1 the Language of Music

‣ Institute of Worship Arts ‣ Yonsei University ‣ Fall Semester Class VII ‣ Tom Brooks, Instructor

5)&-"/(6"(&0'.64*$

The LANGUAGE of MUSIC

5)&

-"/(6"(& of

.64*$ Practical Music Theory for the Worshiping Musician by Tom Brooks

| The Institute of Worship Arts at Yonsei University

The Language of Music

It’s 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

Class Outline: “The Language of Music” - The GRID [Pitch-Rhythm] Music Theory in the 21st Century...

“...it’s time to break a few Rules”

Ear Training - yes, Yes,

YES!!!

Chord Construction - melody & harmony Chord Relationships - “The Journey” - cadences Transposition - Modulation - Improvisation “Language of Music JEOPARDY!”

The Language of Music ...a quick review of the Basics:

The Basics MUSIC THEORY (in 5 minutes or less)

The Major Scale Triads - Personality - Upper Tonality Chords 1-2-3 / do-re-mi / A-B-C /...it’s all the same

The Basics MUSIC THEORY

(QUICK! - TIME’S running out!!!)

1-2-3 / do-re-mi / A-B-C /...it’s all the same 1-2-3

do-re-mi

Scale Degree

Key of C

1

do

Tonic

C

2

re

Super-Tonic

D

3

mi

Mediant

E

4

fa

Sub-Dominant

F

5

so

Dominant

G

6

la

Sub-Mediant

A

7

ti

Leading Tone

B

The Basics MUSIC THEORY (4:30 left...)

C Major Scale >Structure - half tone/whole tone >Chromatic tones - other scales

STEP #3 - The Basics MUSIC THEORY (4:00 talk fast...)

C Major Scale >Structure - half tone/whole tone >Chromatic tones - other scales

The Basics MUSIC THEORY (3 minutes left!)

C Major Triad >Structure - major 3rd/minor 3rd >Other Triads - Minor/Augmented/Diminished

TRIAD TYPE INTERVALS KEY OF “C” Major Minor Augmented Diminished

minor 3rd Major 3rd Major 3rd minor 3rd Major 3rd Major 3rd minor 3rd minor 3rd

C-E-G C - Eb - G C - E - G# C - Eb - Gb

The Basics MUSIC 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

"TODAY IS THE DAY" Rhythm BPM = 120 INTRO Rhythm

=FULL DRIVING ROCK GROOVE=

D

BÂ7

A

? # # .. ’ ’ ’ ’

>Tuck down under Verse... 9

R.S.

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D

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R.S.

Lincoln Brewster

## 4 . & 4 . ƒ D BÂ7 A G D BÂ7 A G ? # # 44 .. ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

## . & .

VS 1 5 VS 2 R.S.

***2 Bars of 1 Drum build up>>>

Arranged by Tom Brooks WorshipAlliance.com

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>Kick it up a bit...

BÂ7

’ ’ ’ ’

G

’ ’ ’ ’

.. ..

The Basics MUSIC THEORY (2 minutes left) Chord Quality - Major / Minor Augmented / Diminished - Extended Chords ‘BORROWED Chords’ from other keys The ‘Personality’ of each Chord type... on each degree of the scale Lead the Journey emotional impact of each sonority

"REVELATION SONG" Rhythm


BPM = 61.8

# # # # 4[!K!E!Y!S! !O!NLY] & 4

Kari Jobe

INTRO 1 Rhythm

E2

? # # # # 44 w

# # # # *VS. 1b = Add Band gently . & P E2 BÂ7 # ? # # # .. w w

VS 1a 3 VS 1b R.S.

7

R.S.

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*VS 1a = Piano only w/ pads

####

E2 # ? ## # w

CH 1 11 R.S.

w

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BÂ7

w

BÂ7

’ ’ ’ ’

D2

nw

D2

nw

D2

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A2

w

A2

w

A2

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.. ..

The Basics MUSIC THEORY (1 minute to go) The 12 Major Keys - “Circle of Fifths” Key Signatures - Time Signatures Major and Minor Keys Inversion / Transposition / Modulation

“DESERT SONG” Minor Key

CCLI “TOP 25” October

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

Come Now Is The Time To 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

10

Lord I Lift Your Name On High

Founds, Rick

117947

11

God Of Wonders

Byrd, Marc \ Hindalong, Steve

3118757

12

We Fall Down

Tomlin, Chris

2437367

13

You Are My All In All

Jernigan, Dennis

825356

14

You're Worthy Of My Praise

Ruis, David

487976

The One Minute Music Manager

?

The Language of Music Let’s 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 God’s Voice - Helper / Healer / Teacher / Physicist...

