1 the Language of Music
-
Upload
fredy-lopez -
Category
Documents
-
view
58 -
download
10
description
Transcript of 1 the Language of Music
-
5)&-"/(6"(&0'.64*$
| !e Institute of Worship Arts at Yonsei University
Practical Music !eory for the Worshiping Musician
by Tom Brooks
-"/(6"(&
5)&
of.64*$
The LANGUAGE of MUSIC
Institute of Worship ArtsYonsei UniversityFall Semester Class VIITom Brooks, Instructor
-
Its all about...Connections
*The Connection between you & God
*The Connection between you & your Band-Mates
*The Connection between you & your Congregation
==>You helping make the Connection
between your Congregation and God
The Language of Music
-
Class Outline:The Language of Music - The GRID [Pitch-Rhythm]Music Theory in the 21st Century...
...its time to break a few RulesEar Training - yes, Yes, YES!!!Chord Construction - melody & harmonyChord Relationships - The Journey - cadencesTransposition - Modulation - ImprovisationLanguage of Music JEOPARDY!
-
TheLanguage of Music
...a quick review of the Basics:
-
The BasicsMUSIC THEORY
(in 5 minutes or less)
The Major ScaleTriads - Personality - Upper Tonality Chords1-2-3 / do-re-mi / A-B-C /...its all the same
-
The BasicsMUSIC THEORY (QUICK! - TIMES running out!!!)
1-2-3 / do-re-mi / A-B-C /...its all the same1-2-3 do-re-mi Scale Degree Key of C
1 do Tonic C2 re Super-Tonic D3 mi Mediant E4 fa Sub-Dominant F5 so Dominant G6 la Sub-Mediant A7 ti Leading Tone B
-
The BasicsMUSIC THEORY (4:30 left...)
C Major Scale>Structure - half tone/whole tone>Chromatic tones - other scales
-
STEP #3 - The BasicsMUSIC THEORY (4:00 talk fast...)
C Major Scale>Structure - half tone/whole tone>Chromatic tones - other scales
-
The BasicsMUSIC THEORY (3 minutes left!)
C Major Triad>Structure - major 3rd/minor 3rd
>Other Triads - Minor/Augmented/Diminished
-
TRIAD TYPE INTERVALS KEY OF C
Majorminor 3rdMajor 3rd C - E - G
MinorMajor 3rdminor 3rd C - Eb - G
AugmentedMajor 3rdMajor 3rd C - E - G#
Diminishedminor 3rdminor 3rd C - Eb - Gb
-
The BasicsMUSIC THEORY (hurry!!)
Triads on each scale degree>Major Triads - 1 / 4 / 5 (Primary)
>Minor Triads - 2 / 3 / 6 (Secondary)*Diminished Triad - 7 (no natural augmented)
-
CHAPTER 16: FAMILIAR CHORD PROGRESSIONS Given the myriad of harmonic options that are possible, there are several familiar Chord Progressions that are used often in popular music. We have discussed the prevalence of the PRIMARY CHORDS - I, IV, V - in the Key of C Major: C, F, G. The I Chord pulls strongly to the IV Chord and the V Chord pulls strongly back to the I Chord. Several of the song examples in the previous chapters are built almost exclusively on the Primary Chords:
I IV V CHORD PROGRESSIONS:
Lord I Lift Your Name On High by Rick Founds
I IV V I IV V
Beautiful One by Tim Hughes
IV V IV V IV V I
Lord Reign in Me by Brenton Brown
I V IV V I V IV V I
Amazing Grace classic hymn
I IV I V I IV I V I
-
&?
##
# #
44
44
..
..
..
..Rhythm
1
D B7INTRO
=FULL DRIVING ROCK GROOVE=
***2 Bars ofDrum build up>>>
A G D B7 A G
&?
##
# #
..
..R.S.
5
D B7
VS 1
VS 2
>Tuck down under Verse... A G D B7 A G
&?
##
# #R.S.
9
D B7 A G>Kick it up a bit... E7 D/F
# G
&?
##
# #R.S.
13
D B7
=Tuck back down under Vocal... A G
D B7
A G
&?
##
# #R.S.
17
D B7 A G E7 D/F#
>Kick it up > > > G
DRUM FILL==>
Arranged by Tom BrooksWorshipAlliance.com
"TODAY IS THE DAY"RhythmBPM = 120 Lincoln Brewster
-
The BasicsMUSIC THEORY (2 minutes left)
Chord Quality - Major / MinorAugmented / Diminished - Extended ChordsBORROWED Chords from other keysThe Personality of each Chord type... on each degree of the scaleLead the Journey - emotional impact of each sonority
-
&?
### #
# # # #
44
44Rhythm
1
wE2
INTRO [!K!E!Y!S! !O!NLY]
w
&?
### #
# # # #
..
..R.S.
3
wE2
VS 1a
VS 1b
*VS 1a = Piano only w/ pads*VS 1b = Add Band gently
Pw
B7 wnD2 wA2
&?
### #
# # # #
..
..R.S.
7
wE2 wB7 wnD2 w
A2
&?
### #
# # # #R.S.
11
E2
CH 1
=GRANDE ROCK BALLADE GROOVE=
B7
D2 A2
&?
