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PHRASE CONNECTOR
SEE YOUR MAJOR HARMONY® EASY MUSIC CHART!
HERE ARE EXAMPLES OF HOW A KEY'S PRIMARY CHORDS
SOUND WHEN PLAYING IN GROUPS OF FOUR.
THEY ARE LISTED BY TYPES OF CADENCE / PHRASE ENDINGS.
THESE PHRASES WOULD TRANSPOSE TO ANY MAJOR OR MINOR KEY.
LISTEN TO THE DIFFERENCES OF EACH PHRASE,
THESE PHRASE EXAMPLES WILL RELATE TO ALL OTHER KEYS.
HERE ARE EXAMPLES OF HOW A KEY'S PRIMARY CHORDS
SOUND WHEN PLAYING IN GROUPS OF FOUR.
THEY ARE LISTED BY TYPES OF CADENCE / PHRASE ENDINGS.
THESE PHRASES WOULD TRANSPOSE TO ANY MAJOR OR MINOR KEY.
LISTEN TO THE DIFFERENCES OF EACH PHRASE,
THESE PHRASE EXAMPLES WILL RELATE TO ALL OTHER KEYS.
SEE THE INSTRUCTIONS BELOW!
THESE PRIMARY CHORD PHRASES USE
THE ONE - FOUR - FIVE SEVENTH CHORDS OF A KEY.
MAJOR KEY
PRIMARY CHORD PHRASES
EXAMPLE IN C MAJOR
MAJOR - FIVE PHRASES
NO RESOLUTION
STRONGER SOFTER
THE ONE - FOUR - FIVE SEVENTH CHORDS OF A KEY.
MAJOR KEY
PRIMARY CHORD PHRASES
EXAMPLE IN C MAJOR
MAJOR - FIVE PHRASES
NO RESOLUTION
STRONGER SOFTER
END FIVE - TURNAROUND
MAJOR - FOUR PHRASES
SOFT RESOLUTION
END FOUR
MAJOR - ONE PHRASES
FULL RESOLUTION
END ONE
MINOR KEY
PRIMARY CHORD PHRASES
EXAMPLE IN THE KEY OF A MINOR
WITH HARMONIC AND MELODIC MINOR SCALE APPLICATIONS
HARMONIC OR MELODIC MINOR NATURAL MINOR SCALE
V dom.7 - V dom.7 IV dom.7 iv min.7 v min.7
MINOR - FIVE PHRASES
STRONGER NO RESOLUTION SOFTER
END FIVE - TURNAROUND
MINOR - FOUR PHRASES
SOFT RESOLUTION
END FOUR
MINOR - ONE PHRASES
FULL RESOLUTION
END ONE
HOW TO USE THE PHRASE CONNECTOR!
STEP 1: IT IS VERY
IMPORTANT TO REVIEW THE HARMON-E MACHINE™ WEB PAGE.
IT HELPS YOU TO SLOW DOWN AND REALLY LISTEN TO THE DISTINCT SOUNDS
THE CHORDS MAKE WORKING TOGETHER IN GROUPS. SEE SUPERSONIC MENU!
STEP 2: GET A PIECE OF PAPER AND A PENCIL TO WRITE YOUR PHRASES DOWN.
STEP 3: PLAY ALL THE PHRASES AND REALLY LISTEN TO THE CHORDS CHANGE.
LOOK AT THE SOUND SYMBOLS NEXT TO EACH PLAYER BUTTON.
STEP 4: CONNECT PHRASES TOGETHER ...
TWO PHRASES = 8 BAR CHORD PROGRESSION.
THREE PHRASES = 12 BAR CHORD PROGRESSION.
FOUR PHRASES = 16 BAR CHORD PROGRESSION.
STEP 5: BUILD AN INTRO, VERSE, CHORUS, BRIDGE OR OUTRO OF YOUR SONG.
STEP 6: WRITE DOWN YOUR PROGRESSIONS AS VARIOUS SONG SECTIONS.
