente concentrado y riquísimo, sobre todo a nivel armónico y rítmico. El ritmo se hace tenso y casi frenético, las sonoridades resultan ácidas y agresivas, la libertad armónica se hace mayor( Es notable, por ejemplo, el uso de la flatted fifth ) . El bebop rompe todos los clichés: no es una música simple, no es fascinante, no es bailable, y al mismo tiempo solicita la reapropiación cultural por parte de los negro-americanos. Redescubre así las raíces africanas del jazz ( descubrimiento que será luego ampliado, durante el desarrollo del free-jazz), y también el uso de los instrumentos se adapta a tal decubrimiento: la percusión adopta forma más complejas, que evocan la polirritmia africana( es el período en que aparecen las mejores figuras: el genial Max Roach, Art Blakey y Kenny Clarke); el piano pierde pátina occidental y es descubierto en función percursiva por parte de uno de mejores pianistas y compositores del jazz: Thelonious Monk. El bebop no se preocupa del hedonismo estético, no se interesa por la sonoridad ( se admiten los silbidos de estrangul, se buscan las disonancias): se interesa sólo por la sustancia. Es la época de solistas como el legendario Charlie Parker, el trompeta Dizzy Guillespie , el guitarra Charlie Christian, el pianista But Powel , el trompeta Miles Davis.
A comienzos le los años 50 la revolución del bebop conoció una pausa , denominada cool-jazz : la armonía se hace más refinada , los contrastes tímbricos y rítmicos se moderan , la composición es más cuidada y las sonoridades más leves y tenues.
[page3image18792] [page3image18952] [page3image19112]
3
BASES DE LA ARMONÍA EN EL JAZZ
LOS ACORDE CUATRÍADAS
- Formación de los acorde cuatríadas:
Sobre una escala mayor se pueden formar siete acordes triadas, por superposición de terceras en cada grado de la escala:
C D- E- F- G A- Bo
I I- III IV V VI VII
Al superponer una tercera más a los acordes tríadas anteriores, obtendremos los acordes de cuatro notas: cuatríadas, también llamados de séptima, ya que la nueva tercera añadida crea dicho intervalo con la fundamental del acorde.
I I- III IV V VI VII
Estos acordes se clasifican, al igual que las tríadas, según sean los intervalos creados por las distintas notas que los forman, con la fundamental del acorde. Así los acordes se
dividen en especies.
-Los siete acordes diatónicos.
Sobre el primer (I) grado de la escala mayor sale un acorde tríada mayor con la nueva tercera superpuesta, el acorde sigue siendo mayor y esta nueva tercera crea el intervalo de séptima mayor con la fundamental
C
intervalo de 7 mayor
Este acorde forma parte de la especie llamada de séptima mayor, la formula es ( 1,3,5,7 ).
[page4image12360] [page4image12784] [page4image13208] [page4image13632] [page4image14056] [page4image14480] [page4image14904] [page4image15328] [page4image15752] [page4image16176] [page4image16600] [page4image17024] [page4image17448] [page4image17872] [page4image18296] [page4image18720] [page4image19144] [page4image19568] [page4image19992] [page4image20416] [page4image20840] [page4image21264] [page4image21688] [page4image22112] [page4image22536] [page4image22960] [page4image23384] [page4image23808] [page4image24232] [page4image24656] [page4image25080] [page4image25504] [page4image25928] [page4image26352] [page4image26776] [page4image27200] [page4image27624] [page4image28048] [page4image28472]
4
De los muchos cifrados que se utilizan, el uso más frecuente es el de la letra mayúscula de la fundamental del acorde usado para la tríada y “Maj7”
I Maj 7
Sobre este grado se utiliza muy a menudo un acorde que en lugar de la séptima mayor tiene las sexta mayor. El cifrado para este acorde es la letra mayúscula de la fundamental y un seis.
C6
I6
Sobre el segundo(II)grado de la escala mayor sale un acorde tríada menor, como la nueva tercera crea un intervalo de séptima menor , el cifrado usado será el de tríada menor más un 7 no cruzado, la formula para este acorde es (1,b3,5,b7).
D-7
II-7
Sobre el tercer(III) grado sucede lo mismo que sobre el segundo(II), así el cifrado y fórmula serán el mismo que en el acorde anterior(1,b3,5,b7)
E-7
III-7
Sobre el cuarto(IV) grado ocurre lo mismo que sobre el primero(I) dando un acorde de séptima mayor (1,3,5,7)
F Maj 7
IV Maj 7
Sobre el (V) grado el acorde tríada es mayor y la tercera añadida crea un intervalo con la fundamental del acorde de séptima menor , la fórmula es (1,3,5,b7) y el cifrado usado es el de tríada más un siete no cruzado.