### #
# # # #R.S.
15
E2 B7 D2 A2=Keep Driving > > >
Arranged by Tom BrooksWorshipAlliance.com
"REVELATION SONG"RhythmBPM = 61.8 Kari Jobe
-
The BasicsMUSIC THEORY (1 minute to go)
The 12 Major Keys - Circle of FifthsKey Signatures - Time SignaturesMajor and Minor KeysInversion / Transposition / Modulation
-
DESERT SONG
Minor Key
-
CCLI TOP 25
October
-
09/20/2007 06:26 PMTop 25 Songs
Page 1 of 2http://www.ccli.com/US/WhatWeOffer/ChurchCopyrightLicenses/top%20songs.aspx
US
Home What We Offer Who We Are License Holders Copyright Owners Store
US : What We Offer : Church Copyright License : Top 25 Songs Contact Us : Text-based : Printer Friendly : Help
Church Copyright License
Overview
Costs
Apply for a License
FAQs
Copyright Issues
Top 25 Songs
CCLI Publishers
Event License
Mobile License
Top 25 Songs
Following are the Top 25 songs reported by churches in their Copy
Activity Reports, as used for the August 2007 royalty payout (for
surveys returned between October 1, 2006 and March 31, 2007).
Report Period 1006 - United States
Rank Song Title Author/s CCLI #
1 How Great Is Our GodTomlin, Chris \ Reeves,Jesse \ Cash, Ed
4348399
2 Here I Am To Worship Hughes, Tim 3266032
3 Blessed Be Your NameRedman, Beth \ Redman,Matt
3798438
4Open The Eyes Of MyHeart
Baloche, Paul 2298355
5 Forever Tomlin, Chris 3148428
6Come Now Is The TimeTo Worship
Doerksen, Brian 2430948
7 Holy Is The Lord Tomlin, Chris \ Giglio, Louie 4158039
8 You Are My King Foote, Billy 2456623
9 Shout To The Lord Zschech, Darlene 1406918
10Lord I Lift Your NameOn High
Founds, Rick 117947
11 God Of WondersByrd, Marc \ Hindalong,Steve
3118757
12 We Fall Down Tomlin, Chris 2437367
13 You Are My All In All Jernigan, Dennis 825356
14You're Worthy Of MyPraise
Ruis, David 487976
15 The Heart Of Worship Redman, Matt 2296522
16 Breathe Barnett, Marie 1874117
17 Trading My Sorrows Evans, Darrell 2574653
18 Beautiful One Hughes, Tim 3915912
19 Friend Of GodGungor, Michael \Houghton, Israel
3991651
20 Better Is One Day Redman, Matt 1097451
21 Draw Me Close Carpenter, Kelly 1459484
-
The One Minute Music Manager
-
?
-
Lets start with...
3 Minutes of mind-bending insanity (3 min. max! ...then we get practical)
*God is Incredible beyond our wildest imagination
*The Language of Music is truly a Universal Language
*YOU are Gods Voice - Helper / Healer / Teacher / Physicist...
The Language of Music
-
The GRID2 Grids (...well really 1 HUGE Grid)
The HARMONY GRID - Pitch
The GROOVE GRID - Rhythm
The Electro-Magnectic Spectrum
To Quantize or not to Quantize... Drum Machines, Sequencers, and Equal Temperament
-
The Pitch GRIDFrom 20 - 20K Hz
Fundamentals versus Harmonics
Fundamentals = (roughly) 25 - 1,000 Hz
Math is Totally Cool! Frequency ratios
The Ear-Brain Calculator - Harmony
Bass Gtr low E - Male Vox low G - A-440 - Female Vox hi A
-
The Pitch GRIDFundamentals = (roughly) 25 - 1,000 Hz KEEP GOING! Within that range...
Roughly 5 Octaves (2:1 ratios)
Within each octave are 12 divisions
...Equal Temperament - 12 Half Steps
Of those 12, 8 (really 7) are Close Family
-
The GRID
Now we will leave the 20-20,000 Hz range and head for the 1-3Hz range...
Moving from Pitch to Rhythm ==>
-
The GROOVE GRID
The FANTASTIC 4
4 divisions 4 beats 4 bars 4 phrases per beat per bar per phrase per section
-
Analyze the examples below:
This Chorus has 4 Phrases, each 4 measures long
The Melody in Phrases 1 and 3 are virtually identical
The Melody in Phrases 2 and 4 start the same, but end differently
The first bar of ALL 4 Phrases are identical
4 beats per bar, 4 bars per Phrase, 4 Phrases in the Chorus
-
CCLI TOP 25
October
-
9/17/08 4:09 PMCCLI Top 25 Songs
Page 1 of 2http://www.ccli.com/usa/LicenseHolder/Top25Lists.aspx
Home What We Offer Who We Are License Holders Copyright Owners CCLI TV Store
Following are the Top 25 songs reported by churches in their Copy Activity Reports, as used for the August2008 royalty payout (for surveys returned between October 1, 2007 and March 31, 2008).
