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Anchors Aweigh

Harmonic Analysis (RMA) Worksheet for the song: Anchors Aweigh.

Harmonic Analysis Worksheet
& Performance Notes Below

Analysis Worksheet Chords Melody Scales Performance Links

Anchors Aweigh

Anchors Aweigh is the fight song of the United States Naval Academy and unofficial march song of the United States Navy. It was composed in 1906 by Charles A. Zimmermann with lyrics by Alfred Hart Miles. When he composed "Anchors Aweigh", Zimmermann was a lieutenant and had been bandmaster of the United States Naval Academy Band since 1887. Miles was midshipman first class at the academy, in the class of 1907, and had asked Zimmermann to assist him in composing a song for that class, to be used as a football march. Another academy midshipman, Royal Lovell (class of 1926), later wrote what would be adopted into the song as its third verse. Another member of the Naval Academy Band, Willy Perlitz Jr., assisting in writing the music for the different instruments used in "Anchors Aweigh". (wikiwand);

"Weigh anchor" is an old Dutch sailors' expression; it amounts to an order that a ship's anchors be raised (for a time, Dutch and Flemish phrases dominated sailors' expressions all over the world). To "weigh anchor" is to bring all anchor(s) aboard the vessel in preparation for departure. In response to the order, the phrase "anchors aweigh" reports back that all anchors are clear of the sea bottom; therefore the ship is officially under way. (wikiwand);

Anchors Aweigh is in the The Daily Ukulele — 365 Songs for Better Living book.

Strum a different song every day with easy arrangements of 365 of your favorite songs in one big songbook! The Daily Ukulele features ukulele arrangements with melody, lyrics and uke chord grids and are in ukulele-friendly keys that are particularly suited for groups of one to one hundred to play and sing.

The Daily Ukulele — 365 Songs for Better Living • INDEX of Songs

Anchors Aweigh Ukulele Chords

G Em D7 Gdim A7 D#dim

Theses and many other chords are covered in the Learn A Chord A Day series of lessons.

C Tuning Chords

Starting Melody Note and 1st Interval

Start on P5 ↑ m2.

INTERVALS: Root=note that begins a scale of the starting key; C is C, D is D, Am is a, Em is E, etc... m=minor; M=Major; P=Perfect; D=Diminished; A=Augmented. • ↑ is up/ascending; ↓ is down/descending;

Harmonic Analysis (HA) Worksheet

Visit the Harmonic Analysis for Scale and Chord Selection series of lessons for information on creating a your own Harmonic Analysis Worksheet

G: G Ionian

A7b9/C#

Gdim

Idim

A Mix-2-6

II7
( V of V)

D Mix

B7b9/D#

D#dim

III

#Vdim

III

B Mix-2-6

Harmonic Analysis (HA)

A Harmonic Analysis (RMA/HA) and its worksheet are intended to show the function of the chords, the harmonic principles used, the keys and tonalities the song explores. And, can be used for scale selections and chord and scale substitutions.

NOTE: A Harmonic Analysis Worksheet is NOT intended to be a lead leadsheet. Minimal roadmap information such as repeats, fine, D.S., D.C., and codas has been used in preparing the worksheets to somewhat mirror the leadsheet in the Daily Ukulele book.

Sections, Verse, Chorus, 1st, 2nd Ending, turnbacks …

The worksheets will show 1st, 2nd Ending, turnbacks, etc. as in indicated the Yellow Book. You should start to recognize that 1st endings typically always return to a previous verse or an

section. With a 2nd ending, a transition to a different part of the song, a

or chorus. Harmonic Principles are used for these repeats and transitions.

If turnback chords are not indicated for the these 1st and 2nd endings in the original Yellow Book leadsheet recommended chord(s) will indicated in parentheses or as an alternate harmony in Red . Typically the last measures or turnbacks will be a chord that resolves to and harmonically leads you to the next section or turning you back to the same section. Typically a V or direct substitution of that next chord.

Reference Key

This is the key of the source leadsheet.

Anchors Aweigh is in 4/4, Cut Time and the Key of C .

Harmonic Principles Used:

These are the harmonic principles used in Anchors Aweigh.

Full Diatonic
Partial Diatonic • Full Diatonic includes Secondary Dominant chords

Nashville Number System (NNS)

Nashville Numbering System always uses four bars/measures per line, no bar lines, and default is each number of the number of beats per bar/measure based on the time signature. If multiple chords in same bar then they are underlined. It can be as simple as convert the Roman Numerals above to Arabic number.

At its simplest you simply replace the roman numbers with aberic numbers. e.g., I becomes 1 , II becomes 2 , etc. The only exception is the bVII7 chord becomes 7 as this borrowed chord from the Mixolydian tonality is so common and the VII (half-diminished seventh) in a major chord is so rare (actually never). And, you coul dgo as far as saying all the modes have number I II II IV V VI VII — just as in the major scale. So calling it a 7, seven as not that far out.

Check the definitive book Nashville Number System

Scale Selection

Once a Harmonic Analysis has been completed then scale selections can be made. These scale selections can be either vertical and horizontal choices. And, really only needed if you are going to take a solo or embellish the melody with added notes.

Scale Abbreviation Legend

Traditional Scales: Maj: Major (Ionian), Dim: Diminished, WT: Whole Tone, Har Min: Harmonic Minor,
Contemporary Scales: Minor Pent: Minor Pentatonic, Pent: Major Pentatonic, Blues,
Scale/Mode Names: Ion: Ionian (Major), Dor: Dorian (Minor), Phrygian: Phrygian, Lyd: Lydian, Mix: Mixolydian (Dominant), Aeol: Aeolian (Natural Minor), Loc: Locrian

Checkout LESSONSeries : Harmonic Analysis for Scale and Chord Selection or download the Harmonic Analysis for Scale and Chord Selection book. And the QuickStart Series of Scale and Arpeggio books.

Performance Notes

Any performance notes will show here.

Links & Resources

(wikiwand); Anchors Aweigh

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Harmonic Analysis ( HA ) is the process used to determine the harmonic function of chords within a chord progression. A chord progression is defined as a sequence of chords, each chord has a root and has a particular chord type. The relationship of a chord's root to a scale determines its function within that scale's tonality. Once a chord's function is identified, scale selections along with chord and scale substitutions can be made. This process is called Root Movement Analysis ( RMA ). This series of lessons are extracted from my book for use with individual private and on-line students. Each lesson directly corresponds the chapters in my book Harmonic Analysis for Scale Selection and Chord Substitution by Curt Sheller (me).

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Harmonic Analysis (HA), also known as the study of chord relationships, is the method used to identify the harmonic role of chords within a chord progression or song. A chord progression refers to a sequence of chords, with each chord having a root note and belonging to a specific chord type. The function of a chord within a particular scale's tonality is determined by its relationship to that scale.

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