G7
[page5image13792] [page5image14216] [page5image14640] [page5image15064] [page5image15488] [page5image15912] [page5image16336] [page5image16760] [page5image17184] [page5image17608] [page5image18032] [page5image18456] [page5image18880] [page5image19304] [page5image19728] [page5image20152] [page5image20576] [page5image21000] [page5image21424] [page5image21848] [page5image22272] [page5image22696] [page5image23120] [page5image23544] [page5image23968] [page5image24392] [page5image24816] [page5image25240] [page5image25664] [page5image26088] [page5image26512] [page5image26936] [page5image27360] [page5image27784] [page5image28208] [page5image28632] [page5image29056] [page5image29480] [page5image29904] [page5image30328] [page5image30752] [page5image31176] [page5image31600] [page5image32024] [page5image32448] [page5image32872] [page5image33296] [page5image33720] [page5image34144] [page5image34568] [page5image34992] [page5image35416] [page5image35840] [page5image36264] [page5image36688] [page5image37112] [page5image37536] [page5image37960] [page5image38384] [page5image38808] [page5image39232] [page5image39656] [page5image40080] [page5image40504] [page5image40928] [page5image41352] [page5image41776] [page5image42200] [page5image42624]
5
[page6image760] [page6image1184] [page6image1608] [page6image2032] [page6image2456] [page6image2880] [page6image3304] [page6image3728] [page6image4152]
V7
Sobre el sexto(VI) grado sucede los mismo que sobre los grados segundo(II) y tercero(III) dando un acorde menor con séptima menor (1,b3,5,b7)
A-7
VI- 7
Sobre el séptimo (VII) grado el tríada es disminuido y la nueva tercera forma un intervalo de séptima menor con la fundamental del acorde, la formula para la especie es (1,b3,b5,b7) y el cifrado usado es la letra mayúscula de la fundamental , el guión para indicar tercera menor, el siete y entre paréntesis (b5) que indica la quinta disminuida.
B-7 (b5)
VII-7(b5)
En el siguiente ejemplo vemos los siete acordes que se forman sobre la escala mayor ( acordes diatónicos)
C Maj 7 D-7 E-7 F Maj 7 G7 A-7 B-7(b5)
I Maj 7 II-7 III-7 IV Maj 7 V7 VI-7 VII-7(b5)
[page6image12712] [page6image13136] [page6image13560] [page6image13984] [page6image14408] [page6image14832] [page6image15256] [page6image15680] [page6image16104] [page6image16528] [page6image16952] [page6image17376] [page6image17800] [page6image18224] [page6image18648] [page6image19072] [page6image19496] [page6image19920] [page6image20344] [page6image20768] [page6image21192] [page6image21616] [page6image22040] [page6image22464] [page6image22888] [page6image23312] [page6image23736] [page6image24160] [page6image24584] [page6image25008] [page6image25432] [page6image25856] [page6image26280] [page6image26704] [page6image27128] [page6image27552] [page6image27976] [page6image28400] [page6image28824]
6
-Cifrados más usuales
Aunque no hay un acuerdo unánime en el sistema de cifrados , en la siguiente tabla vemos los más usados frecuentemente para los acordes cuatríadas, y algunos que son usados en algunos métodos y que conviene conocer, auque no sea aconsejable su uso , pues crean confusiones.
Acorde
Notas
Cifrado Usual
No Usual
TRÍADA
Mayor
1, 3, 5
F
F
Menor
1, b3, 5
F- , Fm
Fmi
Aumentado
1, 3, , 5
F
Disminuido
1, b3, b5
Fo
SEXTA
Mayor sexta
1, 3, 5, 6
F(6)
Menor sexta
1, b3, 5, 6
Fm(6), F-6
CUATRÍADA S
Mayor Séptima mayor
1, 3, 5, 7
F Maj 7
F7, B, FM7
Menor séptima
1, b3, 5, b7
Fm7, F-7
Fmi7
Menor séptima Quinta dismin.
1, b3, b5, b7
Fm7(b5),F-7(B5)
F7
Dominante
1, 3, 5, B7
F7
Fx
Dominante Quinta aument.
1, 3, 5, b7
F + 7,F7(5)
F7 + 5
Dism. séptima
1, b3, b5,bb7
Fo7
7
ACORDES NO DIATÓNICOS
Son acordes que no se forman sobre la escala mayor y por lo tanto no son diatónicos a ésta, pero se usan a menudo dentro de una progresión armónica diatónica.
El bVII y el bVIIMaj7
Este acorde es el resultado de rebajar en un semitono la fundamental del acorde diatónico del VII grado.
Eo
VIIo Eb
bVII E-7 (b5)
VII-7(b5) EbMaj7
bVIIMaj7
El acorde formado sobre el VII grado es un acorde débil y de raro uso en la música actual; con esta transformación es en cambio un acorde muy usado. Auanque no es diatónico, el hecho de contener el cuarto grado y no el séptimo de da un cierto carácter de subdominante.
Se usa en sustitución de un acorde tanto de subdominante como de domiante y su tendencia principal es moverse hacia el I
Movimientos más usuales: bVII I
bVII III- bVII VI-7
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8
bVII V7 o V7sus4
Otra utilización muy común es la de sustituir al IV o al V en una cadencia
auténtica: I,IV,V,I.