Report Period 1007 - United States
Rank Song Title Author/s CCLI#
1 How Great Is Our God Tomlin, Chris \ Reeves, Jesse \ Cash, Ed 4348399
2 Here I Am To Worship Hughes, Tim 3266032
3 Blessed Be Your Name Redman, Beth \ Redman, Matt 3798438
4 Open The Eyes Of My Heart Baloche, Paul 2298355
5 Forever Tomlin, Chris 3148428
6 You Are My King Foote, Billy 2456623
7Come Now Is The Time ToWorship
Doerksen, Brian 2430948
8 Shout To The Lord Zschech, Darlene 1406918
9Lord I Lift Your Name OnHigh
Founds, Rick 117947
10 Holy Is The Lord Tomlin, Chris \ Giglio, Louie 4158039
11 Everlasting God Brown, Brenton \ Riley, Ken 4556538
12Amazing Grace (My ChainsAre Gone)
Tomlin, Chris \ Giglio, Louie \ Excell, Edwin Othello \ Rees,John P. \ Newton, John
4768151
13 We Fall Down Tomlin, Chris 2437367
14 God Of Wonders Byrd, Marc \ Hindalong, Steve 3118757
15 In Christ Alone Townend, Stuart \ Getty, Keith 3350395
16 The Heart Of Worship Redman, Matt 2296522
17 Trading My Sorrows Evans, Darrell 2574653
18 You Are My All In All Jernigan, Dennis 825356
19 Breathe Barnett, Marie 1874117
20 Beautiful One Hughes, Tim 3915912
21 You're Worthy Of My Praise Ruis, David 487976
22 Above All LeBlanc, Lenny \ Baloche, Paul 2672885
23 Mighty To Save Fielding, Ben \ Morgan, Reuben 4591782
24 The Wonderful CrossReeves, Jesse \ Tomlin, Chris \ Walt, J. D. \ Watts, Isaac \Mason, Lowell
3148435
25 Days Of Elijah Mark, Robin 1537904
Please choose your payout period and select the desired territory:
Select a payout period: August 2008
Select a territory: United States
View Top 25
SongSelect / Copy Report
User Id: Password:
Remember Me Register (new user)
Forgot Your Password?
Help?Login Now
License Holder Support Center
Live Chat
Please log in as a LicenseHolder.
Song Search Which songs are covered?
Knowlege Base Find answers to common questions.
License Manual What you can and cant do.
Help Clips Video answers to questions.
CCLI TV
Not Forgotten
by Israel Houghton
Be Still
by Howard Agnew
Praise Guitar Lessons: #25 - Here I Am To
Worship
by John Standefer
See All: CCLITV | Open Mic | Instruct | First Take
-
The GROOVE GRIDImpact of the Amazing number 4
Exceptions to the Rule are striking (Anticipation)
MASSIVE improvement in Chart Communication
The GPS of Music - Never-Lost
Leave a Bread-Crumb Trail
4 divisions 4 beats 4 bars 4 phrases per beat per bar per phrase per section
-
&?
##
# #R.S.
21
D
CH 1
=FULL DRIVING ROCK GROOVE=
E7 A
D
&?
##
# #R.S.
25
D G/B
nC2
n n D
&?
##
# #R.S.
29
b #D E2/G#
# E A
E7
&?
##
# #R.S.
33
E7
>A\ G
&?
##
# #R.S.
35
> > J> J>G D
VAMP 1
> > J> J>A > > J> J>
G
"We Have Overcome", page 2.
-
&?
###
# # #44
44
..
..Rhythm
INTRO *Aggressive Ac. Gtr:
-RE-INTRO
1
!B!A!N!D OUT"
A E
!
[***2nd time = Rest on 4 for GTR SFX***]***
[***1st time = Drum Fill on 4***]
==>
[lo-fi]
!B!A!N!D IN"
F# D!
&?
###
# # #R.S.
=DRIVING ROCK GROOVE=
3
!B!A!N!D IN"
A E F# D A E
F# D
&?
###
# # #R.S.
VS 2
VS 1
Band way down / Kick: notes
*Add VS Wurli:7
P A E
F# D
Band CRANK!
A E F# D
&?
###
# # #R.S.
Band way down / Kick: notes
11
P A E
F# D
Band CRANK!
A E
F# D
&?
###
# # #R.S.
PRE-CH-
15
f D2
E4-3
A2
G/A
D
DRUM FILL==>
D6
Arranged by Tom BrooksWorshipAlliance.com
"ALL TO YOU"
Tom Brooks
"This Is Chicago"
Sears Tower 1993
RhythmBPM = 107 Lincoln Brewster*Driving Rock
-
5)&-"/(6"(&0'.64*$
| !e Institute of Worship Arts at Yonsei University
Practical Music !eory for the Worshiping Musician
by Tom Brooks
-"/(6"(&
5)&
of.64*$
Tricks of the Trade
Your 120 BPM Reference Your Relative Pitch ReferenceLeave a Bread-Crumb TrailChart everything in 4s!
-
The One Minute Music Manager
-
?
-
Chord Construction
*The Basic Building Blocks of Music
-
CHORD CONSTRUCTION4 Types of Triads - Built on C
MajorMinorAugmentedDiminished
-
& 44Rhythm1
wwwCmajor
wwwbCminor
&R.S.3
wwwCmajor
www#Caugmented
&R.S.5
wwwbCminor
wwwbbCdiminished
ORCHESTRATION BY TOM BROOKS
"CHORD PERMUTATIONS 1"
Rhythm
-
CHORD CONSTRUCTION
PERSONALITY OF EACH TRIAD1 - Tonic - Home BaseThe 1 - 4 - 5 Family (Primary - Major)The 2 - 3 - 6 Family (Secondary - Minor)Relationships / Progression / Retrogression
-
Primary Triads: 1-4-5Here I Am To Worship
-
CHORD CONSTRUCTION
PERSONALITY OF EACH TRIAD1 - Tonic - Home BaseThe 1 - 4 - 5 Family (Primary - Major)The 2 - 3 - 6 Family (Secondary - Minor)Relationships / Progression / Retrogression
-
TRIADS - 7thson each scale degreeScale Degree Triad 7th
1 Major Major2 minor minor3 minor minor4 Major Major5 Major minor6 minor minor7 diminished minor
-
&?
