TOPICS:

■ pentatonic scales
■ the blues scale and the 12-bar
blues
■ seventh chords
■ chord extensions and sus chords

MUSIC:
■ Count Basie, “Splanky”
■ George and Ira Gershwin, “ ’S
Wonderful!” from Funny Face
CHAPTER 12 ■ James Horner, Barry Mann, and
Cynthia Weil, “Somewhere Out

Blues and Other ■

■
There,” from An American Tail
John Newton, “Amazing Grace”
Joel Phillips, “Blues for Norton”

Popular Styles
■ “Wayfaring Stranger”

Pentatonic Scales
In addition to major and minor scales, folk, jazz, and popular musicians typically employ penta-
tonic and blues scales. For an example, look at the melody for “Amazing Grace,” shown in Exam-
ple 12.1. In this melody, there are only five scale degrees, 1^, ^2, ^3, 5^, and 6^ in G major. This is a major
pentatonic scale. Since 4^ and 7^ are missing, there is no 7^–1^ or 4^–3^ half-step motion. Melodies
based on the major pentatonic scale typically are harmonized with chords from the major scale.

E X A M PL E 12 .1 Newton, “Amazing Grace”

(a) Score
1 2 3 4 5

A - maz - ing grace, how sweet the sound That saved a

6 7 8 9 10

wretch like me! I once was lost, but

11 12 13 14 15 16

now am found, was blind but now I see.

(b) G major pentatonic scale

1^ ^2 ^3 5^ 6^
do re mi sol la

303
 Listen to Example 12.2, “Wayfaring Stranger,” another pentatonic melody. From the key sig-
nature, the sound of the melody, and the beginning and ending notes, you might guess that the
tune is in D minor, but the melody includes only five notes of the D natural minor scale: 1^, b ^3, 4^,
5^, and b 7^. This scale is known as the minor pentatonic. Melodies based on the minor pentatonic
scale are often harmonized with chords from the natural minor scale. These are not the only
possible pentatonic (five note) scales; other pentatonic scale types are heard in non-Western
musics.

E X A M PL E 12 . 2 “Wayfaring Stranger”
(a) Score
1 2

I am a poor way - far - ing stran - ger a trav - ’ ling

3 4 5

through this world of woe; yet there’s no sick - ness, toil or

6 7 8

dan - ger in that bright world to which I go.

(b) D minor pentatonic scale

1^ b ^3 4^ 5^ b 7^
do me fa sol te

Example 12.3 compares the major and minor pentatonic scales beginning on C: both share C
and G (1^ and 5^), and each has the quality of the third associated with its name, major or minor.

E X A M PL E 12 . 3 C pentatonic scales
(a) Major pentatonic

1^ ^2 ^3 5^ 6^
do re mi sol la

(b) Minor pentatonic

1^ b ^3 4^ 5^ b 7^
do me fa sol te

304 CH A P T E R T W E LV E Blues and Other Popular Styles

 TRY IT #1
For each tonic pitch given, write the major pentatonic scale on the left and the minor pentatonic on the right. Think of the
major and minor key signatures, and use the scale degrees shown in Example 12.3 to help you.
Major pentatonic: Minor pentatonic:
^1, ^2, ^3, 5^, and 6^ 1^, b ^3, 4^, 5^, and b 7^
(a)

E major pentatonic E minor pentatonic

(b)

B major pentatonic B minor pentatonic

(c)

F # major pentatonic F # minor pentatonic

(d)

B b major pentatonic B b minor pentatonic

Like relative major and minor keys, there are major and minor pentatonic scales that share
the same pitches, but have different tonic notes, as shown in Example 12.4. One easy way to
remember the pattern of the pentatonic scales is to think of the black keys on a piano. Play the
black keys from F # to F # (or G b to G b ) as shown in Example 12.4 to make a major pentatonic
scale with F # as tonic. Then play the same collection of black keys from D # to D # (or E b to E b ) to
make a minor pentatonic scale with D # as tonic.

E X A M PL E 12 .4 Black-key notes as major and minor pentatonic scales

(a) Major pentatonic scale starting on F #

1^ ^2 ^3 5^ 6^
do re mi sol la

(b) Minor pentatonic scale starting on D #

1^ b ^3 4^ 5^ b 7^
do me fa sol te

Pentatonic Scales 305

The Blues Scale and the 12-Bar Blues
The blues, which grew out of African American musical practice, has become one of the most
important influences on popular music in the world today. Listen to “Blues for Norton,” written
for this text by Joel Phillips (anthology, p. 399). It is scored for jazz combo, a small instrumental
ensemble usually consisting of (at least) a solo instrument, keyboard, and drum set (snare drum,
bass drum, and cymbals). The solo instruments in this combo are clarinet and alto saxophone.
Usually, as here, the drummer’s rhythms are improvised and not notated in the score.
Listen to the last few measures, while following the score in Example 12.5a. The key signa-
ture suggests that the work is in F major, but the melody features a repeated and prominent b^3 (Ab).
The piano part includes both A b and A n, and sometimes plays ^3 (A n) while the solo instrument
plays b ^3 (A b ), as in measures 23–24. In addition, the piano has both 7^ and b 7^ (E n and E b ). The
lowered third and seventh scale degrees are two of the possible blue notes in this style, which
help give the blues its distinctive sound. They both come from the blues scale, shown in part (b).

E X A M PL E 12 . 5 Phillips, “Blues for Norton,” mm. 20–24

(a) Score
20 21 22 23 24

Clarinet

Alto
saxophone

C7 Bb7 F7

Piano

C7 Bb7 F7
Bass

(b) Blues scale

KEY CONCEPT The blues scale shares most of its pitches with the minor pentatonic,
with an added # 4^/ b 5^. A performance of a blues melody with accompaniment blurs the
distinction between major and minor by including both ^3 and b ^3 and both 7^ and b 7^.