CMaj7 FMaj7
I Maj 7IV Maj 7
C Maj 7 Bb Maj 7
I Maj 7bVII Maj 7
C May 7 F Maj 7
I Maj 7IV Maj7
V 7
V 7
G7
G 7
I Maj 7 Bb Maj 7
CMaj 7
C Maj 7
C Maj 7
[page9image37816] [page9image38240] [page9image38664] [page9image39088] [page9image39512] [page9image39936] [page9image40360] [page9image40784] [page9image41208] [page9image41632] [page9image42056] [page9image42480] [page9image42904] [page9image43328] [page9image43752] [page9image44176] [page9image44600] [page9image45024] [page9image45448] [page9image45872] [page9image46296] [page9image46720] [page9image47144] [page9image47568] [page9image47992] [page9image48416] [page9image48840] [page9image49264] [page9image49688] [page9image50112] [page9image50536] [page9image50960] [page9image51384] [page9image51808] [page9image52232] [page9image52656] [page9image53080] [page9image53504] [page9image53928] [page9image54352] [page9image54776] [page9image55200] [page9image55624] [page9image56048] [page9image56472] [page9image56896] [page9image57320] [page9image57744] [page9image58168] [page9image58592] [page9image59016] [page9image59440] [page9image59864] [page9image60288] [page9image60712] [page9image61136] [page9image61560]
En cuarquier caso la relación melodía-armonía debe permitir el uso de este acorde.
Acordes de la familia de dominante (1,3,5,b7)
La forma más característica parz estos acordes es el tritono que se crea entre la tercera y la séptima del acorde.
El intervalo del tritono tiene unas fuerte tendencia a resolver sobre una tercera mayor o menor o su inversión (sexta mayor o menor), esto se produce cuando la fundamental del acorde o dominante se mueve una cuarta justa ascendente o quinta justa descendente; a este caso se le llama resolución de dominante.
La cadencia auténtica no es más que una resolución de dominante sobre tónica. G7 C
G7 C
Domiantes secundarios
Esta fuerte tendencia a resolver de un tritono de un acorde V7(1,3,5,b7) hace que cualquier acorde diatónico pueda recibir la resolución de un dominante sobre él. A estos dominantes se les denomina secundarios.
9
bVIIMaj 7 I maj 7
I Maj 7
[page9image72008] [page9image72432] [page9image72856] [page9image73280] [page9image73704] [page9image74128] [page9image74552] [page9image74976] [page9image75400] [page9image75824] [page9image76248] [page9image76672] [page9image77096] [page9image77520] [page9image77944] [page9image78368] [page9image78792] [page9image79216] [page9image79640] [page9image80064] [page9image80488] [page9image80912] [page9image81336] [page9image81760] [page9image82184] [page9image82608] [page9image83032] [page9image83456] [page9image83880] [page9image84304] [page9image84728] [page9image85152] [page9image85576] [page9image86000] [page9image86424] [page9image86848] [page9image87272] [page9image87696] [page9image88120] [page9image88544] [page9image88968] [page9image89392] [page9image89816] [page9image90240] [page9image90664] [page9image91088] [page9image91512] [page9image91936] [page9image92360] [page9image92784] [page9image93208] [page9image93632] [page9image94056] [page9image94480] [page9image94904] [page9image95328] [page9image95752] [page9image96176] [page9image96600] [page9image97024] [page9image97448] [page9image97872] [page9image98296]
Estos acordes al moverse hacia un acorde diatónico no producen ninguna cadencia, son sólo resoluciones del dominante que forman parte de las denominadas cadenas de acordes.
Cuando se produce este enlace el tritono de los dominantes secundariostiene tal fuerza que momentáneamente nos hace oír otra tónica ; este efecto ha sido definido como una modulación introtonal, aunque no hay que confundirlo con la “modulación” propiamente dicha.
Nomenclatura de análisis
Cuando un acorde de dominante (V7) hace resolución de dominante, ésta se indica con una flecha desde el cifrado del acorde de domiante al de su resolución.
[page10image102728] [page10image103152] [page10image103576] [page10image104000] [page10image104424] [page10image104848] [page10image105272] [page10image105696] [page10image106120] [page10image106544] [page10image106968] [page10image107392] [page10image107816] [page10image108240] [page10image108664] [page10image109088] [page10image109512] [page10image109936] [page10image110360] [page10image110784] [page10image111208] [page10image111632] [page10image112056] [page10image112480] [page10image112904] [page10image113328] [page10image113752] [page10image114176] [page10image114600] [page10image115024] [page10image115448] [page10image115872] [page10image116296] [page10image116720] [page10image117144] [page10image117568] [page10image117992] [page10image118416] [page10image118840] [page10image119264] [page10image119688] [page10image120112] [page10image120536] [page10image120960] [page10image121384] [page10image121808] [page10image122232] [page10image122656] [page10image123080] [page10image123504] [page10image123928] [page10image124352] [page10image124776] [page10image125200] [page10image125624] [page10image126048] [page10image126472] [page10image126896] [page10image127320] [page10image127744] [page10image128168] [page10image128592] [page10image129016] [page10image129440] [page10image129864] [page10image130288] [page10image130712] [page10image131136] [page10image131560] [page10image131984] [page10image132408] [page10image132832] [page10image133256] [page10image133680] [page10image134104] [page10image134528] [page10image134952] [page10image135376] [page10image135800] [page10image136224] [page10image136648] [page10image137072] [page10image137496] [page10image137920] [page10image138344] [page10image138768] [page10image139192] [page10image139616]
Ritmo armónico
G 7
G7 C Maj 7
C Maj 7
Cadencia de dominante
4 asc. CMaj7A7 D-7
Resolución de dominante II-7
Los dominantes secundarios como dominantes, son acordes inestables que deben estar situados en compás o parte más débil que su resolución.