44
44Rhythm
1
_________
***Spell the notes in each Chord and write them in the Treble Staff:
C
_________
F
_________
Am in _________
Em in
&
?R.S.
5
_________
Dm 7 _________
FJ _________
G7 _________
C2
Tom Brooks
"CHORD SPELL 1"
Keyboard
-
&?
44
44Rhythm
1
www
_________
***Spell the notes in each Chord and write them in the Treble Staff:
C, E, G
C
www
_________F, A, C
F
www
_________A, C, E
Am in
www
_________E, G, B
Em in
&
?R.S.
5 wwww
_________
D, F, A, C
Dm 7
wwww
_________F, A, C, E
FJ
wwww
_________G, B, D, F
G7wwww
_________C, D, E, G
C2
Tom Brooks
"CHORD SPELL 1"
Keyboard
-
The Language of Music
Music Theory in the 21st Century
...its time to break a few Rules
-
Music Theory in the 21st Century
...its time to break a few Rules
TRIADSVoice Chords in 2nds & 4ths
instead of 3rds & 6ths
-
! "" #$!"#
$%&'()*+%(
% && && &&,"-. /"'+001( % && && &&
2-3 ,"4 % && && &&,"-. /"'+001( && & & )2-3 ,
"4
"" **56'76,+%08$%89*:;&88?%08@4&& & && &
,"-. /"'+001(&& & )2 ,"4
A*>BBB+ + + +
,"-. /"'+001( + + + +2 ,"4
""1
+ + + +,"-. /"'+001( + + + +2 C>" + + + +/
"'+001( 2 && & && && & &&
,"4
""D;('E7,E7*6'8?%08@FG+ + + +
.>" C>"
+ + + +," /"?
+ + + +2 C>"
+ + + +," /"?
""F"
+ + + +2 C>"
+ + + +," /"?
+ + + +,"-. /"?
+ + + +27E7 2
"" **?F
FB% && && &&,"-. /"'+001( % && && &&
2-3 ,"4 % && && &&,"-. /"'+001( && & & )2-3 ,
"4
""$%7&'E>?4
&& & & && && &&C> & & & && && && && &
2H+00#I& & & &, & && &
D7E7 D &&, & & & && & &
""?1
&& & & && && &&C> & & & && && && && &
2H+00#I& & & &, & && &
D7E7 D
**&& -& & & & &&/
"'+001( ....
)+EJ8,+J(K;6L8CJ6%%8)+KM*+>
K(N='*:;&
O(E'8P+>6
-
Music Theory in the 21st Century...its time to break a few Rules
The Sweet Collision
Half-tone crash between 7-8 & 3-4
-
& #### c ..A E C#m7 F#m7 E
# ## # ..B
E C#m7 F#m7 D # ## # .. .. E C#m7 F#m7 E # ## #C E C#m7 F#m7 E # ## #
D
E
F
E C#m7 F#m7 D ## # # # ## # .. .. E C#m7 F#m7 E # ## # .. ..p|
E/ABUILDING---->
| |E/G# | |F#m7 | |A [OPT. OPEN VAMP, ON CUE]|# ## # .. .. E C#m7 F#m7 u
E [VAMP CHORUSES]
'Friend Of God'
LAST X: RIT
{VERSE}
{VERSE}
{CHORUS}
{CHORUS}
{BRIDGE}
{CHORUS}
FOR INTRO: Vamp 1st 8 Bars
- Houghton/Gungor
KIK 2nd X: etc...
-
Music Theory in the 21st Century...its time to break a few Rules
The Sweet CollisionHalf-tone crash between
7-8 & 3-4Major 7th Chord built on 1 and 4
-
&?44
44Rhythm
INTROACOUSTIC GUITAR ONLY:1
C
&?
..
..R.S.
VS 2
VS 1
=MEDIUM GROOVE=
5
C
Am 7
FJ
&?R.S.
CH 2
CH 1
11
C
Am 7
FJ
&?
..
..R.S.
*Building > > >
17
C
Am 7
F
G
C
Arranged by Tom BrooksWorshipAlliance.com
"HOW GREAT IS OUR GOD"
Tom Brooks
"This Is Chicago"
Sears Tower 1993
Rhythm 73 BPM
Chris Tomlin
-
Music Theory in the 21st Century...its time to break a few Rules
Suspension-Resolution
(Fahgetaboutit!!!)
Half-tone crash during a 4-3 suspension built on 5 Chord
-
&?
###
# # #44
44Rhythm
1
!
INTRO*GTR HOOK:
*GTR continue simili >>>
Pads / SFX fade up...
>>>!B!A!N!D OUT"
P
!
!
!
!B!A!N!D IN"
&?
###
# # #
..
..
..
..R.S.
5
DK*ADD: Drum Groove / Ac. Gtr. / Wah-Wah OD Gtr.
*ADD BASS on repeat
F A2 F
#7 .
E4-3
&?
###
# # #R.S.
9
DKVS 1 *Gtr Hook / Drum Groove ONLY:
!B!A!N!D OUT"
P A2 F
#7 .
E4-3
&?
###
# # #R.S.
13
DK
*ADD Ac. Gtr.:
A2
F#7
.
E4-3
&?
