#CHROMATIC NOTES MOVIE#

You may choose to use a secondary dominant as follows: I IV V/V (pronounced 'five of five') V I That progression is: C Maj F Maj G Maj C Maj So for example, in the key of C, you write: I IV V I You'll hear a natural relationship even if the voice leading isn't correct, but generally you will try to make a chromatic line in whatever voice contains the leading tone of your secondary dominant chord. Try it in one of your existing compositions. In short, any chord that is major or minor (and not dominant 7, diminished, or augmented) in a normal harmonic progression can be 'tonicized'-meaning 'temporarily treated as the tonic' simply by placing a dominant chord (V, V7, vii-diminished, etc) in its own key immediately before it. I) Secondary Dominants & Secondary Leading Tones You should be interested few general topics, none of which are terribly complex: So like, for example, you have no accidentals in your pieces usually except maybe in the V chord of a minor key. I have to be honest, I feel like the other comments here are difficult to understand, or are weirdly specific or personalized understandings of the subject area.īased on your description of yourself, I think it sounds like you are following the rules of harmonic progression, but are currently not using any chromatic notes at all for the most part. There's 'Atonal' music which can be highly chromatic, but even some of the most basic Tonal music introduces at least some chromaticism - so it could be worth trying to learn to play at least what you can of things like 'Fur Elise' to see how it works in that kind of context.

Just learn to play as many pieces as you can and the more pieces you learn the more you'll encounter chromaticism and get to understand how it works.

Those both tend to be more harmonic then melodic and it isn't uncommon to have a purely diatonic melody over that chromatic accompaniment, but it also opens up the possibility of more chromatic melodies as well. Jim Croce's 'Time in a Bottle' does it do, but it goes way back to Bach and Purcell (check out the 'Lament' from Purcell's 'Dido and Aeneas').

#CHROMATIC NOTES MOVIE#

We might call this the 'Chim Chim Cheree' progression (from the Mary Poppins Disney movie - check it out). The other common one takes a chromatically descending bass note with a static harmony above (so kind 'upside down' of the other idea) like a Cm chord with a bass note that goes C, Bn, Bb, An, Ab, G and so on. A very famous one is in String of Pearls by Glen Miller. If you're composing, there are two very common 'cliches' and one is even called the 'Line Cliche' - you hear this a lot but basically you take a chord, like Em, and move the highest note B up to C, then to C# then either back down, or continue chromatically up (if you go back down, you get the James Bond theme idea). You should listen to the first bit of Beethoven's 'Fur Elise' - he hits you with a chromatic neighbor tone idea right at the very beginning (and when you do that, it helps set it up for the rest of the piece). You can do this as a neighbor tone between two of the same note as well. The two primary ones are as 'decoration' or 'embellishment' and as 'functional' harmonic elements.įor example for the latter one, in the key of C Major, you can introduce a D7 chord to act as the V7/ of the V chord (so you get D7 - G, which looks like V7 - I in the key of G, but it's actually all still in the key of C).įor that, you'd have to make F into F# which could be in the melody, the harmony, or possibly both.įor the former one, you can just 'fill in' the gap between two notes a step apart with a chromatic 'filler' note, or you can approach a note from above or below. There are a couple of different types of uses of Chromatic notes.