VOCALIST AS COMPLETE MUSICIAN - Chris McNulty

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3rd Degree of C Harmonic Minor Chord Quality (1, 9, 3, 11, +5, nat 13, Maj 7) Chord: E¨&Œ„Š7 Parallel: Play Augmented + Maj 7 (9, 11) Derivative: Play Harmonic Minor from 6th of chord Tetrachord Bookends: Major Diminished 1 9 3 11 +5 13 Maj 7 8 & w b bœ œ œ bœ œ œ œ bœ W W 1/2 -3 1/2 W 1/2 Tetrachords: Major ******** Harmonic ******** & w b bœ œ œ bœ œ œ bœ œ œ bœ œ œ bœ œ œ œ & Diminished Minor I (dorian) Minor II (phrygian) Major œ œ œ bœ œ œ bœ œ œ bœ œ œ bœ œ œ bœ w b 4th Degree of C Harmonic Minor Chord Quality: (1, 9, b3, #11, 5, 13, b7) Chord: F.7#11 Parallel: Play Minor 7, 9, #11,13 Derivative: Play Harmonic Minor from 5th of chord Tetrachord bookends: ******* Non Tetrachord event Minor I (dorian) 1 9 b3 #11 5 13 b7 & b bw ww œ œ bœ œ œ œ bœ W 1/2 -3 1/2 W 1/2 W œ Tetrachords: ******* Harmonic ******* Diminished & & b bw ww œ œ bœ œ œ bœ œ œ bœ œ œ œ œ œ œ bœ Minor I (dorian) Minor II (phrygian) Major ******* œ œ bœ œ œ bœ œ œ bœ œ œ bœ œ œ bœ œ b bw ww © Chris McNulty 2017 !19
5th Degree of C Harmonic Minor (also called the Arabic Scale) Chord Quality : (1, b9, 3,11, 5, b13) Chord: G7¨9¨13 Tetrachord Bookends: Harmonic Minor II (phrygian) 1 b9 3 11 5 b13 b7 & b bw ww œ Parallel: Play Arabic - Dom 7 (b9, b13) Derivative: Play Harmonic Minor from 4th of chord bœ œ œ œ bœ œ œ 1/2 -3 1/2 W 1/2 W W Tetrachords: Harmonic ******* Diminished Minor I (dorian) & b ww œ bœ œ œ bœ œ œ œ œ œ œ bœ œ œ bœ œ & Minor II (phrygian) Major ******* Harmonic œ bœ œ œ bœ œ œ bœ œ œ bœ œ œ bœ œ œ b ww 6th Degree of C Harmonic Minor Chord Quality: (1, #9, 3, #11, 5, 13, Maj 7) Chord: A¨,7#9#11 Parallel: Play Maj 7, #9, #11 Derivative: Play Harmonic Minor from the 3rd of the chord Tetrachord Bookends: ******* Non Tetrachord event Major 1 #9 3 #11 5 13 Maj 7 & w b ww bœ œ œ œ bœ œ œ bœ -3 1/2 W 1/2 W W 1/2 Tetrachords: ******* Diminished Minor I (dorian) Minor II (phrygian) & w b ww bœ œ œ œ œ œ œ bœ œ œ bœ œ œ bœ œ œ & Major ******* Harmonic Harmonic bœ œ œ bœ œ œ bœ œ œ bœ œ œ bœ œ œ œ ww w b © Chris McNulty 2017 !20
Page 2 and 3: this is the blank inside cover (lef
Page 4 and 5: With the publication of Vocalist As
Page 6 and 7: DOWNLOADING YOUR AUDIO TRACKS There
Page 8 and 9: ABOUT THE AUTHOR Australian-America
Page 10 and 11: ACKNOWLEDGMENTS Enormous gratitude
Page 12 and 13: Chapter Seven — Hearing and Soloi
Page 14 and 15: FOREWORD It never even occurred to
Page 16 and 17: Before we dig in! Let’s start by
Page 18 and 19: 1. Tetrachords * Track #1 Definitio
Page 20 and 21: Chapter Two — The Major Scale —
Page 22 and 23: Chord: G7 Scale: Mixolydian: (Dom 7
Page 24 and 25: Chapter Three — The Melodic Minor
Page 26 and 27: 3rd Degree of C Melodic Minor Chord
Page 28 and 29: 7th degree of Melodic Minor Chord T