306 CH A P T E R T W E LV E Blues and Other Popular Styles

 Example 12.6 shows the blues scale beginning on C; sing the scale to become familiar with
its sound. The added “flatted fifth” (here, the F # or G b ) changes spelling with the direction of
the melody: in performance, the player’s intonation on this note may be slightly higher when
ascending (F # ) and slightly lower when descending (G b ). The accidentals in the scale are the
blue notes. When writing blues, use the major key signature of the tonic pitch and add acciden-
tals as needed, as in “Blues for Norton.”

E X A M PL E 12 .6 Blues scale on C
m3 W H H m3 W W m3 H H W m3

do me fa fi sol te do do te sol se fa me do
1^ b ^3 4^ #4^ 5^ b 7^ 1^ 1^ b 7^ 5^ b 5^ 4^ b ^3 1^

The anthology includes two scores for “Blues for Norton”: one is a full score that shows what
each instrumentalist plays on the recording (p. 400); more often, blues performers play from a
lead sheet (p. 399), which gives the primary melody plus chord symbols. Instrumentalists im-
provise their parts from these musical cues. Follow the lead sheet as you listen to the recording.
The piano part, not included in the lead sheet, is created by the pianist on the spot, following
the chord symbols. Likewise, the bass player not only supplies the roots of the chords, but also
adds considerable melodic and rhythmic interest to the performance with improvised stepwise
motion and some arpeggiations of harmonies.
Example 12.7 gives the lead sheet for the first twelve bars of “Splanky.” Listen while follow-
ing the lead sheet. (The performance also includes a long piano introduction not shown here.)
Compare the pitches of Example 12.7 with the blues scale shown in Example 12.6.

E X A M PL E 12 .7 Count Basie, “Splanky,” mm. 1–12

brass C7 F7 C7 F7
1 2 3 4 5 6

C7 G7 F7 C7
7 8 9 10 11 12

Basie’s melody draws on the full blues scale on C except for B b (which, however, is present in the
C7 chord, C–E–G–B b ). The F # ( # 4^) in the ascending melody in measure 3 becomes a G b ( b 5^)
in measure 4 when the melody descends. The notes E n and E b (3^ and b ^3) are heard simultane-
ously, as is typical: the melody in measure 1 features the blue note E b , while the C7 chord har-
monizing it has E n. Although the blues scale is based on the minor pentatonic scale, it is typically
harmonized by chords from a major key. In “Splanky,” the key signature provided is for C major,
but the melody is based on the C minor pentatonic scale, necessitating many accidentals. This
juxtaposition of major-key harmonies with the minor pentatonic scale in the solo parts accounts
for much of the distinctive character of blues compositions.

The Blues Scale and the 12-Bar Blues 307

 TRY IT #2
Write blues scales that begin on the pitches given below, ascending and descending. Supply the appropriate major key sig-
nature, and add accidentals.
(a) B b :

(b) D:

(c) F:

ASSIGNMENT 12.1

Another important aspect of blues style is its harmonic structure. Unlike a 32-bar song form,
with four 8-measure phrases, the 12-bar blues consists of a single harmonic progression or set
of chord changes (called the changes by jazz musicians) that is repeated many times over the
course of a performance. It is helpful to think of the progression as three 4-bar units, labeled
(a), (b), and (c) in Figure 12.1. The progression begins with 4 measures of tonic harmony (a),
followed by 2 measures of IV and 2 measures of I (b). The last 4 measures (c) feature the chords
V–IV–I and end with a final tonic measure. This last measure may serve as a turnaround, with V
or V 7 instead of or after the tonic, leading back to the beginning (a) for another repetition of the
chorus. Each harmony may be played as a triad or dominant seventh chord, as shown.

F IGU R E 12 .1 12-bar blues harmonic scheme

(a) I (7)

(b) IV (7) I (7)

(c) V (7) IV (7) I (7) (V (7)) 

(turnaround)

In popular styles such as jazz and the blues, harmonic progressions and dissonance are
treated differently from their counterparts in classical styles. First, the seventh chord is con-
sidered as stable as the triad. Seventh chords may appear on any degree of the scale and on
nearly every change of chord. Second, while in classical music chordal sevenths are considered
a dissonance that must resolve down by stepwise motion, in popular styles sevenths may be
left unresolved for their color or dramatic effect. Third, the progression V–IV (or V 7–IV 7) is an
integral part of the 12-bar blues (occurring at its final cadence) and is standard practice in rock,
but it is rare in classical compositions and folk songs.
Example 12.8 shows the blues chord progression for “Splanky” in lead-sheet notation, with-
out the melody. The four slashes in each measure mean that performers should improvise on

308 CH A P T E R T W E LV E Blues and Other Popular Styles

each chord for four beats—the voicing and rhythm of the chord are up to the performer, in
collaboration with the other members of the combo. The chords whose symbols are given in
parentheses may be omitted.

E X A M PL E 12 . 8 Lead-sheet notation for 12-bar blues

C7 (F7 C7)

F7 C7

G7 F7 C7

Listen again to “Splanky,” following the chord changes; it may help to sing the chord roots along
with the recording. Try out its progression at the keyboard (you can simply play the chord once
per measure, or repeat it on each beat), then play through Basie’s melody or create your own,
drawing on the C blues scale from Example 12.6. In blues practice, players first perform the ini-
tial tune and progression (together called the head), then with each successive chorus, various
performers improvise over the chord changes. The head usually returns at the end of the perfor-
mance, and sometimes in the middle as well. The 12-bar blues progression was adopted by rock
musicians in the 1950s and appears in songs of many styles after that time.

