Modern Music Theory

Modern Music Theory Shaun Keyt

Modern Music Theory

Course Summary

Week 1: Scales

Week 2: Rhythmic Melody

Week 3: Melodic Design

Week 4: Intervals & Harmony

Week 5: Triads & Chord Progressions

Week 6: Advanced Chords

Week 7: Chord Functions

Week 8: Musical Tension


Week 1: Scales

Key Concepts

Melodic Emotion

Use of particular notes in a pattern to produce particular emotion(s)

Playing in Key

Playing in Key means using the notes within the Scale of the musical piece

The Musical Scale

Definition of a Scale

Defined set of notes which give a Melody a certain character

Two Components of a Scale: Tonic and Mode

Tonic Note: defines the note name of the Scale

Mode: defines the Scale type

The Chromatic Scale

Characteristics of the Chromatic Scale

Formula

Contains all 12 semitones/notes in an octave

Emotion

Neutral because of its pure symmetry

Distinguishing Characteristic

All notes are equally spaced apart


Diatonic Scales

Characteristics of Diatonic Scales

Description

Seven distinct Pitch Classes

5 Whole Steps and 2 Half Steps per Octave

Each Diatonic Scale has a Key Signature which prescribes the Intervals in the Scale

Subset of the Chromatic Scale

Diatonic Scale Degrees

Tonic

Supertonic

Mediant

Subdominant

Dominant

Submediant

Leading Tone (Major scale), Subtonic (Natural Minor scale)

The Major Scale

Characteristics

Formula

T 2 2 1 2 2 2 1

Emotion

Traditionally associated with happiness, celebration and jubilance

Distinguishing Characteristics

Major 3rd

Major 6th

Major 7th


The Natural Minor Scale

Characteristics

Formula

T 2 1 2 2 1 2 2

Emotion

Traditionally associated with sadness and melancholy


Minor 3rd

Minor 6th

Minor 7th

The Harmonic Minor Scale

Characteristics

Formula

T 2 1 2 2 1 3 1

Emotion

Exotic sounding Minor scale


Minor 3rd

Minor 6th

Major 7th


The Minor Pentatonic Scale

Formula

Program the Natural Minor Scale and remove the 2nd and 6th Notes

Emotion

A lack of tension creates an open type of sound.


This is a 5 note scale

Uses the 1st, 3rd, 4th, 5th and 7th notes from the Natural Minor scale

Class Exercises

Write the Major scale for every possible Tonic note in its own MIDI clip

Write the Natural Minor scale for every possible Tonic note in its own MIDI clip

Write the Harmonic Minor scale for every possible Tonic note in its own MIDI clip

Write the Pentatonic Minor scale for every possible Tonic note in its own MIDI clip

Scale selection based on Tonic note

Which Scale Keys have a certain character

http://www.gradfree.com/kevin/some_theory_on_musical_keys.htm

http://biteyourownelbow.com/keychar.htm


Musical Element: Driving Lead Line

Description

Melodic driving rhythm

Programming Method

Program in Midi Clip

How to program it

Program Main Hook

Program like a drum pattern

Use the Tonic Note

Balance rhythm and note length to keep it driving

Program End Of Bar Variation

Use variation in notes

Direction: up / down

Choice of notes: start to end notes

Distance from Tonic effects amount of variation


Week 2: Rhythmic Melody

Meter

Beat/Pulse

Individual Strokes of Measured Time

Bar / Measure

Segment of time corresponding to a specific number of beats

Time Signature

General Thought

Different Time Signatures create different rhythmic feelings

Top Number

Number of Beats per Bar

Bottom Number

Note Value of a Beat

Strong / Weak Beats

Onbeats

Strong Beats of Bar

Offbeats

Weak Beats of Bar

Downbeat

Strongest Beat

Upbeat

Beat immediately preceding the Downbeat


4/4

Description

4 Quarter Notes per Bar

Counting

One Bar of Quarter Notes Counted as 1 2 3 4

One Bar of Eighth Notes Counted as 1 and 2 and 3 and 4 and

One Bar of Sixteenth Notes Counted as

1 ee and ah 2 ee and ah 3 ee and ah 4 ee and ah

Onbeats

1st and 3rd Beats of Bar

Offbeats

2nd and 4th Beats of Bar

Downbeat

1st Beat of Bar

2/4

Description


Downbeat occurs quicker than 4/4

Counting

One Bar of Quarter Notes Counted as 1 2

One Bar of Eighth Notes Counted as 1 and 2 and


1 ee and ah 2 ee and ah

Onbeat

Downbeat, 1st Beat of Bar


Offbeat

2nd Beat of Bar

3 / 4

Description


Counting

One Bar of Quarter Notes Counted as 1 2 3

One Bar of Eighth Notes Counted as 1 and 2 and 3 and


1 ee and ah 2 ee and ah 3 ee and ah

Downbeat

1st Beat of Bar

Onbeats

1st & 3rd Beat of Bar


Compound Time

Description

Time Signatures with Different Bottom Number

Beat in a Bar is not a Quarter Note

6/8

Description

6 Eighth Notes per Bar

Counting

One Bar of Eighth Notes Counted as 1 2 3 4 5 6


1 and 2 and 3 and 4 and 5 and 6

Downbeat

1st Beat of Bar

Onbeat

4th Beat of Bar

Offbeats

2nd, 3rd, 5th, 6th Beats of Bar


Tempo

Definition

Speed of the Pulse

Measured in BPM (Beats per Minute)