Page 30 and 31: The Harmonic Minor Scale — (b3, b
Page 34 and 35: 7th Degree of C Harmonic Minor Chor
Page 36 and 37: 5a. The Altered Scale (also known a
Page 38 and 39: Chord: Parallel: Ab+7#9 or Ab7(alt)
Page 40 and 41: 5b. Alternating between the Altered
Page 42 and 43: 5c. The Arabic Scale 5th Degree of
Page 44 and 45: Chord: E7b9b13 Parallel: Play Arabi
Page 46 and 47: Chapter Four — The Diminished Sca
Page 48 and 49: The Tetrachords starting from each
Page 50 and 51: Chords: G7(b9) D¨7(b9) B¨7(b9) E7
Page 52 and 53: For extra drilling practice sing/pl
Page 54 and 55: 7a. Using the Diminished (Whole-Hal
Page 56 and 57: Chords: & & bœ bœ D¨º7 Eº7 Gº
Page 58 and 59: As an extra drilling exercise sing/
Page 60 and 61: Chapter Five — Singing tetrachord
Page 62 and 63: & Sing Whole tone (lydian) tetracho
Page 64 and 65: & Sing Whole tone (lydian) tetracho
Page 66 and 67: & ‰ Sing Whole tone (lydian) tetr
Page 68 and 69: & ‰ Sing Whole tone (lydian) tetr
Page 70 and 71: You can switch octaves whenever you
Page 72 and 73: Chord: A&7(#9) (alt) Scale choices:
Page 74 and 75: Chapter Six — Singing scales usin
Page 76 and 77: used I’m singing a 9th to 13th in
Page 78 and 79: Chords: CŒ„Š7(#11) A‹9 Scale
Page 80 and 81: Chord: B¨Œ„Š7(#11) Scale choic
Page 82 and 83:
Chords: E¨Œ„Š7(#11) C‹7 B‹
Page 84 and 85:
Chords: Scale choice: Db Lydian (st
Page 86 and 87:
Chords: G¨Œ„Š7(#11) E¨‹7 Sc
Page 88 and 89:
Chords: EŒ„Š7(#11) Scale choice
Page 90 and 91:
Chords: AŒ„Š7(#11) F©(“4) F
Page 92 and 93:
Chords: GŒ„Š7(#11) Scale choice
Page 94 and 95:
Chapter Seven - Soloing over “Sof
Page 96 and 97:
Chord: C&Œ„Š7 Scale: Lydian Aug
Page 98 and 99:
y a Diminished tetrachord. When sin
Page 100 and 101:
10b. Preparing to Sing Over the Har
Page 102 and 103:
Working with the "Arabic Scale" (5t
Page 104 and 105:
tetrachord. The 8th event is comple
Page 106 and 107:
I'm starting my melody using notes
Page 108 and 109:
Chapter Eight — Pentatonic Scale
Page 110 and 111:
C Major Pentatonic Scale uses the f
Page 112 and 113:
Melody making using mixed Pentanton
Page 114 and 115:
Appendix 1 Chord - Scale - Tetracho
Page 116 and 117:
Type of Chord: C&7(#9) Scale: C Alt
Page 118 and 119:
Dom 7 (b9, b13) Arabic scale (from
Page 120 and 121:
Appendices — Chord-Scale Source T
Page 122 and 123:
Note: Learning and memorizing chord
Page 124 and 125:
Appendix 5 Voicing Short Cuts & Cho
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Appendix 6 Choice Options for Vario
Page 128 and 129:
8b. BeBop scale uses ° &b b C.9 3.
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Appendix 9 Whole Tone Scale uses Th
Page 132 and 133:
Glossary of terms — Explanation o
Page 134 and 135:
Music Fundamentals for Beginners Au
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VOCALIST AS COMPLETE MUSICIAN - Chris McNulty

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