STEP 7: USING AN AUTO BEAT MACHINE ON YOUR ELECTRONIC KEYBOARD OR,
USING YOU FAVORITE COMPUTER SOFTWARE PROGRAM ...
YOU CHANGE THE PROGRESSION'S STYLE, BEAT AND TEMPO TO WHAT YOU LIKE.
KEYBOARD AND GUITAR PLAYERS ...
PLAY THE RELATED CHORDS ALONG WITH EACH SELECTED KEY PHRASE.
WHEN YOU FIND TWO OR MORE PHRASES THAT BUILD A COOL CHORD PROGRESSION,
PLAY THE PHRASES AND COMPOSE A LEAD SOLO ... FIND THE TONES THAT FIT THE PHRASES!
SEE TOON UP - THE BLUES ... FOR PLAYING LEAD GUITAR TO THE CHORD PHRASES.
FOR ADVANCED USAGE - DO NOT PLAY THE PHRASES WITH THE PLAYER ...
JUST USE THE HARMONY MATRIX® PHRASE CONNECTOR AS A MUSIC CHART.
PLAY YOUR INSTRUMENT AND USE ADVANCED SUBSTITUTION CHORDS LIKE ...
THE DOMINANT 7 CHORDS FOR THE MAJOR KEY'S ONE AND FOUR MAJOR SEVEN CHORDS -
ALSO ... ADD IN SOME 6TH CHORDS TO CHANGE THE PHRASE SOUND MIX.
THESE CHORDS WILL DRAMATICALLY CHANGE THE OVERALL SOUND OF THE PHRASE.
ANY MINOR CHORD CAN BE ALTERED TO A MINOR "FLAT FIVE" SEVENTH CHORD
WHICH EQUALS A DIMINISHED PLUS SEVEN CHORD USED AS A Dom.7 CHORD SUBSTITUTION.
ALL MELODIC INSTRUMENTS ...
LIKE THE FLUTE, TRUMPET OR SAX, ETC. CAN IMPROVISE A LEAD SOLO OVER THE PHRASES.
USE A KEY SCALE OR MODE OVER EACH CHORD PHRASE. IN THESE KEY PHRASES,
YOU PLAY THE C MAJOR SCALE OR; A NATURAL MINOR SCALE WHICH IS ALSO CALLED;
THE AEOLIAN MODE. THE EXCEPTION IS USING THE HARMONIC AND MELODIC CHORDS.
FOR PRACTICE ... PLAY EACH KEY SCALES AND MODE OVER ALL THE PHRASES.
USE THE HARMONIC AND MELODIC SCALES OVER THEIR RELATED CHORD TYPES.
C IONIAN MODE = C D E F G A B C - MAJOR SCALE RELATED TO MAJOR KEY
D DORIAN MODE = D E F G A B C D
E PHRYGIAN MODE = E F G A B C D E
F LYDIAN = F G A B C D E F
G MIXOLYDIAN = G A B C D E F G
A AEOLIAN MODE = A B C D E F G A - NATURAL MINOR SCALE AND KEY
A HARMONIC MINOR SCALE = A B C D E F G# A = V dom.7
A MELODIC MINOR SCALE = A B C D E F# G# A = IV dom.7 and V dom.7
B LOCRIAN MODE = B C D E F G A B
YOU CAN ALSO PLAY CHORD ARPEGGIOS TO THESE CHORD PHRASES.
MAJOR PHRASES:
ONE CHORD = CIRCLE = C E G B
FOUR CHORD = SQUARE = F A C E
FIVE CHORD = TRIANGLE = G B D F
MINOR PHRASES:
ONE CHORD = SMALL CIRCLE = A C E G = a min.7
FOUR CHORD = SMALL SQUARE = D F A C = d min.7
MELODIC FOUR CHORD = BIG SQUARE = D F# A C = D dom.7
FIVE CHORD = SMALL TRIANGLE = E G B D = e min.7
MELODIC AND HARMONIC FIVE CHORD = BIG TRIANGLE = E G# B D = E dom.7
NOTE: HARMONIC AND MELODIC MINOR SCALES ALTERS THE PHRASE SOUND WITH ACCIDENTAL
TONES NOT OF THE FIRST IMPLIED KEY SCALE. USE OF THESE SCALES SHOULD BE ISOLATED TO
THE PHRASES THAT CONTAIN THE PROPER SCALE IV dom.7 OR V dom.7 CHORD TYPES.