Note Length

SubDivision

Division of Pulse into Shorter Pulses

1 Whole Note

= One Bar in 4/4

= 2 Half Notes

= 4 Quarter Notes

1 Quarter Note

= 1 Beat/Pulse in 4/4

= 2 Eighth Notes

= 4 Sixteenth Notes

= 8 32nd Notes

= 16 64th Notes


Accents

Description

Refer to the loudest vs softest notes

Can emphasize certain notes/beats within a rhythmic pattern

Emphasis of beats

Indicates which beats are important by stressing them

Sets up a hierarchy where certain notes/beats are pushed to the foreground and the

less accented notes/beats are simultaneously pushed to the background

Dynamics

Changes in Loudness between the notes/beats in the pattern

Pattern Dynamics

Can make a rhythmic pattern sound more/less Dynamic

Syncopation

Description

When a Musical Element places rhythmic Accents between the Main Beats

(Onbeats)

Beats within the Bar which are usually unstressed are accented

Loosening of the Pulse

Example: Back-Beat

Beat where 2nd & 4th beats are stressed in 4/4


Musical Element: Rhythmic Bassline

Description

Rhythmic and melodic element (primarily rhythmic element)

In low register, ie up to Middle C

Syncopates with the drums, like another element of the Drum Track

It is not the primary rhythmic driver like the Driving Lead Line

Programming Method

Program in midi editor

Copy midi clip of scales

Generally tonal drum or percussive synth sound

How to program it

Program Main Hook

Program the rhythm first

Use the Tonic note

Add variation to keep it rolling / bouncing using rhythm, note length , note variation

Use note variation sparsely with small note spacing


Use other notes in scale

Variation: direction: up / down

Variation: choice of notes: start to end notes

Variation: distance from Tonic effects amount of variation


Musical Element: Arpeggiated Melodies

Description

Melodies that work the rhythm and melodic structure at the same time

Benefits:

Add dynamics to static chord

Distinguish two parts playing the same chords

How to program it

Note Choice

Use Tonic Triad for strong driving sequences

Use advanced chords for more melodic emotional sequences

Direction

Note Velocity


Week 3: Melodic Design

The Melodic Lead Line

Description

Melody which is primary lead part

Primary focus is on its melodic content

Programming Method

Playing on keyboard allows you to concentrate on the melody

With the correct hand position, the rhythm will naturally happen

Programming Principles

Range of pitch

Melodic shape

Start and end notes

Note spacing

Repetition vs variation


Writing a Melodic line

Components of a Single Melodic Line

Pitch

Rhythm

Pitch

Notes in Melody can be categorised based on

Distance

Direction

Distance

Step: Pitch movement between two consecutive scale degrees, smallest movement

in pitch

Leap / Skip: Pitch movement using non-consecutive scale degrees, larger movement

in pitch

Direction

Rising: Pitch movement where the first note is lower than the second

Falling: Pitch movement where the first note is higher than the second

Class Ex 1

Write a melody in A Natural Minor for 2 Bars

Start Note: Tonic on Downbeat

End Note: Tonic on Downbeat


Class Ex 2



End Note: Octave above Tonic on Downbeat

Class Ex 3



End Note: Perfect 5th above Tonic on Downbeat

Class Ex 4



Middle Note: Octave above Tonic on Onbeat


Class Ex 5



Middle Note: Perfect 5th above Tonic on Onbeat



Class Ex 6




End Note: Octave above Tonic on Downbeat

Class Ex 7



Middle Note: Minor 3rd above Tonic on Onbeat

End Note: Perfect 5th above Tonic on Downbeat

Class Ex 8




End Note: Minor 6th above Tonic on Downbeat

Class Ex 9


Starts and Ends on Tonic on Downbeats

Connect Start & End note with 1 Step


Class Ex 10



Connect Start & End note with 1 Leap

Class Ex 11



Connect Start & End note with 3 Steps

Class Ex 12



Connect Start & End note with 3 Leaps

Class Ex 13


Start Note: Tonic

1 Rising Step

Class Ex 14


Start Note: Tonic

1 Falling Step


Class Ex 15


Start Note: Tonic

1 Rising Step & 1 Falling Step

Class Ex 16


Start Note: Tonic

2 Rising Steps & 1 Falling Step

Class Ex 17


Start Note: Tonic

1 Rising Step & 2 Falling Steps

Class Ex 18


Start Note: Tonic

1 Rising Leap

Class Ex 19


Start Note: Tonic

1 Falling Leap


Class Ex 20


Start Note: Tonic

1 Rising Leap & 1 Falling Leap

Class Ex 21


Start Note: Tonic

2 Rising Leaps & 2 Falling Leaps

Class Ex 22


Start Note: Tonic

4 Rising Steps & 4 Falling Steps


Designing a Melodic Line

Melodic Motion

Quality of pitch movement in a melody

Types of Melodic Motion

Conjunct Motion

Movement of pitch by Steps

Melodic motion in which Leaps are rare

Disjunct Motion

Movement of pitch by Leaps

Melodic motion with frequent Leaps

Melodic Shape

Overall shape or contour of a melody

Types of Melodic Shape

Ascending

Overall upward movement

Descending

Overall downward movement

Undulating

Equal movement in both upward and downward directions

Class Ex 23


Melodic Shape: Ascending

Melodic Motion: Conjunct


Class Ex 24



Melodic Motion: Disjunct

Class Ex 25


Melodic Shape: Descending


Class Ex 26




Class Ex 27


Melodic Shape: Undulating


Class Ex 28





Musical Element: Main Room Lead

Description

Stands out and guides the track’s tension

Musical Element: Techno Lead

Description

Melodic line which weaves its way through the Rhythmic elements


Week 4: Intervals

Intervals

Description

Distance between two notes

Two components in an Interval’s name

Interval Type

Quality of the Interval

Interval Note

Note Distance

Intervals in Scales

Distance between Tonic note and another note in the Scale

Distance between any two notes in a Scale

Intervals define a Scale’s sound

Different scales sound different to each other because they contain certain

combinations of Intervals

Possible Intervals in a Scale

Unison (0 semitones distance between two notes)