FMaj7D7G-7C7 F6 E7A-7
10
Análisis armónico
Sobre cada acorde diatónico, (excepto el I) se puede hacer resolver un dominante secundario . Sobre el I grado el dominante es el V7, que es un acorde diatónico por lo que no es secundario.
Los demás grados se denominan V7 / del grado sobre el que resuelven.
[page11image91680] [page11image91840] [page11image92000]
V7 / II
[page11image92688] [page11image93112] [page11image93536] [page11image93960] [page11image94384] [page11image94808] [page11image95232] [page11image95656] [page11image96080] [page11image96504] [page11image96928] [page11image97088] [page11image97512] [page11image97936] [page11image98360] [page11image98784]
I Maj7 V7/III V7/II
II-7
[page11image100232] [page11image100656] [page11image101080] [page11image101504] [page11image101928] [page11image102352] [page11image102776]
E-7 A7 V7 / III
V7 / IV
V7 / V
I Maj 7
V7/V I
D-7
I Maj 7V7/II C Maj 7
A 7
II-7
D-7
C Maj7 B7
IV Maj 7 F Maj 7
[page11image107992] [page11image108416] [page11image108840] [page11image109264] [page11image109688] [page11image110112] [page11image110536] [page11image110960] [page11image111384] [page11image111808] [page11image112232] [page11image112656] [page11image113080] [page11image113504] [page11image113928] [page11image114352] [page11image114776] [page11image115200] [page11image115624] [page11image116048] [page11image116472] [page11image116896] [page11image117320] [page11image117744] [page11image118168] [page11image118592] [page11image119016] [page11image119440] [page11image119864] [page11image120288] [page11image120712]
I Maj 7 C Maj7
V7/IV C7
IMaj7 V7/V CMaj7 D7 G7
VI-7/I CMaj7 E7
V7/I CMaj7
A-7
IMaj7
El
II-7 relativo
La relación II-V es una de las de mayor fuerza en una progresión armónica y cualquier dominante puede ceder la primera mitad de su ritmo armónico a su II-7 relativo.
Así cualquier dominante secundario puede estar inmediatamente precedido de su II-7 relativo; el ritmo armónico es fundamental en esta relación y el II-7 deberá ocupar una parte o compás más fuerte que el dominante secundario.
V7 / VI
dominante
secundario que resuelve sobre el VII grado no se usa, ya que , por otra parte , raramente se usa el acorde de VII grado. El dominante secundario sobre bVII no se usa, en primer lugar porque el bVII no es diatónico y en segundo lugar porque dicho acorde suena a IV7, que es el acorde de Blues.
I Maj 7 V7/VI VI-7 C Maj 7 E7
A-7
11
[page12image2432] [page12image2856] [page12image3280] [page12image3704] [page12image4128] [page12image4552] [page12image4976] [page12image5400] [page12image5824] [page12image6248] [page12image6672] [page12image7096] [page12image7520] [page12image7944] [page12image8368] [page12image8792] [page12image9216] [page12image9640] [page12image10064] [page12image10488] [page12image10912] [page12image11336] [page12image11760] [page12image12184] [page12image12608] [page12image13032] [page12image13456] [page12image13880] [page12image14304] [page12image14728] [page12image15152]
I Maj 7 V7/VI VI/7 C Maj 7 B7 E-7 A-7
Método de análisis
Los II-7 relativos se indican de la misma manera que el II-7 del V7/I, con un corchete que une los dos cifrados.
I Maj 7 V7/IV IV Maj7
F Maj 7 C-7 F7 BbMaj7
Doble función tonal
El II-7 relativo del V7/II y del V//V dan acordes que son diatónicos , así éstos tienen una doble función tonal , la que le corresponde como diatónicos y la de II-7 relativo; subdominante relativo.
I Maj7 VI-7 V7/V V7/I I Maj7 Bb Maj7 G-7 C-7
Doble función tonal
I Maj7 III-7 V7/II II-7 V7/I I Maj7 Bb Maj7 D-7 G7 C7 F7 BbMaj7
Como se ve en el ejemplo esta doble función está analizada con el numero romano que indica la función diatónica y el corchete que indica la relativa.
II-7 intercalado
El acorde II-7 puede estar colocado entre el V7/V y el V7/I, esto no afecta a la resolución del dominante secundario.