“The GRID” 2 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 GRID” From 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 GRID” Fundamentals = (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 per beat

4 beats per bar

4 bars 4 phrases 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

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

Doerksen, Brian

2430948

Zschech, Darlene

1406918

7

Come Now Is The Time To Worship

8 Shout To The Lord 9

Lord I Lift Your Name On High

Founds, Rick

117947

10 Holy Is The Lord

Tomlin, Chris \ Giglio, Louie

4158039

11 Everlasting God

Brown, Brenton \ Riley, Ken

4556538

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

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 Cross

Reeves, Jesse \ Tomlin, Chris \ Walt, J. D. \ Watts, Isaac \ Mason, Lowell

3148435

25 Days Of Elijah

Mark, Robin

1537904

12

Amazing Grace (My Chains Are Gone)

825356

“The GROOVE GRID” Impact 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 per beat

4 beats per bar

4 bars 4 phrases per phrase per section

"We Have Overcome", page 2. CH 1 21

R.S.

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"ALL TO YOU" Rhythm


BPM = 107 *Driving Rock INTRO -REINTRO Rhythm

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VS 1 7 VS 2

Lincoln Brewster

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Band CRANK!

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‣Your ‘120 BPM’ Reference ‣Your ‘Relative Pitch’ Reference ‣Leave a “Bread-Crumb Trail”

4

‣Chart everything in s!

5)&-"/(6"(&0'.64*$

Tricks of the Trade

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Chord Construction

*The Basic Building Blocks of Music

CHORD CONSTRUCTION 4 Types of Triads - Built on C

Major Minor Augmented Diminished

"CHORD PERMUTATIONS 1" Rhythm

Rhythm

R.S.

Cmajor

Cminor

4 & 4 www 1

R.S.

ORCHESTRATION BY TOM BROOKS

3

Cmajor

5

Cminor

& www & b ww w

b www

Caugmented

# www

Cdiminished

b b www

CHORD CONSTRUCTION PERSONALITY OF EACH TRIAD 1 - Tonic - Home Base The 1 - 4 - 5 Family (Primary - Major) The 2 - 3 - 6 Family (Secondary - Minor) Relationships / Progression / Retrogression

Primary Triads: 1-4-5 “Here I Am To Worship”

CHORD CONSTRUCTION PERSONALITY OF EACH TRIAD 1 - Tonic - Home Base The 1 - 4 - 5 Family (Primary - Major)

The 2 - 3 - 6 Family (Secondary - Minor) Relationships / Progression / Retrogression

TRIADS - 7ths on each scale degree Scale Degree

1 2 3 4 5 6 7

Triad

Major minor minor Major Major minor diminished

7th

Major minor minor Major minor minor minor

"CHORD SPELL 1" Keyboard

Tom Brooks

***Spell the notes in each Chord and write them in the Treble Staff:

4 &4 1

Rhythm

C

F

A m in

E m in

_________

_________

_________

_________

? 44 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

5

& R.S.

Dm 7

FJ

G7

C2

_________

_________

_________

_________

?’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’


Tom Brooks


4 & 4 www C

Rhythm

F

A m in

F, A, C _________

A, C, E _________

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E, G, B _________

wwww C2

?’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ D, F, A, C _________

F, A, C, E _________

G, B, D, F _________

C, D, E, G _________

The Language of Music

Music Theory in the 21st Century “...it’s time to break a few Rules”

Music Theory in the 21st Century

“...it’s time to break a few Rules”

TRIADS Voice Chords in 2nds & 4ths instead of 3rds & 6ths

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The Sweet Collision Half-tone ‘crash’ between 7-8 & 3-4

'Friend Of God'

- Houghton/Gungor

#m7 F #m7 E # # # # c . Û Û Û Û Û Û Û Û CÛÛÛ Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û ÛÛ . &

FOR INTRO: Vamp 1st 8 Bars

A E

{VERSE}

‹‹‹‹

# # # # EÛ Û Û Û Û Û Û Û CÛ#Ûm7 Û Û Û Û Û Û FÛ#m7Û Û Û Û Û Û Û DÛ Û Û Û Û Û Û Û . . KIK 2nd X:

etc...

# # # . Û Û Û Û Û Û Û Û CÛ#Ûm7 Û Û Û Û Û Û FÛ#m7Û Û Û Û Û Û Û EÛ Û Û Û Û Û Û Û . . . #B E

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ÛÛÛÛ ÛÛÛÛ ÛÛÛÛ ÛÛÛÛ ÛÛÛÛ ÛÛÛÛ ÛÛÛÛ ÛÛÛÛ {VERSE}

# # # # EÛ Û Û Û Û Û Û Û CÛ#Ûm7 Û Û Û Û Û Û FÛ#m7Û Û Û Û Û Û Û DÛ Û Û Û Û Û Û Û #### Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û

# # # . Û Û Û Û Û Û Û Û CÛ#Ûm7 Û Û Û Û Û Û FÛ#m7Û Û Û Û Û Û Û EÛ Û Û Û Û Û Û Û . . . #D E

{CHORUS}


The Sweet Collision Half-tone ‘crash’ between 7-8 & 3-4 Major 7th Chord built on 1 and 4

"HOW GREAT IS OUR GOD" Rhythm


ã 73 BPM

ACOUSTIC GUITAR ONLY:

& 44 œœ œœ œœ œœ ˙˙

INTRO 1

C

Rhythm

œœ œœ œœ œœ ˙˙

Chris Tomlin



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VS 1 5 VS 2 R.S.