Minor 2nd (1 semitone distance between two notes)

Major 2nd (2 semitones distance between two notes)

Minor 3rd (3 semitones distance between two notes)

Major 3rd (4 semitones distance between two notes)

Perfect 4th (5 semitones distance between two notes)

Augmented 4th (6 semitones distance between two notes)

Perfect 5th (7 semitone distances between two notes)


Minor 6th (8 semitone distances between two notes)

Major 6th (9 semitones distance between two notes)

Minor 7th (10 semitones distance between two notes)

Major 7th (11 semitones distance between two notes)

Octave (12 semitones distance between two notes)

Intervals in the Chromatic Scale (Intervals from Tonic)

Unison

Minor 2nd

Major 2nd

Minor 3rd

Major 3rd

Perfect 4th

Augmented 4th

Perfect 5th

Minor 6th

Major 6th

Minor 7th

Major 7th

Octave


Intervals in the Major Scale (Intervals from Tonic)

Unison

Major 2nd

Major 3rd

Perfect 4th

Perfect 5th

Major 6th

Major 7th

Octave

Intervals in the Natural Minor Scale (Intervals from Tonic)

Unison

Major 2nd

Minor 3rd

Perfect 4th

Perfect 5th

Minor 6th

Minor 7th

Octave


Intervals in the Harmonic Minor Scale (Intervals from Tonic)

Unison

Major 2nd

Minor 3rd

Perfect 4th

Perfect 5th

Minor 6th

Major 7th

Octave


Harmony

Definition

When two or more sounds / musical notes occur simultaneously

All harmonies consist of a combination of Intervals

Uses of Harmony

Thicken a melodic part

Rhythmically follows the melodic part

Additional harmonic part

Rhythmically independent of melodic part

Harmony Components

Harmony Interval (distance between notes)

Harmony Direction (above or below a note)

Harmony Interval (Distance)

Add harmonies to a note by adding notes which are certain Intervals from that note

Harmony Direction

Interval can be Above or Below a Fundamental Note

Examples

Harmony of an Octave Below a note

Harmony of a Minor 3rd Above a note

Harmony of a Perfect 4th Below a note

Harmony of a Major 2nd Above a note


Musical Element: Rhythmic Lead

Description

Rhythmic and Melodic element (primarily Rhythmic)

In high register, ie from Middle C up

Syncopates with the bassline and drums to make it more rolling

Melodically makes an interval with the Bassline

- Think of the Bassline and Lead line as the bottom and top notes of an Interval

Programming Method

Program in midi editor

How to program it

Program Main Hook

Program the rhythm first using the Tonic note

Choose notes based on Intervals

Program Lead as the top notes of an Interval

The Rhythmic Bassline forms the bottom notes

Use rhythm, note length and note variation to keep it rolling/bouncing

Use Note Variation sparsely and with small note spacing


Use other notes in Scale

Variation: Direction: Up/Down

Variation: Choice of Notes - Start to End Notes

Variation: distance from Tonic effects amount of variation

Could be tonal drum sound or percussive synth sound


Harmonising a Melody

Definition

Thickens a melody

Rhythmically follows the melodic part

Moving between different sets of Intervals

Harmonising using Intervals of Scale notes

Limit your Intervals to only use notes in a specific Scale

Two Components

Distance

Interval of additional note(s) from the first note

Direction

Additional note(s) above or below the first note


Class Ex 1

Write a 2 Bar Melody & Harmony in A Natural Minor

Note 1: Downbeat: Tonic + Perfect 5th Above

Note 2: Downbeat: Tonic + Octave Above

Class Ex 2


Note 1: Downbeat: Tonic + Perfect 4th Below

Note 2: Downbeat: Tonic + Octave Below

Class Ex 3



Note 2: Onbeat: Octave above Tonic


Class Ex 4



Note 2: Onbeat: Octave Above Tonic + Octave Below



Class Ex 5



Note 2: Onbeat: Perfect 5th above Tonic + Octave Below

Note 3: Downbeat: Octave above Tonic + Perfect 4th Below

Class Ex 6


Note 1: Tonic + Perfect 5th Above

Note 2: Rising Step + Perfect 4th Above

Class Ex 7


Note 1: Tonic + Minor 3rd Above

Note 2: Falling Step + Perfect 5th Above

Note 3: Rising Step + Octave Above

Class Ex 8


Note 1: Tonic + Perfect 4th Below

Note 2: Rising Leap + Octave Below


Class Ex 9


Harmonise these notes in the scale

Note 1: Tonic

1 Rising Leap & 1 Falling Leap

Class Ex 10


Melody:

Note 1: Tonic


Harmonise Melody using notes in the scale

Class Ex 11


Melody:

Note 1: Tonic

3 Falling Leaps


Class Ex 12


Melody:

Note 1: Tonic




Harmonising a melody using principles of Counterpoint

Counterpoint description

Movement of melodic lines against each other

Great for harmonising a melody

Types of movement in Counterpoint

Parallel Motion

Motion of melodic lines in the same direction

Keeping the same Interval between them.

