EXTEMPORE PLAYING - online tutorial

40 Lessons in how to correctly play improvisations.

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	116                          Extempore Playing
	The V with a raised 5th would encroach upon the tonic minor third. The IV may have its 3rd raised when it comes in the ascending melodic scale:
	The II may have Its root lowered, when it will corre­spond with the same altered chord in major. It may also have its 3rd and 5th raised, as in major. By combining raised and lowered tones we get combi­nations known as 'mixed' chords, with ascending tendencies combined. These include the interval of the augmented 6th, the most familiar being the following:
	This last chord is here written in its logical way, according to its obvious origin. It is, however, almost invariably used by the classical composers with E flat instead of D sharp, as if borrowed from the minor mode. These fine chords resolve, 1 and 2 to the tonic or domi­nant, 3 to the tonic only. They are known in Musical History by the names of (1)   The Italian Sixth, (2)   The French Sixth, (3)   The German Sixth. Exercise 35. (a)   Examine works by Beethoven and other composers to find specimens of the various chords here mentioned. (b)   Experiment in the key of C with all the various altered chords with raised tones. Use them in every in­version, and resolve each chord.