###
# # #R.S.
17
D2 EAD!!D! B!ASS
{start to Build > > >
D2 E
Arranged by Tom BrooksWorshipAlliance.com
"MIGHTY TO SAVE"
Tom Brooks
"This Is Chicago"
Sears Tower 1993
RhythmBPM = 73
Reuben Morgan &Ben Fielding*Rock Ballade
2006 Hillsong Publishing
All Rights Reserved. Used by Permission.
-
Music Theory in the 21st Century...its time to break a few Rules
End on TonicUse the IV or V Chord to end a song rather than I
-
Music Theory in the 21st Century...its time to break a few Rules
Music is complexCLEAR & SIMPLE
is always the Best Choice
-
The One Minute Music Manager
-
?
-
Ear Training!!
-
The BasicsMUSIC THEORY
1-2-3 / do-re-mi / A-B-C /...its all the same1-2-3 do-re-mi Scale Degree Key of C
1 do Tonic C2 re Super-Tonic D3 mi Mediant E4 fa Sub-Dominant F5 so Dominant G6 la Sub-Mediant A7 ti Leading Tone B
-
Use these familiar songs to identify INTERVALSScale Intervals and Common Tunes (Remember, you can always sing a scale to get to your Target Note!!)
Interval Key of C TuneMajor 2nd C - D - (e) Do a (Deer)Major 3rd C - E - (g) Hey Jude (Chorus)
Perfect 4th C - F Louie, LouiePerfect 5th C - G Star WarsMajor 6th C - (e - g) - A Anchors AwayMajor 7th C - (e - g) - B PBS / Bali HaiOctave C - C Somewhere Over the Rainbow
-
Ear Training Pop Quiz!!
-
Melody: 1-2-3-1-3-4-5
6-7-8-1-5-4-3
-
Bass Line: 1-5-6-4-1-5-41-6-2-5-1-flat 7-4
-
CHORD CONSTRUCTION II
EVERY CHORD THERE IS - Built on CMajor Triad - with Major 7th / minor 7thminor Triad - with Major 7th / minor 7thPersonality / function of each
-
& 44RhythmC Major Triad
1
wwwCmajor
C Major Triad + Major 7th
wwwwCJ
C Major Triad + minor 7th
wwwwbC7
&R.S.C minor Triad
4
wwwbCminor
C minor Triad + Major 7th
wwwwbCminorJ
C minor Triad + minor 7th
wwwwbbCm 7
ORCHESTRATION BY TOM BROOKS
"CHORD PERMUTATIONS 2"
Rhythm
-
&?
bb b
b b b
44
44Rhythm
1
_________
***Spell the notes in each Chord and write them in the Treble Staff:
Eb2 _________
Cm 7 _________
AbK _________
Ab/Bb
&
?
bb b
b b bR.S.
5
_________
G\ _________
G7#5 _________
Cm 11 _________
F9#11
Tom Brooks
"CHORD SPELL 2"
Keyboard
-
&?
bb b
b b b
44
44Rhythm
1 wwww
_________
***Spell the notes in each Chord and write them in the Treble Staff:
Eb, F, G, Bb
Eb2
wwww
_________C, Eb, G, Bb
Cm 7
wwwww
_________Ab, C, Eb, G, Bb
AbK
wwww
_________Bb - Ab, C, Eb
Ab/Bb
&
?
bb b
b b bR.S.
5 wwww
_________G, C, D, F
G\
wwww#n
_________G, B, D#, F
G7#5
wwwwww
_________C, Eb, G, Bb, D, F
Cm 11
wwwwwwnn
_________F, A, C, Eb, G, B
F9#11
Tom Brooks
"CHORD SPELL 2"
Keyboard
-
CHORD CONSTRUCTION IIUPPER TONALITY CHORDS7ths - 9ths - 11ths - 13thsMajor - Minor; diatonic - borrowedAdd Spice, but rarely change function
-
GLORIOUS
Martha MunizziIsrael Houghton
-
&?
###
# # #44
44Rhythm
INTRO
*Brass pickups:
1 ! "
.
!B!A!N!D I!N !U!NISON"
. . . >> >
. . >> >C#
&?
###
# # #R.S.
4
.
!B!A!N!D I!N !U!NISON"
. .
3 3 .
3
3
3
3
>
3
3
> FILL=
G#
&?
###
# # #R.S.
VS 2
VS 1
7
=FULL GROOVE=
. G# C# n #> F#7 D# . > DK C
#
&?
###
# # #
..
..R.S.
Bring it down under vocal:
10
. F#7 C#
. C# F#7
. F#7 C#
. C# F#7 F#2A#
&?
###
# # #R.S.
Kick it up a bit...
14
. B7 F#9
. C# F#9 F#A# .
B7 F#9> >>
! >!> > >
> >>! >!> > >C#D C#D C# C#
Arranged by Tom BrooksWorshipAlliance.com
"GLORIOUS"
Tom Brooks
"This Is Chicago"
Sears Tower 1993
RhythmBPM = 100
Dan & Martha Munizzi Israel Houghton*Salsa Caliente
-
&?
###
# # #44
44Rhythm
INTRO
*Brass pickups:
1 ! "
.
!B!A!N!D I!N !U!NISON"
. . . >> >
. . >> >C#
&?
###
# # #R.S.
4
.
!B!A!N!D I!N !U!NISON"
. .
3 3 .
3
3
3
3
>
3
3
> FILL=
G#
&?
###
# # #R.S.
VS 2
VS 1
7
=FULL GROOVE=
. G# C# n #> F#7 D# . > DK C
#
&?
###
# # #
..
..R.S.