Similar Motion

Motion of melodic lines in the same direction

Interval between them changing

Contrary Motion

Motion of melodic lines in opposite directions

Oblique Motion

One melodic line in motion

Other melodic line remains at same pitch

Class Ex 13

Copy Melody in Class Ex 12

Harmonise Melody using Oblique Motion

Class Ex 14


Harmonise Melody using Parallel Motion


Class Ex 15


Harmonise Melody using Similar Motion

Class Ex 16


Harmonise Melody using Contrary Motion


Week 5: Triads & Chord Progressions

Triads

Triad Definition

Three note chord

Root Note

Fundamental note of a chord, eg A in A minor

Triad Formulas

Major Triad = +4, +3

Minor Triad = +3, +4

Diminished Triad = +3, +3

Augmented Triad = +4, +4

Sum of Intervals

Composed of layered Intervals

Layered Intervals

Ways of layering Intervals

Distance from the initial note played

Interval from the first note

+

Interval from the first note

Example:

Notes: C E G can be defined as

Major 3rd Above C

+

Perfect 5th Above C


Major Triad

Major 3rd Above First Note

+

Perfect 5th Above First Note

+

Minor 3rd Above Second Note

Minor Triad

Minor 3rd Above First Note

+

Perfect 5th Above First Note

+

Major 3rd Above Second Note

Diminished Triad

Minor 3rd Above First Note

+

Diminished 5th Above First Note

+

Minor 3rd Above Second Note

Augmented

Major 3rd Above First Note

+

Augmented 5th Above First Note

+

Major 3rd Above Second Note

Distance from any note played

Interval from the first note + Interval from the second note


Example

Notes: C E G can be defined as

Major 3rd Above C

+

Minor 3rd Above E

Class Exercise

Create the following Intervals as one layered interval on Note:F

1. Major 3rd Above First Note + Perfect 5th Above First Note

2. Major 3rd Above First Note + Minor 3rd Above Second Note

3. Minor 3rd Above First Note + Perfect 5th Above First Note

4. Minor 3rd Above First Note + Major 3rd Above Second Note

Musical Element: Single Rhythmic Chord

Description

Repeating chord which adds to the rhythm and reinforces the key

How to program it

Play or program the Tonic Triad and play with its rhythm


Triads in a Scale

Description

Each scale has a specific set of Triads

The Triads are restricted to the notes in that Scale

Major Scale Triads

Triads in the Major Scale

Major 1st

Minor 2nd

Minor 3rd

Major 4th

Major 5th

Minor 6th

Diminished 7th

Example – C Major Scale

C Major

D Minor

E Minor

F Major

G Major

A Minor

B Diminished

Natural Minor Scale Triads


Triads in the Natural Minor Scale

Minor 1st

Diminished 2nd

Major 3rd

Minor 4th

Minor 5th

Major 6th

Major 7th

Example – A Natural Minor Scale

A Minor

B Diminished

C Major

D Minor

E Minor

F Major

G Major

Harmonic Minor Scale Triads

Triads in the Harmonic Minor Scale

Minor 1st

Diminished 2nd

Augmented 3rd

Minor 4th

Major 5th

Major 6th

Diminished 7th


Class Exercise

Write the Triads for each Scale discussed on the corresponding track

Use Tonic: C

Write each Triad in its own MIDI clip for 1 bar duration

Class Exercise-TriadChordProgression1

Write the following 4 bar Chord Progression using Triads

Key: A Natural Minor

Am F Dm Am

F Em Dm G

Class Exercise-TriadChordProgression2

Write the following 4 bar Chord Progression using Triads

Key: E Natural Minor

Em D C Bm

Am Bm C D


Chord Progressions

Description

Chord Progressions are the movement of one chord to another

Movement between different harmonies / Interval combinations

Harmonies which are not rhythmically dependent on a melodic part

Example: harmonies which play on OnBeats

Programming Method

Keyboard

Right Hand – Triads – Fingers: 1 3 5

Left Hand – Bass Note – Fingers: 1st finger on Tonic

Midi editor

Program Triads in a Scale in MIDI cClips

Real Time Trigger Triads in MIDI clips

Chord Progression Principles

Select chords

Guided by harmonic principles

Select harmonic rhythm

Identify the important beats/accents

Chord Progression Harmonic Principles

Harmonic Principles can guide the selection of chords in a Chord Progression

Intervals

Inherent characteristics of individual chords resulting from their Intervals

Major vs Minor vs Diminished vs Augmented


Musical Element: French Electro Chord Progressions

Description (Emotional, Musical, Technical)

Uses a Sweet Spot of Triads in the Natural Minor Scale

Minor 4th, Minor 5th, Major 6th, Major 7th, Tonic Triad

Musical Element: Bassline Playing Chord Progression

Description

The chord progression is played using the root note of the Triad in the Bass

Benefit

Plays a chord progression without using the mid register for its triads

Allows a melody to play on top of the chord progression in the mid register

Programming Method

Keyboard: Left Hand – Bass Note – Fingers: 1st finger on Tonic

Writing Chord Progressions

Process

1. Notes in the Scale

2. Triads in the Scale

3. Notes in the Triad

4. Chord Functions


Adding a Chord Progression to a Melody

Description

Adding harmonies of 3 or more notes

Added on main beats, eg downbeats

Choose melody notes

Add chord progression harmonies to melody notes that occur on the Downbeats

Choose chords

Choose chords from the Scale which contain the melody note

Class Ex 17

Write a 2 Bar Melody & Chord Progression in A Natural Minor

Note 1: Downbeat: Tonic + Aminor Triad

Note 2: Downbeat: Tonic + Fmajor Triad

Class Ex 18


Note 1: Downbeat: Tonic + Dminor Triad


Class Ex 19



Note 2: Onbeat: Octave above Tonic + Fmajor Triad



Class Ex 20



Note 2: Onbeat: Perfect 5th above Tonic + Eminor Triad

Note 3: Downbeat: Octave above Tonic + Aminor Triad

Class Ex 21


Note 1: Tonic + Aminor Triad

Note 2: Rising Step + Gmajor Triad

Class Ex 22


Note 1: Tonic + Fmajor Triad

Note 2: Falling Step + Eminor Triad

Note 3: Rising Step + Aminor Triad

Class Ex 23


Melody:

Note 1: Tonic

Note 2: Rising Leap

Note 3: Falling Leap

Write Chord Progression to suit using Scale Triads


Class Ex 24


Melody:

Note 1: Tonic



Class Ex 25


Melody:

Note 1: Tonic

3 Falling Leaps


Class Ex 26


Melody:

Note 1: Tonic




Rhythmic Bassline & Rhythmic Lead Following Chord

Progression

Programming Method/DAW Tools

Step 1: Write 1 bar Rhythmic Bassline using Scale’s Tonic Note

Step 2: Write 1 bar Rhythmic Lead using Scale’s Tonic Note

Step 3: Write chord progression

Step 4: Expand Rhythmic Bassline to Follow Chord Progression

Duplicate Bassline to length of Chord Progression

Set Bassline notes to root note of each chord

Step 5: Expand Rhythmic Lead to follow Chord Progression

Choose notes from the Chord in each bar

Minimize change in note pitch

The Rhythmic Lead is like a percussion line

Deriving a Melody & Bassline from Chord Progression

Bassline from a Chord Progression

Play the root note of each triad in a lower octave

Melody Line from a Chord Progression

Play the top note of each Triad in a higher octave

Class Exercise 1

Duplicate the Chord Progression in Chord Inversions Class Ex 1

Derive a Melody & Bassline from the Chord Progression


Class Exercise 2

Duplicate the Chord Progression in Chord Inversions Class Ex 2

Derive a Melody & Bassline from the Chord Progression

Adding a Melody over a Chord Progression

Description

Select a note from the Chord the Melody plays over

Class Exercise 1

Write a Chord Progression using these Triads

Key: C Major

Duration: 4 bars

Triads: Tonic, Subdominant, Dominant

Add a Melody to each Triad

Play the Root Note of each Triad 1 Octave Up

Class Exercise 2

Duplicate the Chord Progression in Exercise 1


Play the 2nd Note of each Triad 1 Octave Up

Class Exercise 3

Duplicate the Chord Progression in Exercise 1


Play the 3rd Note of each Triad 1 Octave Up


Week 6: Advanced Chords

Chord inversions

Description

Flips around order of notes

Chord Inversions allow you to transpose a Triad’s notes

Inversion type is determined by the Triad’s bottom note

Positions

Three possible positions of a Triad using Chord Inversions

Root Position: Triad’s Root Note is bottom note

1st Inversion: Triad’s 2nd Note is bottom note

2nd Inversion: Triad’s 3rd Note is bottom note

Selecting Inversions in Chord Progressions

Inversion characteristics

Smoother voicing


Root Position

Very stable

Most used for starting or ending a chord progression

1st Inversion

Lacks stability of Root Position

Most used between Chord Progression’s start and end points

Increases the interest of Chord Progression’s journey

2nd Inversion

Least stable position


Smoother voicing

Voicing

Way that notes in a chord are placed

Smoother voicing

Chord Progressions sound smoother when there is less change in notes between

adjacent chords

Re-Voicing

Inversions allow you to “re-voice” a Triad’s notes

Programming chord inversions


Use Inversion characteristics to create Inversions for the important chords in the

chord progression

These will be:

First chord

Last chord

Chords on main beats

Voice spacing

Use voice spacing principles to create inversions on the other chords to fit around

the important chords


Class Exercise

Write the following Chord Progression in A Natural Minor

Bar 1: Am Root Position

Bar 2: Dm 2nd Inversion

Bar 3: Em 2nd Inversion

Bar 4: Am 1st Inversion

Class Exercise

Use Chord Inversions to write the following Chord Progression

Bar 1: Am

Bar 2: F

Bar 3: Dm

Bar 4: Am


Extended Chords

Description

Can give warmer, thicker chord

Formulas

Minor Triad = +3, +4

Minor 7th Chord = +3, +4, +3

Minor 9th Chord = +3, +4, +3, +4

Minor 11th Chord = +3, +4, +3, +4, +3

Minor 13th Chord = +3, +4, +3, +4, +3, +4

Minor 15th Chord = +3, +4, +3, +4, +3, +4, +3

Major Triad = +4, +3

Major 7th Chord = +4, +3, +4

Major 9th Chord = +4, +3, +4, +3

Major 11th Chord = +4, +3, +4, +3, +4

Major 13th Chord = +4, +3, +4, +3, +4, +3

Major 15th Chord = +4, +3, +4, +3, +4, +3, +3

Suspended chords

Description

Can build up tension, good as last chord in progression

Formulas

Sus 2 Chord = +2, +5

Sus 4 Chord = +5, +2


Added Tone Chords

Description

Thicker suspended chords

Formulas

Minor Added Tone 2nd Chord = +2, +1, +4

Minor Added Tone 4th Chord = +3, +2, +2

Minor Added Tone 6th Chord = +3, +4, +1

Major Added Tone 2nd Chord = +2, +2, +3

Major Added Tone 4th Chord = +4, +1, +2

Major Added Tone 6th Chord = +4, +3, +2

Musical Element: House Chord Progression

Description

Create full, thick chords

How to program it

Think of it like drum layering, instead of layering frequencies are layering pitches

Use combination of advanced chords

Play with note velocity & note length

Programming method

Step 1: Write a Single Rhythmic Chord using Triad & Bass Note

Step 2: Expand this to a chord progression

Step 3: Add Layer of advanced chords on Top


Parallel Harmony

Description

Series of chords with the same set of intervals (fixed intervals)