Seventh Chords
Seventh chords, pervasive in popular styles, may be built on every degree of the scale, resulting
in many different types of sonorities.

KEY CONCEPT Seventh chords consist of four tones: a root, third, fifth, and seventh
(see Chapter 9). A seventh chords is named for the quality of its triad plus the quality of
its seventh.

Example 12.9 illustrates the five most common seventh-chord types, with an example of
each built above middle C. A major-major seventh chord (MM7) is a major triad plus a M7; a
minor-minor seventh chord (mm7) is a minor triad plus a m7. A MM7 is often called a major
seventh for short, a mm7 is a minor seventh, and a major-minor seventh chord (Mm7) is a
dominant seventh. A seventh chord built from a diminished triad and minor seventh (dm7)
is typically called a half-diminished seventh, abbreviated Ø7, and a chord built from a dimin-
ished triad and a diminished seventh (dd7) is a fully diminished seventh (or just a diminished
seventh), abbreviated º7.

E X A M PL E 12 .9 Seventh chords built above middle C

M7 m7 m7 m7 d7
M M m d d

MM7 Mm7 mm7 Ø7(dm7) º7(dd7)

major 7th dominant 7th minor 7th half-diminished 7th diminished 7th

Seventh Chords 309

The quality of a seventh chord in a key depends on the scale degree of its root. The seventh chords
built on each degree of the G major scale are given in Example 12.10, while Example 12.11
shows seventh chords built on the G minor scale. Since b 7^ is typically raised in minor, the chords
on 5^ and 7^ are written with an F # ; the chord on the leading tone in minor is therefore a dimin-
ished seventh, while the half-diminished seventh appears on ^2. Together, these two examples list
all the seventh chords commonly found in tonal music.

E X A M PL E 12 .10 Seventh chords built above the G major scale

1^ ^2 ^3 4^ 5^ 6^ 7^

Triad quality: M m m M M m d
7th quality: M m m M m m m
Name: major minor minor major dominant minor half-diminished
seventh seventh seventh seventh seventh seventh seventh
Abbreviation: MM7 mm7 mm7 MM7 Mm7 mm7 Ø7
Roman numeral: I7 ii7 iii7 IV 7 V7 vi7 viiØ7
Chord symbol: Gmaj7 Amin7 Bmin7 Cmaj7 D7 Emin7 F # min7( b 5) or
F # Ø7

E X A M PL E 12 .11 Seventh chords built above the G minor scale

1^ ^2 ^3 4^ 5^ 6^ 7^

Triad quality: m d M m M M d
7th quality: m m M m m M d
Name: minor half- major minor dominant major diminished
seventh diminished seventh seventh seventh seventh seventh
seventh
Abbreviation: mm7 Ø7 MM7 mm7 Mm7 MM7 º7
Roman numeral: i7 iiØ7 III7 iv7 V7 VI7 viiº7
Chord symbol: Gmin7 Amin7( b 5) B b maj7 Cmin7 D7 E b maj7 F # dim7 or
or AØ7 F # º7

The bottom rows of Examples 12.10 and 12.11 give the chord symbol for each seventh chord.
Write augmented triads with the root plus an indication of the raised fifth, G( # 5), or with a small
plus sign (G+). Diminished triads are indicated by Gdim or Gº. Some lead sheets notate dimin-
ished triads as a minor chord with a lowered fifth: Gmin( b 5). Although seventh chords appear
frequently in popular music, the labels used to designate them are not completely standardized.
Alternate labels for seventh chords above C are listed in Figure 12.2.

310 CH A P T E R T W E LV E Blues and Other Popular Styles

F IGU R E 12 . 2 Seventh-chord symbols
Seventh-chord type Abbreviation Chord symbol
Major MM7 Cmaj7, CM7, Cma7, C∆7
Dominant Mm7 C7
Minor mm7 Cmin7, Cmi7, Cm7, C−7
Half-diminished Ø7 or dm7 CØ7, Cmin7( b 5)
Diminished º7 or dd7 Cº7, Cdim7, Cd7
To spell a specific seventh chord above a given root, first spell the correct quality triad, then
add the correct quality seventh. Example 12.12 illustrates the steps for writing a minor seventh
chord above F:
(a) Spell a minor triad, F–A b –C.
(b) Add the seventh (E) (a third above the fifth of the triad).
(c) Check the seventh’s quality; if it is not correct, add an accidental. Since F to E is a major
seventh, lower the E to E b .
(d) Use this shortcut to check the quality of the seventh: invert the seventh to make a
second. If the second is minor, the seventh is major; if the second is major, the seventh
is minor.

E X A M PL E 12 .12 Steps to spell a minor seventh chord

(a) (b) (c) (d)
( ) ( )

m2 M2 mm7

TRY IT #3
(a) Write the specified seventh chord above the given root.

MM7 Mm7 mm7 Ø7 º7

Mm7 Ø7 MM7 º7 mm7

(b) Write the seventh chord indicated by each chord symbol.

E b maj7 G # º7 F # min7 Db7 Bmin7(b 5) A b maj7 GØ7 B b min7

ASSIGNMENT 12.2, AU R A L SKILLS 12.1

Seventh Chords 311

Chord Extensions and Sus Chords
Listen to “ ’S Wonderful!” while following the score in your anthology and focusing on the chord
symbols above the staff. You will notice some new chords here. We conclude this chapter by
exploring a few chord types that you may encounter in popular music, but these only scratch the
surface of the harmonies available to composers today.

E X A M PL E 12 .13 George and Ira Gershwin, “ ’S Wonderful!” mm. 29–36

Eb Eb6 Eb Eb6 C7 C#º C7 C#º
29 a tempo 30 31 32

’S won - der - ful! ’S mar - vel - ous!

a tempo

B b7(add6) B b7 E b6 Eb E b6 Eb
33 34 35 36

You should care for me!