Bring it down under vocal:
10
. F#7 C#
. C# F#7
. F#7 C#
. C# F#7 F#2A#
&?
###
# # #R.S.
Kick it up a bit...
14
. B7 F#9
. C# F#9 F#A# .
B7 F#9> >>
! >!> > >
> >>! >!> > >C#D C#D C# C#
Arranged by Tom BrooksWorshipAlliance.com
"GLORIOUS"
Tom Brooks
"This Is Chicago"
Sears Tower 1993
RhythmBPM = 100
Dan & Martha Munizzi Israel Houghton*Salsa Caliente
-
& #### c ..A E C#m7 F#m7 E
# ## # ..B
E C#m7 F#m7 D # ## # .. .. E C#m7 F#m7 E # ## #C E C#m7 F#m7 E # ## #
D
E
F
E C#m7 F#m7 D ## # # # ## # .. .. E C#m7 F#m7 E # ## # .. ..p|
E/ABUILDING---->
| |E/G# | |F#m7 | |A [OPT. OPEN VAMP, ON CUE]|# ## # .. .. E C#m7 F#m7 u
E [VAMP CHORUSES]
'Friend Of God'
LAST X: RIT
{VERSE}
{VERSE}
{CHORUS}
{CHORUS}
{BRIDGE}
{CHORUS}
FOR INTRO: Vamp 1st 8 Bars
- Houghton/Gungor
KIK 2nd X: etc...
-
&?
44
44Rhythm
1
***Write in the Chord Symbol Chord and write the Notes in the Treble Staff:
IRoman Numeral Symbols:
IV maj7
vi min7
V add 2
&
?R.S.
5
ii min7
bVII add 2
IV add 2
I add 2
Tom Brooks
"CHORD SPELL 3"
Keyboard
-
&?
44
44Rhythm
1
www
***Write in the Chord Symbol Chord and write the Notes in the Treble Staff:
IRoman Numeral Symbols:
C
wwww
IV maj7
FJ
wwww
vi min7
Am 7
wwww
V add 2
G2
&
?R.S.
5 wwww
ii min7
Dm 7
wwwwb
bVII add 2
Bb2
wwww
IV add 2
F2wwww
I add 2
C2
Tom Brooks
"CHORD SPELL 3"
Keyboard
-
CHORD CONSTRUCTION IIIEVERY CHORD THERE IS - Built on CMajor Triad - with Major 7th Family9 - #11 - 13Personality / function of each
-
& 44RhythmC Major Triad + Major 7th
1 wwwwCJ
C Major Triad + Major 7th+ Major 9th
wwwwwCK
C Major Triad + Major 7th+ Major 9th+ #11
wwwwww#CK#11
&R.S.C Major Triad + Major 7th+ Major 9th+ #11 + 13
4 wwwwwww#CK#11,13
Same with 9th omitted
wwwwww#D/C
Same with inversion
wwwwww#D/C
ORCHESTRATION BY TOM BROOKS
"CHORD PERMUTATIONS 3"
Rhythm
-
CHORD CONSTRUCTION
EVERY CHORD THERE IS - Built on CMajor Triad - with minor 7th Family9 + *11* - 13 // + #11 - 13Flat 9 (borrowed from minor scale) + 11Personality / function of each
-
& 44RhythmC Major Triad + minor 7th
1 wwwwbC7
C Major Triad + minor 7th+ Major 9th
wwwwwbC9
C Major Triad + minor 7th+ Major 9th+ 11 (omit 3rd)
wwwwwbC 11
C Major Triad + minor 7th+ Major 9th+ 11, 13 (omit 3rd)
wwwwwwbC11,13
&R.S.C Major Triad + minor 7th
5 wwwwbC7
C Major Triad + minor 7th+ Major 9th
wwwwwbC9
C Major Triad + minor 7th+ Major 9th+ #11
wwwwww#bC
C Major Triad + minor 7th+ Major 9th+ #11 + 13
wwwwwww#bC
ORCHESTRATION BY TOM BROOKS
"CHORD PERMUTATIONS 4"
Rhythm
-
&?
b
b
44
44Rhythm
1
***Write in the Chord Symbol Chord and write the Notes in the Treble Staff:
IRoman Numeral Symbols:
[Same progression, transposed to F Major]
IV maj7
vi min7
V add 2
&
?
b
bR.S.
5
ii min7
bVII add 2
IV add 2
I add 2
Tom Brooks
"CHORD SPELL 4"
Keyboard
-
&?
b
b
44
44Rhythm
1 www
***Write in the Chord Symbol Chord and write the Notes in the Treble Staff:
IRoman Numeral Symbols:
F
wwww
IV maj7
BbJ
wwww
vi min7
Dm 7
wwww
V add 2
C2
&
?
b
bR.S.