[page12image25792] [page12image25952] [page12image26112] [page12image26272] [page12image26432] [page12image26592] [page12image26752] [page12image26912] [page12image27072] [page12image27232] [page12image27392] [page12image27552] [page12image27712] [page12image27872] [page12image28032] [page12image28192] [page12image28352] [page12image28512] [page12image28672] [page12image28832] [page12image28992] [page12image29152] [page12image29312] [page12image29472] [page12image29632] [page12image29792] [page12image29952] [page12image30112] [page12image30272] [page12image30432] [page12image30592] [page12image30752] [page12image30912] [page12image31072] [page12image31232] [page12image31392] [page12image31552] [page12image31712] [page12image31872] [page12image32032] [page12image32456] [page12image32880] [page12image33304] [page12image33728] [page12image34152] [page12image34576] [page12image35000] [page12image35424] [page12image35848] [page12image36272] [page12image36696] [page12image37120] [page12image37544] [page12image37968] [page12image38392] [page12image38816] [page12image39240] [page12image39664] [page12image40088] [page12image40512] [page12image40936] [page12image41360] [page12image41784] [page12image42208] [page12image42632] [page12image43056] [page12image43480] [page12image43904] [page12image44328] [page12image44752] [page12image45176] [page12image45336] [page12image45496] [page12image45656] [page12image45816] [page12image45976] [page12image46136] [page12image46296] [page12image46456] [page12image46616] [page12image46776] [page12image46936] [page12image47096] [page12image47256] [page12image47416] [page12image47576] [page12image47736] [page12image47896] [page12image48056] [page12image48216] [page12image48376] [page12image48536] [page12image48696] [page12image48856] [page12image49016] [page12image49176] [page12image49336] [page12image49496] [page12image49656] [page12image49816] [page12image50240] [page12image50664] [page12image51088] [page12image51512] [page12image51936] [page12image52360] [page12image52784] [page12image53208] [page12image53632] [page12image54056] [page12image54480] [page12image54904] [page12image55328] [page12image55752] [page12image56176] [page12image56600] [page12image57024] [page12image57448] [page12image57872] [page12image58296] [page12image58720] [page12image59144] [page12image59568] [page12image59992] [page12image60416] [page12image60840] [page12image61264] [page12image61688] [page12image61848] [page12image62272] [page12image62696] [page12image63120] [page12image63280]
F7 Bb Maj7
[page12image66032] [page12image66192] [page12image66352] [page12image66512] [page12image66672] [page12image66992] [page12image67312] [page12image69872] [page12image70032] [page12image70192] [page12image70512] [page12image70832] [page12image71152] [page12image71312] [page12image71632] [page12image72112] [page12image72272] [page12image72592] [page12image72752] [page12image73232] [page12image73392] [page12image73552] [page12image73712] [page12image73872] [page12image74032] [page12image74192] [page12image74352] [page12image75312] [page12image75472] [page12image75632] [page12image76112] [page12image76272] [page12image76432] [page12image76592]
[page12image81808]
[page12image91496] [page12image94256] [page12image94416] [page12image94576] [page12image94736] [page12image94896] [page12image95056] [page12image95216] [page12image95376] [page12image95536] [page12image95696] [page12image95856] [page12image96016] [page12image96176] [page12image96336] [page12image96496] [page12image96656] [page12image96816] [page12image96976] [page12image97136] [page12image97296] [page12image97456] [page12image97616] [page12image97776] [page12image97936] [page12image98096] [page12image98256] [page12image98416] [page12image98576] [page12image98736] [page12image98896] [page12image99056] [page12image99216] [page12image99376] [page12image99536] [page12image99696] [page12image99856] [page12image100280] [page12image100704] [page12image101128] [page12image101552] [page12image101976] [page12image102400] [page12image102824] [page12image103248] [page12image103672] [page12image103832] [page12image103992] [page12image104152] [page12image104312] [page12image104736] [page12image105160] [page12image105584] [page12image106008] [page12image106432] [page12image106856] [page12image107280] [page12image107704] [page12image108128] [page12image108288] [page12image108448] [page12image108872] [page12image109296] [page12image109720] [page12image110144] [page12image110568] [page12image110992] [page12image111416] [page12image111840] [page12image112264] [page12image112688] [page12image113112] [page12image113536] [page12image113960] [page12image114384] [page12image114808] [page12image115232] [page12image115656] [page12image116080] [page12image116240] [page12image116664] [page12image117088] [page12image117512]
12
VI-7 V7/V II-7 V7/I I Maj7 E-7 A7 A-7 D7 GmAJ7
II -7 intercalado
El II-7 deberá estar situado en parte o compás más fuerte, siguiendo la pauta del mismo armónico
I Maj7IV Maj7 V7/V V7/I I Maj7
Bb Maj7 EbMaj7 C7 F7 BbMaj7
I Maj7 IV Maj7 V7/V
Bb Maj7 Eb Maj7 C7 / C-7 F7 BbMaj7
Dominantes por extensión
Son acordes no diatónicos que resuelven sobre otro acorde no diatónico, que está relacionado con un acorde diatónico. Cualquier dominante secundario puede estar precedido por un dominante por extensión que resuelva hacia él.
I Maj7 F Maj7
I Maj7 F Maj7
V7/III III-7
E7 A-7
V7/III III-7
B7 E7 A-7
Dominante por extensión
II/7 V7/I I Maj7
[page13image129400] [page13image129824] [page13image130248] [page13image130672] [page13image131096] [page13image131520] [page13image131944] [page13image132368] [page13image132792] [page13image133216] [page13image133640] [page13image134064] [page13image134488] [page13image134912] [page13image135336] [page13image135760] [page13image136184] [page13image136608] [page13image137032] [page13image137456] [page13image137880] [page13image138304] [page13image138728] [page13image139152] [page13image139576] [page13image140000] [page13image140424] [page13image140848] [page13image141272] [page13image141696] [page13image142120] [page13image142544] [page13image142968] [page13image143392] [page13image143816] [page13image144240] [page13image144664] [page13image145088] [page13image145512] [page13image145936] [page13image146360] [page13image146784] [page13image147208] [page13image147632] [page13image148056] [page13image148480] [page13image148904] [page13image149328] [page13image149752] [page13image150176] [page13image150600] [page13image151024] [page13image151448] [page13image151872] [page13image152296] [page13image152720] [page13image153144] [page13image153568] [page13image153992] [page13image154416] [page13image154840] [page13image155264]
Cualquier II-7 relativo de un dominante secundario puede estar precedido de un dominante por extensión que resuelva sobre él.
I Maj7 C Maj7
I Maj7
C Maj7F7
B-7 E7
B-7 E7
V7/VI VI-7 A-7
V7/VI VI-7 A-7
[page13image159776] [page13image160200] [page13image160624] [page13image161048] [page13image161472] [page13image161896] [page13image162320] [page13image162744] [page13image162904] [page13image163064] [page13image163488] [page13image163912] [page13image164336] [page13image164760] [page13image165184] [page13image165608] [page13image166032] [page13image166192] [page13image166616] [page13image167040] [page13image167464] [page13image167888] [page13image168312] [page13image168736] [page13image169160] [page13image169320] [page13image169744] [page13image170168] [page13image170592] [page13image171016] [page13image171440] [page13image171864] [page13image172288] [page13image172712] [page13image173136]
13
[page14image120480] [page14image120904] [page14image121328] [page14image121752] [page14image122176] [page14image122600] [page14image123024] [page14image123448] [page14image123872] [page14image124296] [page14image124720] [page14image125144] [page14image125568] [page14image125992] [page14image126416] [page14image126840] [page14image127264] [page14image127688] [page14image128112] [page14image128536] [page14image128960] [page14image129384] [page14image129808] [page14image130232] [page14image130656] [page14image131080] [page14image131504] [page14image131928] [page14image132352] [page14image132776] [page14image133200] [page14image133624] [page14image134048] [page14image134472] [page14image134896] [page14image135320] [page14image135744] [page14image136168] [page14image136592] [page14image137016] [page14image137440] [page14image137864] [page14image138288] [page14image138712] [page14image139136] [page14image139560] [page14image139984] [page14image140408] [page14image140832] [page14image141256] [page14image141680] [page14image142104] [page14image142528] [page14image142952] [page14image143376] [page14image143800] [page14image144224] [page14image144648] [page14image145072] [page14image145496] [page14image145920] [page14image146344] [page14image146768] [page14image147192] [page14image147616] [page14image148040] [page14image148464] [page14image148888] [page14image149312] [page14image149736] [page14image150160] [page14image150584] [page14image151008] [page14image151432] [page14image151856] [page14image152280] [page14image152704] [page14image153128] [page14image153552] [page14image153976] [page14image154400] [page14image154824] [page14image155248] [page14image155672] [page14image156096] [page14image156520] [page14image156944] [page14image157368] [page14image157792] [page14image158216] [page14image158640] [page14image159064] [page14image159488]
I Maj7 C7 F7
I Maj7 Maj7 G7
V7/VI VI-7
V7/VI
V7/VI VI-7
C Maj7
[page14image162400] [page14image162824] [page14image163248] [page14image163672] [page14image164096] [page14image164520] [page14image164944] [page14image165368] [page14image165792] [page14image165952] [page14image166112] [page14image166536] [page14image166960] [page14image167384] [page14image167808] [page14image168232] [page14image168656] [page14image169080] [page14image169504] [page14image169928] [page14image170088] [page14image170512] [page14image170936] [page14image171360] [page14image171784] [page14image172208] [page14image172632] [page14image173056] [page14image173480] [page14image173904] [page14image174328] [page14image174752] [page14image175176] [page14image175600] [page14image176024] [page14image176448] [page14image176872] [page14image177296] [page14image177720] [page14image178144] [page14image178568] [page14image178992]
G7
C-7 F7
II-7 intercalado de un dominante secundario
Como todo dominante secundario puede estar precedido de su II-7 cuando un dominante por extensión resulve sobre otro dominante secundario, el II-7 relativo de éste puede intercalarse entre ambos dominantes.
I Maj7
C Maj7F7
I Maj7
C Maj7F7
V7/III III-7 B7 E-7
V7/III III-7
F7 B7 E-7
II-7 de dominante por extensión
Como todo dominante puede estar precedido por su II-7 relativo; esto es también aplicable a los dominantes por extensión.
I Maj7 V7/III III-7 C Maj7 C-7 F7 F-7 B7 E-7
Ampliaciones en cadenas
Un dominante por extensión puede venir precedido por otro dominante por extensión.
Un II-7 relativo de un dominante por extensión puede venir precedido de un dominante por extensión.
Un II-7 relativo puede intercalarse entre dos dominantes por extensión.
B-7
E7
A-7
[page14image191280]
C-7 F7 B-7
B-7 E7 A-7
E7
A-7
14
VI-7
C
C Maj7
En resumen una cadena armónica está formada por una sucesión de acordes que están relacionados cada uno con el siguiente de la progresión hasta llegar a uno que está directamente relacionado con la tonalidad (diatónico)
El ritmo armónico es fundamental para mantener el sentido de la cadena y es riguroso en el caso del II-7 V7 donde el II-7 ocupa el compás, tiempo o parte más fuerte que el V7 con el que está relacionado. La nomenclatura para la cadena armónica
viene dada por los corchetes entre el II-7 dominante, ésta puede ser directa o retardada.