& ..

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11

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SuspensionResolution (Fahgetaboutit!!!)

Half-tone ‘crash’ during a 4-3 suspension built on 5 Chord

"MIGHTY TO SAVE" Arranged by Tom Brooks WorshipAlliance.com

Rhythm BPM = 73

*Rock Ballade

HOOK: *GTR continue simili >>> # # # *GTR 4 œ œ œ œ œ & 4 œœ œœ œœ œœ œœ œ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ P Pads / SFX fade up... ? # # # 44 ! ! ! !

1

INTRO Rhythm

Reuben Morgan & Ben Fielding

†!B!A!N!D IN">>>

†!B!A!N!D OUT"

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5

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VS 1 R.S.

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E4-3

’ ’ ’ ’ .. œ E4-3

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’ ’ ’ ’


End on Tonic Use the IV or V Chord to end a song rather than I


Music is complex CLEAR & SIMPLE is always the Best Choice


?

Ear Training!!

The Basics MUSIC THEORY

1-2-3 / do-re-mi / A-B-C /...it’s all the same 1-2-3

do-re-mi

Scale Degree

Key of C

1

do

Tonic

C

2

re

Super-Tonic

D

3

mi

Mediant

E

4

fa

Sub-Dominant

F

5

so

Dominant

G

6

la

Sub-Mediant

A

7

ti

Leading Tone

B

Use these familiar songs to identify INTERVALS Scale Intervals and Common Tunes (Remember, you can always sing a scale to get to your Target Note!!) Interval

Key of C

Tune

Major 2nd

C - D - (e)

Do a (Deer)

Major 3rd

C - E - (g)

Hey Jude (Chorus)

Perfect 4th

C-F

Louie, Louie

Perfect 5th

C-G

Star Wars

Major 6th

C - (e - g) - A

Anchors Away

Major 7th

C - (e - g) - B

PBS / Bali Hai

Octave

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: 1-5-6-4-1-5-4 1-6-2-5-1-flat 7-4

CHORD CONSTRUCTION II EVERY CHORD THERE IS - Built on C Major Triad - with Major 7th / minor 7th minor Triad - with Major 7th / minor 7th Personality / function of each


& 44 www

C Major Triad

4

R.S.

Cminor

& b www

CJ

Cmajor

1

Rhythm


C minor Triad

www w

C Major Triad + Major 7th

CminorJ

w b www

C minor Triad + Major 7th

C7

b www w

C Major Triad + minor 7th

Cm 7

b w b www

C minor Triad + minor 7th


Tom Brooks


bb 4 b & 4 1

Rhythm

E b2

Cm 7

A bK

A b/B b

_________

_________

_________

_________

? b b 44 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ b

bb b & 5

R.S.

G\

G7#5

C m 11

F9#11

_________

_________

_________

_________

? bb ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ b


Tom Brooks


bb 4 w b & 4 www 1

Rhythm

ww ww

E b2

www w

A bK

Cm 7

A b/B b

? b b 44 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ b Eb, F, G, Bb _________

w b w & b b ww 5

R.S.

ww www

G\

C, Eb, G, Bb _________

w # n www

G7#5

Ab, C, Eb, G, Bb _________

www www

C m 11

Bb - Ab, C, Eb _________

n www n www

F9#11

? bb ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ b G, C, D, F _________

G, B, D#, F _________

C,_________ Eb, G, Bb, D, F

F,_________ A, C, Eb, G, B

CHORD CONSTRUCTION II UPPER TONALITY CHORDS 7ths - 9ths - 11ths - 13ths Major - Minor; diatonic - borrowed Add Spice, but rarely change function

“GLORIOUS” Martha Munizzi Israel Houghton

"GLORIOUS" Rhythm BPM = 100


*Salsa Caliente

### 4 Œ ! œ œ œ & 4 œœœ œ œœœ œ œœ *Brass pickups: ƒ œ # ? # # 44 œœ " 1

INTRO Rhythm

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=FULL GROOVE=

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†!B!A!N!D I!N !U!NISON"

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Dan & Martha Munizzi Israel Houghton

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3

C #©

œ . >œ Ó

VS 1 10 VS 2 R.S.

F #Â7

C #ï

? # # # .. Û Û .Û ’ ’

C #ï F #Â7

Û Û .Û ’ ’

F #Â7 C #ï

Û Û .Û ’ ’

FILL=

C #ï F #Â7

F #2 A#

Û Û .Û ’ ’

Rhythm

"

###

. œ œ œ & œœ . œ œ œ ? ### œ œ 4

R.S.

? # # # 44

†!B!A!N!D I!N !U!NISON" 7

R.S.

&

###

#

=FULL GROOVE=

### . . &

†!B!A!N!D I!N !U!NISON"

3 3 .œ œ 3œ œ œ 3 œ œ œ œ œ œœ œ ‰ œ œ ‰ œ œ œ œ >œ ˙ #º G . œ œœœ > œ œ œ œ œ œ œ œœ œ œœ œœœœ ˙ ‰ ‰

Gº C© # ? ## