Traité de l’orchestration by Charles Koechlin

By Charles Koechlin

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J I ... -I - -I • < = ""1l • Bm7D5 ... - l:::I::d:: l:::I::d:: ~ loco - U-l ... ::::: "U"" Cmaj7 ~ r=Fi .... ·· G7 loco --l ===- - --- U < 8 va- 1Il.. I - I 1 -~~~ ,- - .. 67-69 Dm7 < , ·· .. =..... ~ ~ -.. FF= -- *" "U"" 50 '-- ---1 G7 I~ 4 ~ 7; 1'- Sva- - - - - - - - - - - - - - - l =~ I L. -~ - - -= "i ""iI -= "i =~ .. r1 .. =0 - --e- ~ . l-4 Allegro C ~ u /~ ( 6:::6:::6d( P:;). ~J legat o < -(7- ~ u : Dm/C / /~ - ( I :; )'~J ,9-- - CHAPTER 4 51 Chapter 4 Exercises 1.

For instanc e, in the key of C, A7 is still called V7Ii i even if it is not followed by Dm7 but by anoth er chord in the key. Finally, not every domin ant chord that can occur in a given key other than V is necessarily a secondary dominant. For example, IV7 (F7) in the key of C is not a secondary domin ant chord , because its reso lution by a descending 5th would lead to bVII (Bbmaj 7), which is not a diatonic chord in C major. There are other po ssible analyses for IV7 that we' ll see in Chapters 7 and 8.

It is essential that jazz musicians be able to spot ii-V-I cadences instantly, as they are ubiquitous in jazz harmony and central to the process of improvising over changes. Familiarity with this very common chord progression will allow one to look at a set of chord changes and perceive the overall tonal structure. This will give a better idea 42 JAZZOLOGY of how the tun e is put together , and ho w gro up s of chord s relate to one anot her , instead of simply look ing at and trying to reme mber a serie s of ind ividua l chord s.

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