IT HELPS YOU TO SLOW DOWN AND REALLY LISTEN TO THE DISTINCT SOUNDS
THE CHORDS MAKE WORKING TOGETHER IN GROUPS. SEE SUPERSONIC MENU!
STEP 2: GET A PIECE OF PAPER AND A PENCIL TO WRITE YOUR PHRASES DOWN.
STEP 3: PLAY ALL THE PHRASES AND REALLY LISTEN TO THE CHORDS CHANGE.
LOOK AT THE SOUND SYMBOLS NEXT TO EACH PLAYER BUTTON.
STEP 4: CONNECT PHRASES TOGETHER ...
TWO PHRASES = 8 BAR CHORD PROGRESSION.
THREE PHRASES = 12 BAR CHORD PROGRESSION.
FOUR PHRASES = 16 BAR CHORD PROGRESSION.
STEP 5: BUILD AN INTRO, VERSE, CHORUS, BRIDGE OR OUTRO OF YOUR SONG.
STEP 6: WRITE DOWN YOUR PROGRESSIONS AS VARIOUS SONG SECTIONS.
STEP 7: USING AN AUTO BEAT MACHINE ON YOUR ELECTRONIC KEYBOARD OR,
USING YOU FAVORITE COMPUTER SOFTWARE PROGRAM ...
YOU CHANGE THE PROGRESSION'S STYLE, BEAT AND TEMPO TO WHAT YOU LIKE.
KEYBOARD AND GUITAR PLAYERS ...
PLAY THE RELATED CHORDS ALONG WITH EACH SELECTED KEY PHRASE.
WHEN YOU FIND TWO OR MORE PHRASES THAT BUILD A COOL CHORD PROGRESSION,
PLAY THE PHRASES AND COMPOSE A LEAD SOLO ... FIND THE TONES THAT FIT THE PHRASES!
SEE TOON UP - THE BLUES ... FOR PLAYING LEAD GUITAR TO THE CHORD PHRASES.
FOR ADVANCED USAGE - DO NOT PLAY THE PHRASES WITH THE PLAYER ...
JUST USE THE HARMONY MATRIX® PHRASE CONNECTOR AS A MUSIC CHART.
PLAY YOUR INSTRUMENT AND USE ADVANCED SUBSTITUTION CHORDS LIKE ...
THE DOMINANT 7 CHORDS FOR THE MAJOR KEY'S ONE AND FOUR MAJOR SEVEN CHORDS -
ALSO ... ADD IN SOME 6TH CHORDS TO CHANGE THE PHRASE SOUND MIX.
THESE CHORDS WILL DRAMATICALLY CHANGE THE OVERALL SOUND OF THE PHRASE.
ANY MINOR CHORD CAN BE ALTERED TO A MINOR "FLAT FIVE" SEVENTH CHORD
WHICH EQUALS A DIMINISHED PLUS SEVEN CHORD USED AS A Dom.7 CHORD SUBSTITUTION.
ALL MELODIC INSTRUMENTS ...
LIKE THE FLUTE, TRUMPET OR SAX, ETC. CAN IMPROVISE A LEAD SOLO OVER THE PHRASES.
USE A KEY SCALE OR MODE OVER EACH CHORD PHRASE. IN THESE KEY PHRASES,
YOU PLAY THE C MAJOR SCALE OR; A NATURAL MINOR SCALE WHICH IS ALSO CALLED;
THE AEOLIAN MODE. THE EXCEPTION IS USING THE HARMONIC AND MELODIC CHORDS.
FOR PRACTICE ... PLAY EACH KEY SCALES AND MODE OVER ALL THE PHRASES.
USE THE HARMONIC AND MELODIC SCALES OVER THEIR RELATED CHORD TYPES.