The chords indicated in measure 29 begin with Eb, then change to Eb6, a chord with all the pitches
of an E b major triad, plus a major sixth (C) above the root. Pitches added to triads or seventh
chords are sometimes called chord extensions. This particular sonority is an added-sixth chord.
There are other added-sixth chords in measures 33 and 35–36. The added sixth is generally a
major sixth, whether the triad to which it is added is major or minor. Write the chord symbol
with the name of its root (and quality) plus the label 6 or (add6). If you see C6 or Cadd6, write
a C major triad plus a M6 (A); if you see Cm6 or Cmin(add6), write a C minor triad plus a M6.
Look at Example 12.14 for another type of chord extension: the ninth chord. In measure 22,
the F9 chord consists of an F dominant seventh chord (F–A n–C–E b, the third and fifth appear at
the end of the measure, and the D is an embellishing tone); the ninth is the G on the second beat.
For MM7 or mm7 chords, the added ninth is usually a M9. In the case of the dominant seventh
chord, it may be either a m9 or a M9 (as here). If you are writing in four voices and need to leave
out one chord tone, omit the fifth. You may also find symbols for eleventh or thirteenth chords
in some lead sheets. Simply add the eleventh (a P4) or thirteenth (a M6 or m6) above the bass
to spell these chords.

312 CH A P T E R T W E LV E Blues and Other Popular Styles

E X A M PL E 12 .14 George and Ira Gershwin, “ ’S Wonderful!” mm. 21–24
Bb F9 F7 Bb D bm6 G b7
21 22 23 24

From now on la - dy I in - sist,

You made all oth - er boys seem blah;

ninth

In addition to add6 and ninth chords, a third type of chord you may encounter in popular music
is a sus (or sus4) chord; the chord might be labeled B b sus or B b sus4. In these chords, a fourth
replaces the third in a triad: for example, Fsus is spelled F–B b –C rather than F–A–C, making a
dissonance that adds color to the harmony. (Sus chords are named for the suspension, an embel-
lishment in classical style.) Example 12.15, from “Somewhere Out There,” shows a sus chord in
measure 2: the G7sus chord includes a C (fourth above G) retained throughout the measure.

E X A M PL E 12 .15 Horner, Mann, and Weil, “Somewhere Out There,” mm. 1–4
C Cmaj7/E C/F G7sus C C/E F(add9)
1 2 3 4

You can also use chord symbols to indicate inversions. Measures 1 and 3 of Example 12.15 illus-
trate how chord inversions are labeled: Cmaj7/E (m. 1) means to play a C major seventh chord
in first inversion, with an E in the bass. Likewise, C/E (m. 3) means to play a C major triad with
E in the bass. The C/F in measure 2 indicates there is a C triad over an F bass note—a passing
tone in the bass part. You should now have a sufficient understanding of chord symbols to spell
most chords you will find in a standard lead sheet.
Finally, as we near the end of this text, we challenge you to continue exploring music—by lis-
tening, playing, singing, and writing. Take some of the harmonies, forms, and styles introduced
in the last two chapters and write some music of your own. Be curious, take more courses, and
above all, experience music of many styles, periods, and regions. In the twenty-first century, the
whole world of music is open to you. Explore and enjoy!

ASSIGNMENT 12.3, 12.4

Chord Extensions and Sus Chords 313

 Did You Know?
Early rock and roll owes much to the blues. Not only did rock
musicians borrow the 12-bar blues progression and blue notes, in
some cases they also reworked entire blues songs—either as “covers” (interpretations that
acknowledged the original composers) or as “new” songs of their own. Rock-music scholars
(and lawyers) have debated the question of when borrowed material becomes one’s own
and when it is protected by copyright law, but you may be interested to learn that some of
Led Zepplin’s most famous songs have blues roots. These include “Dazed and Confused”
(compare with Jake Holmes’s “I’m Confused”), “Whole Lotta Love” (compare with Willie
Dixon’s “You Need Love”), “Bring It on Home” (compare with a song with the same title by
Willie Dixon), and the “Lemon Song” (compare with Howlin’ Wolf/Chester Burnett’s “The
Killing Floor”). (For more on this question, see David Headlam’s article “Does the Song
Remain the Same?” in Concert Music, Rock, and Jazz since 1945 (Rochester: University of
Rochester Press, 1995), ed. Elizabeth West Marvin and Richard Hermann.)

Terms You Should Know

12-bar blues diminished seventh chord pentatonic scale
added-sixth chord half-diminished seventh chord major pentatonic
blue notes head minor pentatonic
blues scale lead sheet sus chord
changes major seventh chord turnaround
chord extensions minor seventh chord
combo ninth chord

Questions for Review

1. What distinguishes the major pentatonic from the minor pentatonic?
2. What distinguishes the minor pentatonic from the blues scale?
3. What is the standard harmonic progression for the 12-bar blues?
4. How is an extended blues piece structured (beyond the first 12 bars)?
5. Which seventh-chord types appear in jazz and popular styles?
6. How are seventh chords treated differently in popular styles and classical style?
7. Describe how seventh-chord qualities are represented in chord symbols.
8. What extensions may be added to triads and seventh chords in popular styles?
9. How are added-sixth and sus chords represented in chord symbols?
10. How are inversions specified in chord symbols?

