Week 1: Introduction - AndersonSoundRecording.com
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Transcript Week 1: Introduction - AndersonSoundRecording.com
MP-102
Lecture 1: Intro
What is sequencing?
Creating the order of musical events that make up a
song, arrangement, or composition.
What is a song?
Songs are a very specific type of music
Designed to be “sung”: i.e. they have a melody and lyrics
Form is usually easy to follow
Generally easy to sing along with and listen to
Based on a basic musical idea that can be arranged or
interpreted in many different ways
Many musical compositions are NOT songs
Basic building blocks
Melody
“Tune” of the song, made up of musical phrases
Harmony
chord progression
Beat
pulse of the song
Rhythm
“timing” of the notes with regard to the beat
Harmonic Rhythm
how many chord changes (per bar or bars)
Quick Review
Notation
Rhythm
Major Scales
Key Signatures
Building Triads
1-3-5
Use your fingers: thumb is Root (1), middle finger is
3, pinky is 5
These three letters always go together,
regardless of what key you are in
The C-triad is the C-triad; it’s made up of C-E-G.
Always.
even if it’s built on C# or C-flat,
whether it’s major, minor or diminished;
The A-triad is the A-triad: A-C-E. Always.
Even if you change the “order” i.e. C-E-A or E-A-C
The roman numeral and quality will differ from key to
key
Roman Numerals
The Roman Numeral indicates the scale degree
that the triad is based on:
In the key of C, the C-triad is I because it is built on the 1st
scale degree;
inththe key of F, the C-triad is V because it is built on the
5 scale degree;
The Roman Numeral stands for the whole triad (all
three notes).
Arabic Numerals indicate
“inversion”
or
notes that should be added to the triad
Most important triads
In any key, the most important triads are I, IV, and V
These triads are related by the magic number 5
Tonic, Subdominant, and Dominant define a key
V almost always brings you back to I
Simple chord progressions that
rocked the world
I-IV-V-V
La Bamba
Lucy in the Sky with Diamonds
Twist & Shout
I-I-IV-V
Blitzkrieg Bop
I-IV-I-V
Wimoweh (The Lion Sleeps Tonight)
I-IV-V-IV
Louie Louie
Wild Thing
Great Balls of Fire
Other progressions
“Doo-Wop”/ “I Got Rhythm”/ “Heart and Soul”
progression:
I-vi-ii-V
or
I-vi-IV-V
Extended progression:
ex: No woman no cry
I-V-vi-IV || I-IV-I-(V)
12-bar Blues
“Johnny B. Goode” - Chuck Berry
Building chord progressions
Part 1 – picking your chords
In Jazz and Pop, chords generally play one of three functions: Tonic,
Subdominant and Dominant
Chord substitutions are used:
ii and vi can stand in for IV
iii and vi can stand in for I
Tritone substitution for V (for more advanced Jazz cats :-D)
There’s another way of looking at this:
“Two out of three ain’t bad”
When triads share two common notes, they can be substituted
Change one note in a triad, and get a different triad
CEG -> CEA; CEG -> BEG; or FAC -> FAD
I becomes vi or iii; IV becomes ii
Any chords related by the magic number 5 move easily to one another
I is 5 notes away from IV;
ii is 5 notes away from V
ii-V-I
Building chord progressions
Part 2 – harmonic rhythm and cadence
Best to think in terms of 4 or 8 bar chunks
Cadence in bar 4 and/or 8
Half-cadence on V
“Authentic” Cadence: V-I
“Plagal” Cadance: IV-I
“Deceptive: cadence V–(anything except I)
End on I; (probably start on I too)
One or two chords per bar
Building melodies based on
chords
Think in terms of 4 or 8 bar chunks
Use longer note values at cadence points
Use antecedent/consequent structure
Use chord tones
More on this shortly
Make a pretty shape
Have a destination
Have a climax point
Make it “singable”
Not too many big leaps
Keep to within an octave or tenth from highest to lowest point
Note repetition is OK to a certain extent