C IONIAN MODE = C D E F G A B C - MAJOR SCALE RELATED TO MAJOR KEY
D DORIAN MODE = D E F G A B C D
E PHRYGIAN MODE = E F G A B C D E
F LYDIAN = F G A B C D E F
G MIXOLYDIAN = G A B C D E F G
A AEOLIAN MODE = A B C D E F G A - NATURAL MINOR SCALE AND KEY
A HARMONIC MINOR SCALE = A B C D E F G# A = V dom.7
A MELODIC MINOR SCALE = A B C D E F# G# A = IV dom.7 and V dom.7
B LOCRIAN MODE = B C D E F G A B
YOU CAN ALSO PLAY CHORD ARPEGGIOS TO THESE CHORD PHRASES.
MAJOR PHRASES:
ONE CHORD = CIRCLE = C E G B
FOUR CHORD = SQUARE = F A C E
FIVE CHORD = TRIANGLE = G B D F
MINOR PHRASES:
ONE CHORD = SMALL CIRCLE = A C E G = a min.7
FOUR CHORD = SMALL SQUARE = D F A C = d min.7
MELODIC FOUR CHORD = BIG SQUARE = D F# A C = D dom.7
FIVE CHORD = SMALL TRIANGLE = E G B D = e min.7
MELODIC AND HARMONIC FIVE CHORD = BIG TRIANGLE = E G# B D = E dom.7
NOTE: HARMONIC AND MELODIC MINOR SCALES ALTERS THE PHRASE SOUND WITH ACCIDENTAL
TONES NOT OF THE FIRST IMPLIED KEY SCALE. USE OF THESE SCALES SHOULD BE ISOLATED TO
THE PHRASES THAT CONTAIN THE PROPER SCALE IV dom.7 OR V dom.7 CHORD TYPES.
WHEN COMPOSING
MAJOR KEY CHORD PROGRESSIONS:
USE MAJOR KEY PRIMARY CHORDS
IM7 IVM7 V dom.7
RELATIVE MINOR KEY CHORDS PHRASES ...
MAY BE COMBINED WITH THE RELATED MAJOR KEY PHRASES.
THE ONE, FOUR AND FIVE CHORDS OF THE RELATIVE MINOR KEY
RELATE AS THE SIX, TWO AND THREE CHORDS OF THE MAJOR KEY.
WHEN COMPOSING
MINOR KEY CHORD PROGRESSIONS:
MINOR KEY CHORD PHRASES
= i min.7 iv min.7 v min.7
HARMONIC MINOR SCALE PHRASES
= i min.7 iv min.7 V dom.7
MELODIC MINOR SCALE PHRASES
= i min.7 IV dom.7 V dom.7
RELATIVE MAJOR KEY CHORDS PHRASES ...
MAY BE COMBINED WITH RELATIVE MINOR KEY CHORD PHRASES.
THE MAJOR ONE, FOUR FIVE CHORDS OF THE MAJOR KEY
RELATE AS THE LOWERED THIRD, LOWERED SIXTH AND
LOWERED SEVENTH CHORDS OF THE RELATED MINOR KEY.
THESE KEY PHRASES AND SOUNDS ONLY APPLY
TO THE KEYS OF C MAJOR AND A MINOR.
PHRASES WILL TRANSPOSE TO THE OTHER KEYS
CHANGING THE PITCH RANGE AND TONIC SOUND.
HARMONY MATRIX® PATTERNS AND COLORS
WILL APPLY WHEN TRANSPOSING.
ADDITIONAL SUBSTITUTION CHORDS
WILL APPLY INCLUDING DOMINANT 7 CHORDS
FOR THE MAJOR KEY'S ONE AND FOUR CHORDS
THAT ARE NOT PRESENTED HERE ALSO,
CHROMATIC CHORD SUBSTITUTION MAY BE APPLIED.
THIS PAGE HAS A LOT OF SOUND FILES!
YOU MAY NEED TO DO A RELOAD OR TOOLS - CLEAR RECENT HISTORY
FOR IT TO WORK PROPERLY.