How to program it

Method 1: Trigger Sampled Chord

Program a Chord into MIDI Clip

Record the Chord as audio

Load into a Sampler

Program and trigger the Sampled Chord via a MIDI Clip at different pitches

Method 2: Chord

Play one Note into the Chord Device

The Chord Device then creates the additional notes of a particular Chord

This method allows manipulation of the velocities of individual notes

Method 3: One Instrument per Note

Play one note into a rack of instruments

Each Instrument has a different transpose value and triggers a different note

This allows for each note to have a different sound source and effects

Method 4: Write Manually in MIDI Clip

Program each chord manually into a MIDI Clip

Program a Chord, duplicate it and move to different note positions

This allows for more complex chord progressions, eg some chords with additional

notes, different velocities and note length


Week 7: Chord Functions

Chord Functions

Description

Different chords are able to perform certain functions within a Chord Progression

Magnetic effect

When combined, different chords interact in identifiable ways

For example, stronger chords attract and repel other chords around them

Scale Degrees

Each Scale Triad has a particular function within the Scale

This is defined by the Triad’s Root Note Scale Degree

I - Tonic

II - Supertonic

III - Mediant

IV - Subdominant

V - Dominant

VI - Submediant

VII - Leading Tone (Major scale) / Subtonic (Natural Minor Scale)


Primary & Secondary Triads

Primary Triads

Tonic Triad

Dominant Triad

Subdominant Triad

Secondary Triads

Chords other than the Primary Triads

Tend to occur as Points of Transit (to or from a Primary Triad)

Tonic Triad

Tonal Centre

Represents final destination of a chord progression

State of rest

Optimal point of tension release


Dominant Triad

Represents first point of departure from Tonic

State of activity

Exerts a strong pull toward the Tonic

Supports the Tonic’s position as tonal centre

Tonic and Dominant Harmony in the Major Scale

Dominant is Major Triad on Scale’s 5th degree

Dominant has a driving quality

Movement from Dominant to Tonic has a great Sense of tension

Tonic and Dominant Harmony in the Natural Minor Scale

Dominant is Minor Triad on Scale’s 5th degree

Movement from Dominant to Tonic is much more mellow

Lack of same driving quality due to the lack of a Leading Note between the 7th and

8th (Tonic) scale degrees

Tonic and Dominant Harmony in the Harmonic Minor Scale

7th note of Harmonic Minor scale is sharpened

Provides a Major Dominant triad and a Leading Note that lies

a semitone below the Tonic

Dominant to Tonic Harmony becomes more incisive than Natural Minor


Subdominant Triad

Enables the journey between Tonic and Dominant to be expanded

Can add variety and complexity to the Tonic / Dominant cycle

Class Exercise 1

Write a chord progression using these Triads.

Key: C Major

Duration: 4 bars


Class Exercise 2

Write a chord progression using these Triads


Duration: 4 bars



Submediant Triad

An alternative to the Tonic

Shares two notes in common: 1st and 3rd scale degrees

Can surprise the expectation of the Dominant progressing to Tonic

An alternative to the Subdominant

Shares two notes in common: 1st and 6th scale degrees

Possible chord of progression from Tonic or Subdominant

Major Scale

Minor Submediant contrasts nicely with the Major Primary Triads

Adds mellowness and emotion into the chord progression

Class Exercise 3



Duration: 4 bars

Triads: Tonic, Subdominant, Dominant, Submediant

Class Exercise 4


Key: C Major

Duration: 4 bars

Triads: Tonic, Subdominant, Dominant, Submediant


Mediant Triad

An alternative to the Tonic

Shares two notes in common: 3rd and 5th scale degrees

Major Scale: this substitution can provide further impetus to continue the chord

progression: SubDominant > Dominant

An alternative to the Dominant

Shares two notes in common: 5th and 7th scale degrees

Class Exercise 5


Key: C Major

Duration: 4 bars

Triads: Tonic, Mediant, Subdominant, Dominant

Class Exercise 6



Duration: 4 bars

Triads: Tonic, Mediant, Subdominant, Dominant


Subtonic Triad

Major Triad in Natural Minor scale

Root Note on 7th scale degree

Not present in the Major scale

An alternative or support to the Dominant

Shares two notes in common: 2nd and 7th scale degrees

Supertonic Triad

Minor Triad in Major scale

An alternative to the Subdominant

Shares two notes in common: 4th and 6th scale degrees

Often used to lead to Dominant: ii-V-I

Helps drive toward the Tonic

Often used to lead to the Leading Note Triad


Diminished Triad in Natural & Harmonic Minor scales

Essentially unstable

Adds a dark quality

Leading Note Triad

Leading Note Triad in Major scale

Diminished Triad

Dissonant sound of Diminished 5th

Strong sense of instability

An alternative to the Dominant



Class Exercise 7

Using the principles listed in each Triad’s Chord Functions, write a chord progression

using these Triads

Key: C Natural Minor

Duration: 4 bars

Triads: Tonic, Dominant

Duplicate and expand the chord progression by adding in the:

SubDominant Triad

Duplicate and expand this further by adding in the:

Submediant Triad


Subtonic Triad


Mediant Triad


Class Exercise 8

Using the principles listed in each Triad’s Chord Functions, write a chord progression

using these Triads

Key: C Major

Duration: 4 bars

Triads: Tonic, Dominant

Duplicate and expand the Chord Progression by adding in the:

SubDominant Triad


Submediant Triad


Mediant Triad


Leading Tone Triad


Supertonic Triad

Key Modulation

Key Modulation

Transition to a new Home Key

Use of a new Key can provide a new context for the established melodic and

harmonic motifs

Types of Key Modulation

Direct Chord Modulation

Common Chord Modulation: Diatonic, Altered


Parallel Modulation

Chromatic Modulation

Direct Chord Modulation

Modulation to a different Key without any setup

Abruptly changing to a new Key

Often the repetition of the same melody or chord progression in that new Key

Common Chord Modulation

Use of a Pivot Chord

Use of a chord to move smoothly from the Home to Destination Key

Diatonic Common Chord Modulation

Selection of a Pivot Chord which is common to both Home and Destination Keys

Very smooth method of Key Modulation

Altered Common Chord Modulation

Selection of a Pivot Chord with a common Root Note in both Home and Destination

Keys

Altering that chord in the Home Key so that it fits the Destination Key

Allows for smoother modulation between two Keys which don’t have a common

chord

Parallel Modulation

Movement between two Keys with the Tonic Note

Example: movement between Major and Minor


Chromatic Modulation

Use of Accidentals

Altering notes in the Home Key to fit the Destination Key


Week 8: Musical

Tension

Musical Tension

Description

Musical tension is what guides your decisions on what elements and theories to

choose

Two Components

1. Properties specific to musical element

2. Musical Expectation

Consonance/Dissonance

Consonance is where music sounds sweet or pleasant

Dissonance is where music sounds unpleasant or harsh

Dissonance builds tension

Consonance releases tension

They work on a continuous scale from the most consonant to the most dissonant

Musical Expectation

Description

This relates to the level of predictability in the music

Not hearing what is expected builds tension

Hearing what is expected releases tension


The way that a musical sound is written gives a listener certain expectations of what

the next will be

Musical References

Consonance

Sigur Rós - Fjögur piano https://www.youtube.com/watch?v=8i9vEBWnu9I

Debussy-Clair de lune

https://www.youtube.com/watch?v=CvFH_6DNRCY

Dissonance

Jaws Theme

https://www.youtube.com/watch?v=ZvCI-gNK_y4

Requiem-György Ligeti

https://www.youtube.com/watch?v=P1lcZM0MNek

Confirms Musical Expectation:

Pachabel - Canon in D

https://www.youtube.com/watch?v=0TiNilsAQ10

Breaches Musical Expectation:

Beethoven - Fur Elise

https://www.youtube.com/watch?v=_mVW8tgGY_w


Musical Tension-Intervals

Intervals: Most Consonant to Most Dissonant

Most Consonant: Unison

Octave

Perfect Fifth

Perfect Fourth

Major Third

Minor Sixth

Minor Third

Major Sixth

Major Second

Minor Seventh

Minor Second

Major Seventh

Most Dissonant: Augmented Fourth

Class Exercise 1

In the C Chromatic scale, play from the most dissonant Interval to the most

consonant Interval

Play both Interval notes together

Class Exercise 2

Write the brightest and happiest piece using the most consonant Intervals in the

following scales. Play the interval notes together.

C Major

C Natural Minor


Class Exercise 3

Write the most dark and disturbing piece using the most dissonant Intervals in the

following scales. Play the interval notes together.

C Major

C Natural Minor

Musical Tension-Rhythm

Musical References

Paki / Visnadi –Waterlight https://www.youtube.com/watch?v=3a6NLF3a8Dw

Steve Reich - Music for Mallet Instruments, Voices & Organ

https://www.youtube.com/watch?v=naoydy7yO80

Igor Stravinsky-The Rite of Spring

https://www.youtube.com/watch?v=HqB6nz_enn4&mode=related&search

Turgut Ercetin – Resonances https://www.youtube.com/watch?v=wb4n_zgpTaU

Steve Reich music for 18 musicians

https://www.youtube.com/watch?v=gCkd46hcRag

Onbeats / Offbeats

Reinforcing / playing on offbeats builds tension

Reinforcing / playing on onbeats releases tension

- Time Signatures

- Accents

- Syncopation

Tempo

Faster tempo Builds tension

Slower tempo Releases tension

Note Length

Shorter notes build tension


Longer notes release tension


Accents

The more dynamic or the greater use of accents Builds tension

The less dynamic reduces tension

Musical Tension-Triads

Description

A Triad's level of musical tension can be defined by its value of consonance vs

dissonance

This is defined / guided by its intervallic composition

Major Triad

Most Consonant

Its Major 3rd defines it as consonant, bright, happy

Minor Triad

More dissonant than the Major Triad

Its Minor 3rd interval defines it as sad, solemn

Diminished Triad

More Dissonant than the Minor Triad

Its composition of two minor 3rds + diminished 5th intervals defines it as unsettling,

unstable

Augmented Triad

Often considered the most Dissonant

Its augmented 5th interval defines it as dark, disturbing


Class Exercise

Write the Most Consonant Chord Progression using Triads

Key: A Major

Duration: 4 bars

Class Exercise 2

Write the Most Dissonant Chord Progression using Triads

Key: B Natural Minor

Duration: 4 bars

Inversion Characteristics

Root Position

Least musical tension

1st Inversion

More musical tension than Root Position

2nd Inversion

Most musical tension

Well suited for setting up tension for release in the next chord, eg used as the

second last chord before the final stable chord


Musical Expectation

Description

Level of predictability in the music

Not hearing what is expected builds tension

Hearing what is expected releases tension

Setting Up Musical Expectation

The way that a musical element(s) is written gives a listener certain expectations of

what the next element(s) will be

Providing the Expected Result

With knowledge of the Musical Expectation created, musical element(s) can be

written to accord / disrupt the Expectation

Setting Up Musical Expectation

Implied Patterns

Establish a pattern using repetition

Create an expectation by establishing an Implied Pattern

This implies the pattern of the next musical element(s)

Repeat musical characteristic(s) of Melody, Rhythm, Harmony

Implied Melody

Establish a pattern of characteristic(s) in the Melody

Melody Characteristics

Interval Type (Distance)