V7 y la flecha que indica resolución del
directa
Retardada
C Maj7
I Maj7
C Maj7 B7
V7/VI
VI-7
E7
A-7
[page15image41416] [page15image41840] [page15image42264] [page15image42688] [page15image43112] [page15image43536] [page15image43960] [page15image44384] [page15image44808] [page15image45232] [page15image45656] [page15image46080] [page15image46504] [page15image46928] [page15image47352] [page15image47776] [page15image48200] [page15image48624] [page15image49048] [page15image49472] [page15image49896] [page15image50320] [page15image50744] [page15image51168] [page15image51592] [page15image52016] [page15image52440] [page15image52864] [page15image53288] [page15image53712] [page15image54136] [page15image54560] [page15image54984] [page15image55408] [page15image55832] [page15image56256] [page15image56680] [page15image57104] [page15image57528] [page15image57952]
B7
B-7
V7/VI VI-7 E7 A-7
[page15image59752] [page15image60176] [page15image60600] [page15image61024] [page15image61448] [page15image61872] [page15image62296] [page15image62720] [page15image63144] [page15image63568] [page15image63728] [page15image63888] [page15image64312] [page15image64736] [page15image65160] [page15image65584] [page15image66008] [page15image66432] [page15image66856] [page15image67280] [page15image67704] [page15image67864] [page15image68288] [page15image68712] [page15image69136] [page15image69560] [page15image69984] [page15image70408] [page15image70832] [page15image71256] [page15image71680] [page15image72104] [page15image72528] [page15image72952] [page15image73376] [page15image73800] [page15image74224] [page15image74648] [page15image75072] [page15image75496] [page15image75920] [page15image76344] [page15image76768]
Nomenclatura resumen
-Los acordes diatónicos se identifican con el número romano de análisis, incluyendo el bVIIMaj7.
-Los dominantes secundarios llevan el número romano y la fecha indicada de la resolución de dominante.
-Los II-7 relativos, un corchete que les une al dominante.
-Los dominantes por extensión una flecha hacia el acorde resolución.
15
SUPERESTRUCTURAS
La superestructuras representan la lógica expansión en terceras de los acordes, la relación de medida con la fundamental nos dará su función, sea tensión o nota a evitar.
Sonido del acorde Superstructura
C Maj7
Nota a evitar (también denominada nota obligada) es la que debe ser usada como nota de aprosimación sobre una determinada armonía.
Tensiones disponibles o diatónicas
Cada especie de acorde tiene unas tensiones disponibles al hacer la superestructuras para cada acorde, segun su función tonal, veremos como éstas no siempres son posibles en un contexto diatónico.
SUPERESTRUCTURAS EN MODO MENOR
Acorde I-7
Proviene de la escala menor natural I-7
C-7
1 b3 5 7 9 11 x
Da tensiones 9 y 11 y como nota obligada la diatónica b6 . La escala es la Eolia.
[page16image9528] [page16image9688] [page16image9848] [page16image10008] [page16image10168] [page16image10328] [page16image10488] [page16image10912] [page16image11336] [page16image11760] [page16image12184] [page16image12608] [page16image13032] [page16image13456] [page16image13880] [page16image14304] [page16image14728] [page16image15152] [page16image15576] [page16image16000] [page16image16424] [page16image16848] [page16image17272] [page16image17696] [page16image18120] [page16image18544] [page16image18968] [page16image19392] [page16image19816] [page16image20240] [page16image20664] [page16image21088] [page16image21512] [page16image21936] [page16image22360] [page16image22784] [page16image23208] [page16image23632] [page16image24056] [page16image24480] [page16image24904] [page16image25328] [page16image25752] [page16image26176] [page16image26600]
Acorde I-6
Proviene de la escala menor melódica I-6
C-6
[page16image28256] [page16image28680] [page16image29104] [page16image29528] [page16image29952] [page16image30376] [page16image30800] [page16image31224] [page16image31648] [page16image32072] [page16image32496] [page16image32920] [page16image33344]
1 b3 5 7 9 11 6 Tiene tensiones 7, 9 y 11
La escala resultante es la menor melódica.
[page16image35296] [page16image35720] [page16image36144] [page16image36568] [page16image36992] [page16image37416] [page16image37840] [page16image38264] [page16image38688] [page16image39112] [page16image39536] [page16image39960] [page16image40384]
16
db6
Acorde I-Maj 7
Proviene de la escala menor armónica y menor melódica I-Maj 7
C-Maj 7
1 b3 5 7 9 11 x 6
Tiene tensiones 9 y 11 y como nota obligada la b6, pudiendo usar la 6a como nota adicional del acorde , evitando mezclar una 6a con la otra. Las escalas adecuadas, según el uso de una u otra 6a , serán la menor armónica o la menor melódica.