5 wwww
ii min7
Gm 7
wwwwb
bVII add 2
Eb2
wwww
IV add 2
Bb2
wwww
I add 2
F2
Tom Brooks
"CHORD SPELL 4"
Keyboard
-
5)&-"/(6"(&0'.64*$
| !e Institute of Worship Arts at Yonsei University
Practical Music !eory for the Worshiping Musician
by Tom Brooks
-"/(6"(&
5)&
of.64*$
The LANGUAGE of MUSIC
Chord RelationshipsThe JOURNEYCadences2 > 5 > 1
-
CHAPTER 16: FAMILIAR CHORD PROGRESSIONS Given the myriad of harmonic options that are possible, there are several familiar Chord Progressions that are used often in popular music. We have discussed the prevalence of the PRIMARY CHORDS - I, IV, V - in the Key of C Major: C, F, G. The I Chord pulls strongly to the IV Chord and the V Chord pulls strongly back to the I Chord. Several of the song examples in the previous chapters are built almost exclusively on the Primary Chords:
I IV V CHORD PROGRESSIONS:
Lord I Lift Your Name On High by Rick Founds
I IV V I IV V
Beautiful One by Tim Hughes
IV V IV V IV V I
Lord Reign in Me by Brenton Brown
I V IV V I V IV V I
Amazing Grace classic hymn
I IV I V I IV I V I
-
Really Cool Stuff Major Triad Ratio... 4:5:6Minor Triad Ratio... 10:12:15(in JUST tuning, not Equal Temperment)
-
Moving Upward-by-a-Fourth The strongest tendency for most chords is to move to the chord a fourth above as explained earlier, this is spelled out clearly as you move counter-clockwise around the Circle of Fifths chart in Chapter 7.
-
Here are the 4 most common Traditional Cadences: AUTHENTIC CADENCE: V ! I DOMINANT ! TONIC Also known as Complete Cadence or Full Cadence The most widely used cadence. A Perfect Authentic Cadence has both chords in Root position with the Melody resolving to the Tonic. PLAGAL CADENCE: IV ! I SUB-DOMINANT ! TONIC Also known as the Church Cadence or Amen Cadence The Chords of the traditional AMEN at the end of most classic hymns HALF CADENCE: II ! V (SEC. DOMINANT) ! DOMINANT Also known as an Imperfect Cadence or Half Close Cadence Common at the midway point of a Verse or Chorus DECEPTIVE CADENCE: V ! vi DOMINANT ! SUB-MEDIANT Also known as False Cadence or Interrupted Cadence
-
5)&-"/(6"(&0'.64*$
| !e Institute of Worship Arts at Yonsei University
Practical Music !eory for the Worshiping Musician
by Tom Brooks
-"/(6"(&
5)&
of.64*$
The LANGUAGE of MUSIC
TranspositionModulationImprovisation
-
CHAPTER 28: TRANSPOSITION
Every song, every chord, every melody, and every piece of music can be played in any of the 12 Keys. When you take a song or any element of music and move it from its original key to a new Key Center, you are Transposing.
nuggets of knowledge
Changing a song to a different Key is called TRANSPOSITION.
When you Transpose a piece, the relationship of the notes to one another remains identical, only the Key Center changes. Once you set the Interval of the Transposition (for instance, Transpose up 1 Half Step or Transpose up a minor 3rd), every aspect of the music, every pitch, every chord symbol, etc, is shifted by that interval. Another way to describe a Transposition is to specify the new Key Center, e.g. Transpose from C Major to F Major. Why do you need to transpose? There are many reasons >You are preparing a song and the range of the melody in the original key
does not match well with the range of the soloist or group. >You are transitioning from another song and you need to change the key
in order to make a smooth segue. >You are using a different instrumentation than the original and you want to
place the song in the best key for your Band example E versus Eb for guitar or F versus F# for Brass, etc.
-
Look at this example of a Nashville Number Chart for Shout to the Lord VERSE: 1 5 ( 6 5 ) 4 ( 1/3 4 ) ( 1/5 6 ) b7 (5sus 5) Compare the Nashville Number Chart to the Chord Chart below:
-
CHAPTER 29: MODULATION The term MODULATION has several different definitions, even inside the realm of music. The most common use in contemporary music refers to a Transposition within a piece of music a point in the song where you change the Key and continue the song in a new Key (usually a higher key) - e.g. Lets MODULATE up to D Major for the last chorus or Lets MODULATE down a 4th as we transition to the next song in the medley.
nuggets of knowledge
MODULATION means changing from one Key Center to another.
The most common place to hear a Modulation in pop music would be leading into the last chorus of a song, but they can happen anywhere. Sometimes an arrangement may modulate a particular section for a soloist (a verse for a low alto for instance) and then modulate back when the other singers join. There are two basic types: >PHRASE MODULATION >PIVOT CHORD MODULATION
-
CHAPTER 33: THE MODES If you are one of the many musicians who finds the Modes a daunting subject TAKE HEART! This topic is easier than you think. *You are actually already familiar with several of the Modes. *A MODE is simply a variation of the basic Major and Minor Scales. *The Names of the Modes may be new to you, but you already know the sound. The term MODE (as it is commonly used in contemporary music) is just another word for scale. There are 7 MODES, each one named after an ancient Greek city-state [see Sidebar below]. Here is an easy way to identity them: >Look at the 7 white keys on the keyboard, C D E F G A B >Play a 7 note scale starting on each of these notes using only the white keys ***You have just played the 7 Modes. Here is a quick synopsis of the 7 MODES: ! IONIAN MODE "White Keys starting on C
***Identical to the Major Scale
! DORIAN MODE "White Keys starting on D ***Just like Natural Minor Scale with a RAISED 6th
! PHRYGIAN MODE "White Keys starting on E ***Just like Natural Minor Scale with a LOWERED 2nd
! LYDIAN MODE "White Keys starting on F ***Just like the Major Scale with a RAISED 4th
! MIXOLYDIAN MODE "White Keys starting on G ***Just like the Major Scale with a LOWERED 7th
! AEOLIAN MODE "White Keys starting on A ***Identical to the Natural Minor Scale
! LOCRIAN MODE "White Keys starting on B ***Just like Natural Minor Scale with a LOWERED 2nd and 5th
-
The One Minute Music Manager
-
?