Direction: Rising / Falling

Melodic Motion: Conjunct / Disjunct

Melodic Shape: Ascending / Descending / Undulating

Counterpoint: Parallel / Similar / Contrary / Oblique motion

Example: number of melodic Steps sets up an expectation of more Steps


Implied Rhythm

Establish a pattern of characteristic(s) in the Rhythm

Rhythm Characteristics

Time Signature

Tempo

Strong / Weak Beats: Onbeats, Offbeats, Downbeat

Note Length

Accents

Syncopation

Example: Number of 1/8th notes sets up an expectation of more 1/8th notes

Implied Harmony

Establish a pattern of characteristic(s) in the Harmony

Harmony Characteristics

Interval (Distance)

Interval Direction

Chord Functions

Chord Inversions

Example: Number of Intervals below the primary note sets up an expectation of the

same Intervals

Repetition & Variation

Using Repetition & Variation can bind musical ideas into a Musical Piece

Repetition of a musical Phrase(s) can distinguish composed music from randomness

Variation helps maintain listener attention throughout the repetition of musical

phrase(s) / elements


Class Exercise 1

Write a 4 Bar Melody in A Natural Minor

Bar 1: Tonic on Downbeat

Bar 2: Octave above Tonic on Downbeat

Bar 3: Octave above Tonic on Downbeat


Class Exercise 2


Bar 1: Tonic on Downbeat, Octave Above Tonic on Onbeat


Bar 3: Tonic on Downbeat, Octave Below Tonic on Onbeat


Class Exercise 3


Bar 1: Tonic on Downbeat, Minor 3rd Above Tonic on Onbeat

Bar 2: Perfect 5th Above Tonic on Downbeat

Bar 3: Tonic on Downbeat, Perfect 5th Above Tonic on Onbeat

Bar 4: Minor 3rd Above Tonic on Downbeat


Class Exercise 4


Bar 1: Tonic, Rising Step

Bar 2: Tonic

Bar 3: Tonic, Falling Step

Bar 4: Tonic

Class Exercise 5


Bars 1-2: Conjunct Motion, Ascending Shape

Bars 3-4: Conjunct Motion, Descending Shape

Class Exercise 6


Bar 1: Downbeat: Tonic + Perfect 5th Above

Bar 2: Downbeat: Tonic + Octave Above

Bar 3: Downbeat: Tonic + Octave Above



Class Exercise 7



Bar 1: Onbeat: Perfect 5th Above Tonic + Octave Above



Bar 3: Onbeat: Perfect 5th Above Tonic + Octave Above

Bar 4: Downbeat: Perfect 5th Above Tonic + Perfect 4th Above

Class Exercise 8


Bar 1: Tonic + Minor 3rd Above

Bar 1: Falling Step + Perfect 5th Above

Bar 2: Rising Step + Perfect 5th Above

Bar 3: Tonic + Perfect 5th Above

Bar 3: Falling Step + Octave Above

Bar 4: Rising Step + Octave Above

Class Exercise 9


Bar 1: Downbeat: Tonic + Aminor Triad

Bar 2: Downbeat: Tonic + Fmajor Triad


Bar 4: Downbeat: Tonic + Dminor Triad


Class Exercise 10



Bar 1: Onbeat: Octave Above Tonic + Fmajor Triad



Bar 3: Onbeat: Octave Above Tonic + Fmajor Triad


Class Exercise 11


Bar 1: Tonic + Aminor Triad

Bar 2: Rising Step + Gmajor Triad

Bar 3: Tonic + Aminor Triad

Bar 4: Rising Step + Eminor Triad

Class Exercise 12


Bar 1: Tonic + Fmajor Triad

Bar 1: Falling Step + Eminor Triad

Bar 2: Rising Step + Fmajor Triad

Bar 3: Tonic + Fmajor Triad

Bar 3: Falling Step + Gmajor Triad

Bar 4: Rising Step + Aminor Triad


Vocal Pitching

Work out notes that are sung

a) Ableton: Convert Melody to MIDI

Work out Key

a) Check what Scale its notes fit to

Work out chord progression by playing Triads in that Scale

Tuning Kick to Bassline

Pitch kick Up 2 octaves until it sounds like a lead note

Set pitch so it sounds Like the Tonic Note of the Scale

Pitch it down 2 octaves

Frequency Analyzer


End Of Course Class Exercises

Course Class Ex 1

Write this 4 Bar Chord Progression in A Natural Minor

Bar 1: Tonic

Bar 2: Submediant

Bar 3: Tonic

Bar 4: Dominant

Derive a Bassline using the Triad Root Notes

Expand this to 8 Bars using Repetition & Variation

Course Class Ex 2

Write this 4 Bar Chord Progression in A Natural Minor

Bar1: Tonic Root Position

Bar 2: Submediant 1st Inversion

Bar 3: Subtonic 1st Inversion

Bar 4: Tonic Root Position

Derive a Bassline using the Triad Root Notes


Course Class Ex 3

Write a 4 Bar Chord Progression in A Natural Minor

Select from Triads: Tonic, Dominant, Submediant, Subtonic

Use Chord Functions & Inversions



Course Class Ex 4


Select from Triads: Tonic, Subdominant, Dominant, Submediant, Subtonic



Course Class Ex 5


Select from Triads: Tonic, Subdominant, Dominant, Submediant, Subtonic


Derive a Melody using the Triad Root Notes


Course Class Ex 6




Add a Harmony to the Melody using Notes in the Scale


Course Class Ex 7




Create Harmonies to the Melody which start Dissonant and end Consonant



Course Class Ex 8




Create Harmonies to the Melody which start Dissonant and end Consonant


Course Class Ex 9




Add a Chord Progression to the Melody


Course Class Ex 10




Add a Chord Progression to the Melody

Add a Harmony to the Melody


Modern Music Theory

Documents

Transcript of Modern Music Theory