314 CH A P T E R T W E LV E Blues and Other Popular Styles

Reading Review
Match the terms on the left with the best answer on the right.
(1) sus4 chord (a) minor pentatonic plus # 4^ or b5^
(2) minor pentatonic (b) chord extension of a M6 above the root
(3) turnaround (c) diminished triad plus diminished seventh
(4) combo (d) diminished triad plus minor seventh
(5) half-diminished seventh (e) do–re–mi–sol–la
(6) added-sixth (f) do–me–fa–sol–te
(7) diminished seventh (g) progression common in blues and rock but not in classical music
(8) ninth chord (h) notation with melody and chord symbols
(9) major pentatonic (i) chord extension of a third above the chordal seventh
(10) lead sheet (j) dominant chord at end of 12-bar blues to prepare for the next chorus
(11) blues scale (k) chord with its third replaced by a fourth
(12) V–IV (l) jazz instrumental performance group

Additional review and practice available at wwnorton.com/studyspace

Reading Review 315

Class Activities
A. At the keyboard
1. Singing pentatonic scales
(a) “Will This Circle Be Unbroken” is based on the major pentatonic scale (1^–2^–3^–5^–6^; do–re–mi–sol–la). Play C–F,
the dominant and tonic pitches, and sing the song with solfège syllables or scale-degree numbers.
“Will This Circle Be Unbroken,” mm. 1–4
1 2 3 4

Will this cir - cle be un - bro - ken, by and by, Lord,____ by and by.
sol la do do mi re do mi mi mi re do re do la sol
5^ 6^ 1^ 1^ ^3 ^2 1^ ^3 ^3 ^3 ^2 1^ ^2 1^ 6^ 5^

(b) Bartók’s “Evening in Transylvania” is based on the minor pentatonic scale (1^– b ^3–4^–5^– b 7^; do–me–fa–sol–te). Play the first
pitch of the melody, E, and sing the rest with solfège syllables or scale-degree numbers.
Béla Bartók, “Evening in Transylvania,” from Ten Easy Pieces, mm. 21–29
21 22 23 24

do te sol te do te te sol do te sol te do te sol fa

1^ b 7^ 5^ b 7^ 1^ b 7^ b 7^ 5^ 1^ b 7^ 5^ b 7^ 1^ b 7^ 5^ 4^
25 26 27 28 29

sol fa sol do te sol me do sol fa sol te sol fa me do

5^ 4^ 5^ 1^ b 7^ 5^ b ^3 1^ 5^ 4^ 5^ b 7^ 5^ 4^ b ^3 1^
© 1909 by Rozsnyai Károly, Budapest. © Copyright assigned 1950 to Editio Musica, Budapest. Reprinted by permission.

2. Performing pentatonic scales

As you play each of the following exercises at the keyboard, sing up and down with solfège syllables, scale-degree numbers, and
letter names.
(a) Major pentatonic
■ Transpose (rewrite) “Will This Circle Be Unbroken” to G b major. Begin on D b and play only black keys.
^ ^
■ From each of the tonic pitches below, play a major scale. Perform the scale again, but omit 4 and 7 to create the major

pentatonic scale.
(1) C (5) E (9) A b
(2) D (6) E b (10) G b
(3) A (7) F
(4) G (8) B b

316 CH A P T E R T W E LV E Blues and Other Popular Styles

(b) Minor pentatonic
■ Transpose “Evening in Transylvania” so that it begins on E b ; play only on the black keys.
^ ^
■ From each of the tonic pitches below, play a natural minor scale. Perform the scale again, but omit 2 and b 6 to create the minor

pentatonic scale.

(1) C (5) E (9) C #

(2) D (6) E b (10) F #
(3) A (7) F
(4) G (8) B b

3. Blues scales
To write a blues scale, treat its letter name (A b , for example) as the tonic of a major key, and write the blues scale using that key
signature (four flats). The blue notes— b ^3, # 4^/ b 5^, and b 7^—will always require accidentals, no matter what the key signature.

do me fa fi sol te do do te sol se fa me do
1^ b ^3 4^ # 4^ 5^ b 7^ 1^ 1^ b 7^ 5^ b 5^ 4^ b ^3 1^

Now perform an ascending and descending blues scale from each note below. As you play, sing in a comfortable register with
solfège syllables, scale-degree numbers, and letter names. Then notate each scale on your own music paper. Write the key
signature of the major tonic, and notate the accidentals for each blue note.

(a) B b (c) A (e) F (g) E

(b) E b (d) G (f) D (h) F #

4. Playing and spelling seventh chords

There are two ways to think about playing the five frequently used seventh chords: (a) the triad-plus-seventh strategy and
(b) the triad-plus-third strategy. Each method is summarized.

(a) Triad-plus-seventh strategy:

Given a root and seventh-chord type, perform the appropriate triad, then add the correct type of seventh above its root.
M7 m7 m7 m7 d7

M M m d d

Seventh chord Triad quality Plus this seventh

major (MM7) major M7
dominant (Mm7) major m7
minor (mm7) minor m7
half-diminished (Ø7) diminished m7
diminished (º7) diminished d7

Class Activities 317

(b) Triad-plus-third strategy:
Given a root and seventh-chord type, perform the appropriate triad, then add the correct type of third above its fifth.
M3 m3 m3 M3 m3

M M m d d

Seventh chord Triad quality Plus this third

major (MM7) major M3
dominant (Mm7) major m3
minor (mm7) minor m3
half-diminished (Ø7) diminished M3
diminished (º7) diminished m3
Consider each pitch below to be the root of a seventh chord. Perform all five types of seventh chord from each root following
either strategy. Play each at the keyboard root alone, then MM7, Mm7, mm7, Ø7, and º7.
(1) D (5) F (9) E b
(2) A (6) C # (10) B b
(3) F # (7) B (11) C
(4) E (8) G (12) A b

B. Singing at sight
Identify whether each melody uses the major or minor pentatonic scale.

Melody 1 “Riddle Song” Scale type:

1 2

I gave my love a cher - ry that had no ____ stone. I

3 4 5

gave my love a chick - en that had no__ bone. I gave my love a ring __ with

6 7 8

no end - ing. I gave my love a ba - by with no cry - ing.

Melody 2 George Gershwin, DuBose and Dorothy Heyward, and Ira Gershwin, “Summertime,” from Porgy and Bess,
mm. 16b–24a (adapted) Scale type:
17 18 19

Your dad - dy’s rich and your mam - ma’s good look - in’

20 21 22 23 24

so hush lit - tle ba - by don’t you cry.

318 CH A P T E R T W E LV E Blues and Other Popular Styles

Melody 3 “Land of the Silver Birch” Scale type:
1 2 3 4

Land of the sil - ver birch, home of the beav - er,

5 6 7 8

where still the might - y moose wan - ders at will.

9 10 11 12

Blue lake and rock - y shore I will re - turn once more.

13 14 cresc. 15 16

Boom did - dy boom boom boom did - dy boom boom boom did - dy boom boom boom!

C. Swung rhythms
For swing melodies 1–3:
■ When there are chord symbols, play the chords at the keyboard. Initially, don’t worry about rhythm or speed, just accuracy.
When you can play the chords accurately, play them in rhythm, even if your tempo is slow.
■ When you can play the chords in rhythm, sing along as you play. If necessary (especially for notes with accidentals), use the
piano to help. 3

■ These melodies may be sung with the eighth notes swung = , and some feature syncopation.
■ Swung rhythms, often used in jazz and blues, can be notated in simple quadruple meter with eighth notes beamed in groups

of four: . Instead they are performed as if they were written in compound quadruple meter

with accents on the weak parts of the beat: .

12
■ With swung rhythms, listen for syncopations, accents, and melodic anticipations. (If it helps, rewrite in 8 , as shown.)
■ To practice swung rhythms, first, perform the example below “straight” (exactly as it is notated), then add “swing.”

Swing

Class Activities 319

Swing Melody 1 Frank Perkins and Mitchell Parish, “Stars Fell on Alabama,” mm. 1–8

C Dmin7 G7 C Emin7 E b min7

1 2 3 4

We lived our lit - tle dram - a. We kissed in a field of white, and

Dmin7 G7 Emin7 A7 Dmin7 G7

5 6 7 8

stars fell on A - la - ba - ma last night.

Swing Melody 2 Harold Arlen, “Blues in the Night,” mm. 1–12

Bb
1 2

My ma - ma done tol’ me was I was in knee - pants, my

B b7 E b7
3 4 5

ma - ma done tol’ me, son, a wo - man ’ll sweet talk and

C7 F7 Bb
6 7 8

give ya the big eye, but when the sweet talk - in’s done, a
F7 G b7 F7
9 10

wo-man’s a two - face, a wor - ri - some thing who’ll leave ya to sing the

Bb
11 12

blues in the night.

320 CH A P T E R T W E LV E Blues and Other Popular Styles

Swing Melody 3 W. C. Handy, “Memphis Blues,” mm. 1–12
Here, the swung rhythms are sixteenths, not eights.
F F7 Bb
1 2 3 4 5

F C7 B b7 F
6 7 8 9 10 11 12

D. Call and response and improvisation

1. Hearing and writing blues riffs
Your teacher will play the harmonies of a 12-bar blues progression and perform a riff (a short melodic/rhythmic idea) in the first
two measures. Memorize the riff, then perform it in measures 5–6 and 9–10 of the progression. There will be rests in measures
3–4, 7–8, and 11–12. Maintain the riff ’s pitch, rhythm, and tempo.

Options for performing your response

■ Sing pitches only with solfège syllables, scale-degree numbers, or letter names
■ Sing the rhythm only, on “la”
■ Sing the pitches and rhythm
■ Sing the root of each chord with solfège syllables, scale-degree numbers, or Roman numerals
■ Conduct (or tap) with any of the above
■ Play on the keyboard or another instrument

Options for writing your response

■ Write solfège syllables, scale-degree numbers, or letter names
■ Write note heads only on the staff
■ Write the rhythm only
■ Write both notes and rhythm on the staff
■ Write chord symbols or Roman numerals

Class Activities 321

2. Improvisation
As a group, improvise based on the blues progression provided. While one or more class members play the chord progression,
a soloist improvises (on voice, piano, or another instrument), choosing his or her pitches from the corresponding blues scale.
Take turns swapping parts until each person has had the opportunity to improvise.
C7 (F7 C7)

F7 C7

G7 F7 C7 (G7)

Blues scale

do me fa fi sol te do do te sol se fa me do
1^ b ^3 4^ # 4^ 5^ b 7^ 1^ 1^ b 7^ 5^ b 5^ 4^ b ^3 1^

322 CH A P T E R T W E LV E Blues and Other Popular Styles

NAM E

Workbook ASSIGNMENT 12.1

1. Pentatonic scales
a. Write the pentatonic scales requested below.
(1) (5)

F minor pentatonic E b minor pentatonic

(2) (6)

A b major pentatonic C minor pentatonic

(3) (7)

B b major pentatonic D major pentatonic

(4) (8)

G minor pentatonic F # major pentatonic

b. Identify the pentatonic scale for each melody. Write the scale beneath the melody, and write the appropriate solfège syllables
or scale-degree numbers beneath the scale; write the scale type in the blank.
(1) “My Paddle’s Keen and Bright”
Practice the tune on solfège syllables or scale-degree numbers for performance in class as a round.

1 2

My pad - dle’s keen and bright, Flash - ing with sil - ver.
Dip, dip and swing her back, Flash - ing with sil - ver.
3 4

Fol - low the wild goose flight, Dip, dip and swing.
Swift as the wild goose flies, Dip, dip and swing.