-
The Language of Music
*90% of Communication is non-verbal
*Engage your Heart - Emotions
*Engage your Soul - Body
-
Language of Music
JEOPARDY
-
To Ring In and answer:>Raise your Right Hand High!
>Slap thigh with your Left Hand>Make a BUZZER sound
(Really, REALLY LOUD!!!)
-
Language of Music JEOPARDY!!!
He holdsthe KEYS
Home on the
RANGE
Lend me Your EARS
MusicalSpellingBeeWORDMATCH
-
**He Holds the KEYS**
ROUND #1Answer these Theory questions
with the correct KEY!! (Ring in First!!!)
-
Which Key has
4 sharps?
-
E Major
-
What is the Relative Minor
of A Flat Major?
-
F Minor!
-
What notes form the Key Signature
of B Major?(in correct order)
-
5 Sharps:F#, C#, G#, D#,
A#
-
Is this the cutest girl youve ever seen?!?!?
The correct answer is... YES!!!
-
**Home On The Range**
ROUND #2Answer these questions about
the RANGE of each song (Ring in First!!!)
-
Home on the RANGE
What is the RANGE of Amazing Grace in F Major?
-
Home on the RANGE
1 octave; from C to C
-
Home on the RANGE
What is the RANGE of this melody in E Major?
-
Home on the RANGE
Major 6th; E to C#
-
Home on the RANGE
List these vocal ranges from Highest to Lowest:Alto / Baritone / Mezzo-Soprano / Bass / Tenor / Soprano
-
Home on the RANGESoprano
Mezzo-SopranoAlto
TenorBaritone
Bass
-
Home on the RANGE
What instrument has the largest RANGE of all?
-
Home on the RANGE
Grand Piano! (and some Pipe Organs)
-
Is this girl a Princess or What?!?!?
...the correct answer is...
YES!!!
-
**Lend Me Your EARS**
ROUND #3Listen to each Music ExcerptUse your Ear Training and analyze what you hearRing In !!!
You have to SING to win!
-
Lend Me Your EARS!
Sing the LETTER NAMES of this melody in the Key of C Major
-
Lend Me Your EARS!
E - F - G, B - C - D,C - C - C - B - G - E - A
-
Lend Me Your EARS!
Sing the Scale Degree NUMBERS of the following melody:
-
Lend Me Your EARS!
3 - 3 - 4 - 22 - 3 - 4 - 4 - 3 - 2 - 13 - 3 - 4 - 2 - 2 - 3 - 1
-
Lend Me Your EARS!
Sing the SOLFEGE syllables (do - re - mi) of this melody:
-
Lend Me Your EARS!
do-re-mimi-so-fa-mire-mi-fa-mi
-
*Musical Spelling Bee*
ROUND #4Spell out the notes in these
Chords and Scales.
(Ring in First!!!)
-
Musical Spelling Bee!
Spell out the notes in a C# Minor 11th Chord
-
Musical Spelling Bee!
C# Minor 9 is spelled C# - E - G# - B - D# - F#
(...as in Friend of God)
-
Musical Spelling Bee!
Spell out the notes in an E Pentatonic Scale
-
Musical Spelling Bee!
E Pentatonic Scale is E - F# - G# - B - C#
(...the melody of Open the Eyes of my Heart)
-
Musical Spelling Bee!
Spell out the notes in a G (#5, #9) Chord
-
Musical Spelling Bee!
G (#5, #9) is spelledG - B - D# - F - A#
(as in Israels Come In From the Outside)
-
Wheel of MIS-fortune
.
-
Wheel of MIS-fortune
. A A
-
Wheel of MIS-fortune
.
EA A E
-
Wheel of MIS-fortune
.
EA A E
I
-
Wheel of MIS-fortune
.
EA A
OE
I
-
Wheel of MIS-fortune
.
EA U A
OE
U I
-
Wheel of MIS-fortune
.
EA N U A
OE
U I
-
Wheel of MIS-fortune
.
EA N U A
OE
U I C
-
Wheel of MIS-fortune
.
T EA N U A
OE
U I C
-
Wheel of MIS-fortune
.
T EA N U A
OE
M U I C
-
Wheel of MIS-fortune
.
T H EL A N G U AO F
EG
M U S I C
-
Resource Page:You can download these Music Examples
from our iMix on iTunes entitled, THE LANGUAGE OF MUSIC
You can download this presentation from our website - WorshipAlliance.com
You can study in more detail using our Workbook - THE LANGUAGE OF MUSIC
You can email me with questions at... [email protected]
-
5)&-"/(6"(&0'.64*$
| !e Institute of Worship Arts at Yonsei University
Practical Music !eory for the Worshiping Musician
by Tom Brooks
-"/(6"(&
5)&
of.64*$
I have made music with Tom Brooks for many years - I believe God planted the seed for this book in Toms heart to inspire musicians everywhere to learn the TRUTH about music; this wonderful heavenly Language, so they can be better equipped to serve Jesus with this precious Gift. I recommend it wholeheartedly - it conveys Toms immense knowledge not only at the Theory level; but at the practical and Spiritual level as well.
Yours truly,Abraham Laboriel
-
WorshipAlliance.com
-
5)&-"/(6"(&0'.64*$
| !e Institute of Worship Arts at Yonsei University
Practical Music !eory for the Worshiping Musician
by Tom Brooks
-"/(6"(&
5)&
of.64*$
WorshipAlliance.com