Acorde II-7(b5)
Proviene de la escala menor natural. II-7 (b5)
1 b3 b5 b7 x 11 b13
Tiene como tensión la 11 y la b13 y como nota obligada la diatónica b2. La
escala correspondiente será la Locria.
db2
Proviene de la escala menor melódica II-7
C-7
1 b3 5 b7 x 11 x
Tiene como tensión la 11 y como nota obligada la diatónica b2 y 6. La escala sin nombre concreto será:
db2 d6
Acorde bIIIMaj7
Proviene de la escala menor natural. bIIIMaj7
C Maj7
13579x6 17
[page17image12432] [page17image12856] [page17image13280] [page17image13704] [page17image14128] [page17image14552] [page17image14976] [page17image15400] [page17image15824] [page17image16248] [page17image16672] [page17image17096] [page17image17520] [page17image17944] [page17image18368] [page17image18792] [page17image19216] [page17image19640] [page17image20064] [page17image20488] [page17image20912] [page17image21336] [page17image21760] [page17image22184] [page17image22608] [page17image23032] [page17image23456] [page17image23880] [page17image24304] [page17image24728] [page17image25152] [page17image25576] [page17image26000] [page17image26424] [page17image26848] [page17image27272] [page17image27696] [page17image28120] [page17image28544] [page17image28968] [page17image29392] [page17image29816] [page17image30240] [page17image30664] [page17image31088] [page17image31512] [page17image31936] [page17image32360] [page17image32784] [page17image33208] [page17image33632] [page17image34056]
Acorde II-7
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18
Tiene tensión 9 y la 6a añadida
La escala correspondiente será la mayor
d4
Acorde bIII + Maj7
Proviene tanto de la escala menor armónica como de la menor melódica. bIII Maj7(5)
C Maj7 (5)
1 3 5 7 9 11 6 Tiene como tensiones 9, 11 y la 6a añadida:
La escala adecuada será:
Si se toma como base la escala armónica, el cuarto grado de esta escala será el F natural , creando en consecuencia una 2a aumentada con el 5o grado; dicho intervalo se tiende a evitar en la música occidental.
Acorde IV-7
Proviene de la escala menor natural IV-7
C-7
1 b3 5 b7 9 11 x
Tiene tensiones 9 y 11 y como nota diatónica obligada la 6a. La escala adecuada
es la Dórica.
Acorde IV7
Proviene de la escala menor melódica IV7
C7
1 3 5 b7 9 11 13 Resultando tensiones 9, 11 y 13.
La escala adecuada será la Lidia b7.
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Acorde V-7
Proviene de la escala menor natural. V-7
C-7
b3 5 b7 x 11 x
Resultando como tensión la 11 y como notas diatónicas abligadas la b2 y b6. La escala adecuada es la Frigia.
db2 db6
Acorde V7
Proviene esencialmente de la escala menor armónica V7
C7
1 3 5 b7 b9 x b13 Resultando como tensiones b9 y b13 y como nota obligada la 4. La escala resultante será
Para evitar la 2a aumentada entre el 2o y 3o grados de la escala se puede recurrir a la tensión 9 que es intercambiable con la b9, así el primer tretacordo resultará:
b9 9
En caso de querer relacionar este acorde con la escala melódica el resultado sería la rtensión 9 en lugar de la b9 y la escala resultaría afectada también sobre este grado.
Acorde bVIMaj7
Proviene de la escala menor natural y menor armónica. bVI Maj7
C Maj7
1 3 5 7 9 11 6
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Resultando las tensiones 9, 11, y la 6a añadida. La escala edecuada será la Lidia.
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Acorde VI-7 (b5)
Proviene de la escala menor melódica. VI-7 (b5)
C-7 (b5)
1 b3 b5 b7 9 Resultando tensiones la 9, 11 y b13.
La escala adecuada será la Dórica alterada.
Acorde bVII7
Proviene de la escala menor natural. bVII7
C7
11 b13
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1 3 5 b7 9 x 13 Resultando tensiones la 9 y 13 y como diatónica obligada la 4. La escala adecuada será la Mixolidia
Acorde VIIo7
Proviene de la escala armónica. Co7 sería el VIIo7 del tono de Db menor, el tono enarmónico sería el C menor y el VII grado B . Para mayor claridad se tomo en el ejemplo el tono de C menor.
VIIo7 Bo7
1 b3 b5 bb7 x x T
Las tensiones de los acordes disminuidos no acostumbran a nombrarse con un
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número como 9 , 11 etc...
La escala adecuada será:
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2
La distancia de 2a aumentada entre el séptimo grado de esta escala y la fundamental se evita añadiendo un grado más a la escala.
Acorde VII-7 (b5)
Procede de la escala menor melódica. VII-7 (b5)
B-7 (b5)
1 b3 b5 b7 x x b13 Resultando tensión la b13 y como diatónicas abligadas la b2 y b4. La escala adecuada será:
db2 db4
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SUPERESTRUCTURAS EN MODO MAYOR
Habiéndonos denido en la explicación detallada de las superestructuras en modo menor y siendo las del modo mayor menos complejas, éstas las tratamos en el siguiente cuadro resumen:
Resumen de los acorde diatónicos
Acorde
Tensiones
Escala
Nota a evitar
IMaj7
9, 6 (13)
Mayor(jónica)
4
II-7
9,11
Dórica
6
III-7
11
Frigia
b2, b6
IVMaj7
9, 11, 6 (13)
Lidia
V7
9, 13
Mixolidia
4
VI-7
9, 11
Eolia
b6
VII-7(b5)
11, b13
Locria
b2
Acordes no diatónicos Acorde bVIIMaj7
Este acorde es de la misma especia que el Imaj7 (1,3,5,7)
bVIIMaj7 CMaj7
1 3 5 7 9 11 13-6 Nos da las tensiones 9, 11 y 6(13) y la escala Lidia
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