Scale type:
^
1 b^
3
do me
Assignment 12.1 323
(2) Robert Lowry, “How Can I Keep from Singing?” mm. 1–8a
1 2 3

My life flows on in end - less praise a - bove earth’s lam - en -

4 5 6 7 8

ta - tion. I hear the sweet though far off hymn that hails a new cre - a - tion.

Scale type:

2. Blues scales
Spell the blues scales that begin on the pitches given below. Write the appropriate key signature and accidentals (both ascending
and descending).
a. Beginning on G:

b. Beginning on B b:

c. Beginning on D:

d. Beginning on E:

e. Beginning on F:

324 CH A P T E R T W E LV E Blues and Other Popular Styles

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Workbook ASSIGNMENT 12.2

1. Spelling isolated seventh chords

Each pitch given below is the root of a seventh chord. Fill in the remaining chord members. Don’t change the given pitch.
(a) (b) (c) (d) (e) (f) (g) (h)

Mm7 MM7 Mm7 mm7 º7 Mm7 Ø7 MM7

(i) (j) (k) (l) (m) (n) (o) (p)

Mm7 Mm7 º7 Ø7 Mm7 mm7 Ø7 mm7

2. Writing blues progessions

Write the changes for 12-bar blues in both of the following keys. Write one chord symbol above each measure.
a. B b
1 B b (B b 7) 2 3 4

5 6 7 8

9 10 11 12

b. D
1 2 3 4

5 6 7 8

9 10 11 12

Assignment 12.2 325

3. Analyzing a blues melody
a. The head (mm. 1–12) of “Splanky,” shown below, is based on only a few short melodic ideas that are repeated and expanded.
For example, the F–E b –C of measure 2 could be considered an expansion of the opening E b –C. Draw a circle around all the
other fragments that are based on F–E b –C.

b. Another basic idea is E b –F–G b (F # ) in measure 1; draw a box around all the segments using those notes (some may descend
rather than ascend, and boxes and circles may overlap). The longer melodic idea in measures 3–4 is based on these smaller
segments.

c. Now look at the larger formal organization of the melody. There is a bracket over measures 1–4. Draw a bracket over each
repetition of this four-measure melodic idea.

Basie, “Splanky,” mm. 1–12

C7 F7 C7 F7
1 2 3 4 5 6

C7 G7 F7 C7
7 8 9 10 11 12

4. Writing a blues melody

Taking the melodies in “Splanky” and “Blues for Norton” as your models, write three melodic ideas on the staff lines below
using a blues scale in the key of your choice. Next to each melodic idea, write at least one variant (for example, add, replace,
or remove a note, or change the melodic direction). Then select two ideas (with their variants) and use them to make a 12-bar
blues melody. Copy the melody on your own staff paper and be prepared to perform it in class.

Melodic idea 1: Variants:

Melodic idea 2: Variants:

Melodic idea 3: Variants:

326 CH A P T E R T W E LV E Blues and Other Popular Styles

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Workbook ASSIGNMENT 12.3

Writing a song
Your final project is to compose either a blues song (Assignment 12.3) or a popular song (Assignment 12.4) with lyrics. Use
examples of these song types in your anthology as models. On your own staff paper, notate the song on a lead sheet that shows
the melody, lyrics, and chord symbols. Read the instructions in their entirety (for both types of songs)—many guidelines are
applicable to both styles. Prepare to perform your song, or arrange to have it performed, in class.
General guidelines
■ Write a short introduction. This might consist of the last four measures of the song or a simple chord progression that
establishes a mood.
■ Include a “hook”—a recurring, memorable part of the music, the lyrics of which are often the song’s title.

■ Recall that many song lyrics are about love—trying to find love, being in love, losing a love.

■ Employ text painting appropriate to your lyrics. For example, you might set the word “sun” or “moon” to the highest pitch in

the phrase.
■ Keep your melody and chord symbols simple; performers bring the music to life by embellishing the melodies and chords

they find in lead sheets.

■ Create a short coda, or tag. One possibility is to play the last four measures three times, making each repetition slower and

more dramatic.

Blues song
Write a song with the following form:

Introduction a minimum of three statements of the twelve-bar blues progression, coda

each with different lyrics

Creating the lyrics

Keep the language simple and direct, or even colloquial (for example, “You ain’t nothin’ but a hound dog,” “My mama done tol’
me,” etc.). Each blues progression consists of three subphrases, each four measures long: measures 1–4 state an idea; measures
5–8 restate the idea in a varied form; measures 9–12 offer an outcome or a consequence.
You could think of blues lyrics as a kind of call and response, with a refrain.
Subphrase 1 (Call): I I I I
Subphrase 2 (Response): IV IV I I
Subphrase 3 (Conclusion): V IV I I (or V 7)
The lyrics to W. C. Handy’s “St. Louis Blues” are a good example:
I hate to see that evening sun go down, call
I hate to see that evening sun go down, response
’Cause, my baby, he’s gone left this town. conclusion
Feelin’ tomorrow like I feel today, call
If I’m feelin’ tomorrow like I feel today, response
I’ll pack my truck and make my get away. conclusion

Assignment 12.3 327

Creating the music
■ Follow the blues progression shown, or transpose it to another key of your choice.
■ Choose your melodic pitches from the blues scale below, or transpose it.
■ Create a two-measure motive that you can vary.
■ In measure 12, write a turnaround (the V chord).
■ Model your song after Count Basie’s “Splanky” (anthology, p. 338) or Phillips’s “Blues for Norton” (p. 383).
C7 (F7 C7)

F7 C7

G7 F7 C7 (G7)

