Hello! This week in Harmony and Chord Progressions, we are in week 7, beginning our exploration of borrowed chords - including my favorite sound of all time, the minor iv chord used in major keys. A little of this sound goes a long ways - but oh, the places it can take us!
Next week I'll head back to Colorado and all should be back to normal.
For the ultimate guide to the world's most popular music notation software, see my online course Mastering MuseScore 4.
This week in the MuseScore Café with Marc Sabatella, I will create a simple piano arrangement from a lead sheet using an approach of starting with the melody and bass, then filling in inner voices. We'll see note input and use of multiple voices, and along the way we will also talk about chord symbols, page formatting, and more.
Tip of the Week
This week’s tip is simple - just a single click - but not obvious, and crucial to know about when working with transposing instruments. Sometimes you want to view music at the sounding pitch (e.g., when composing, or when analyzing existing music) but other times you want view music at written pitch (e.g., when transcribing, or when editing page layout). In this video post, I demonstrate the use of the “Concert pitch” button on the bottom toolbar to goggle between written and sounding pitch.
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Music Master Class
This week in the Music Master Class with Marc Sabatella, we will be looking at music involving borrowed chords, including some of your submissions. Have I mentioned how much I love the minor iv chord? If you haven't heard me go on about it before, you will in this session!
We’ve already seen how to build simple piano arrangements that incorporate the melody and full chord voicings, including color tones. In this video post, I go one more step and show you how to use altered color tones on dominant seventh chords - the b9 and b13 - which have a long tradition in minor keys but can be beautiful in major keys as well (especially but not exclusively in jazz)!