Blues scale

do me fa fi sol te do do te sol se fa me do
1^ b ^3 4^ # 4^ 5^ b 7^ 1^ 1^ b 7^ 5^ b 5^ 4^ b ^3 1^
Work space

328 CH A P T E R T W E LV E Blues and Other Popular Styles

NAM E

Workbook ASSIGNMENT 12.4

Writing a song
Your final project is to compose either a blues song (Assignment 12.3) or a popular song (Assignment 12.4) with lyrics. Use
examples of these song types in your anthology as models. On your own staff paper, notate the song on a lead sheet that shows
the melody, lyrics, and chord symbols. Read the instructions in their entirety (for both types of songs)—many guidelines are
applicable to both styles. Prepare to perform your song, or arrange to have it performed, in class.
General guidelines
■ Write a short introduction. This might consist of the last four measures of the song or a simple chord progression that
establishes a mood.
■ Include a “hook”—a recurring, memorable part of the music, the lyrics of which are often the song’s title.

■ Recall that many song lyrics are about love—trying to find love, being in love, losing a love.

■ Employ text painting appropriate to your lyrics. For example, you might set the word “sun” or “moon” to the highest pitch in

the phrase.
■ Keep your melody and chord symbols simple; performers bring the music to life by embellishing the melodies and chords

they find in lead sheets.

■ Create a short coda, or tag. One possibility is to play the last four measures three times, making each repetition slower and

more dramatic.

Popular song
Write a song with the following form:

Introduction a a' b a' or a a' b a'' design, stated at least twice (with different lyrics) coda

Creating the lyrics

1. Writing your own
■ One type of four-phrase song is the ballad, which tells a story. Let the a phrases narrate the story, and the bridge (b)
encapsulate its emotional impact.
■ Place rhymes at the ends of phrases, and within the phrase if you like.
■ Think about incorporating other poetic devices, such as alliteration and double entendre.
■ Try to let the rhythm of your melody approximate that of the spoken lyrics.
2. Setting a preexisting poem
■ You may choose to set a poem if you find one that inspires you and fits the formal requirements of the song form. Spend some
time considering both the form and meaning of the text. Look for
≠ the accents, so you can place strong and weak syllables on strong and weak beats;
≠ a parallel structure in the text that might suggest parallel melodic lines;
≠ rhyming line endings that might suggest “musical rhymes” (similar motives);
≠ repeated words or images that might be represented as musical ideas (text painting);
≠ changes in the narration or imagery that would suggest musical change; and
≠ a general sentiment or mood of the text that you would like to evoke through music.
Creating the music
■ Write a motive that is memorable in its rhythm, contour, and pitches. Use this motive and variations of it throughout the song.
■ Each phrase should end with a cadence: a (HC), a' (PAC), b (HC), a' or a'' (PAC).
■ The bridge, b, might be in a different key from a, be louder or more rhythmically active, feature a different accompaniment
pattern, or sound in a higher register.

Assignment 12.4 329

■ Make each phrase four or eight measures long, so that the body of your song will be sixteen or thirty-two measures. Sixteen-
measure songs we have studied include “Oh! Susanna” (a a' b a'), “Greensleeves” (a a' b b'), and “When Johnny Comes
Marching Home” (a a' b c). Thirty-two measure songs include “Till There Was You” (a a' b a'), “ ’S Wonderful!” (refrain:
a a' b a''), “Somewhere Out There” (a a' b a''; b and a'' are extended beyond eight measures), and “My Funny Valentine”
(a a' b a''; a'' is extended).
■ If you prefer, and with your teacher’s permission, choose a different design, such as a a' b b', a b a b, or a a' b c.
■ If you want to create a simple keyboard accompaniment, use harmonic progressions and accompaniment patterns from
Chapter 11 as models. Otherwise, you may simply notate melody, lyrics, and chord symbols.

Work space

330 CH A P T E R T W E LV E Blues and Other Popular Styles

 Aural Skills 12.1
NAM E

Workbook AURAL SKILLS 12.1

Listen again to an excerpt we studied before, and complete the following exercises.

1. Which is the meter signature of the excerpt?

2 3 9 12
(a) 4 (b) 4 (c) 8 (d) 8

2. Melodic pitches 1–2 create which interval?

(a) M2 (b) M3 (c) P4 (d) P5

3. Melodic pitches 3–5 outline a triad with which quality?

(a) major (c) augmented

(b) minor (d) diminished

4. Write the melody with solfège syllables or scale-degree numbers. Your answer should begin with 5^–7^–1^ (sol–ti–do).

5. Write the bass line with solfège syllables or scale-degree numbers. Hint: It includes three chromatic pitches (with accidentals).

6. Notate the pitches and rhythm of the melody and bass line on the following staves. Begin the melody (which opens with a
two-pitch anacrusis) on C4 and the bass line on F2. Include the meter signature, bar lines, key signature, and accidentals.
Beam notes appropriately given your choice of meter.

Aural Skills 12.1 331

7. When the vocalist sings “you,” the accompanying chord is a triad with which quality?

(a) major (c) augmented

(b) minor (d) diminished

8. When the vocalist sings “you,” what is the chord symbol for the accompanying chord? (Hint: Simply match the bass pitch’s
letter name from question 6 with the triad quality from question 7.)

9. When the vocalist sings “think,” the accompanying chord is a triad with which quality?

(a) major (c) augmented

(b) minor (d) diminished

10. When the vocalist sings “think,” what is the chord symbol for the accompanying chord? (Match the bass pitch’s letter name
from question 6 with the triad quality from question 9.)

11. The excerpt’s final cadence is of which type?

(a) half (c) imperfect authenic

(b) deceptive (d) perfect authenic

332 CH A P T E R T W E LV E Blues and Other Popular Styles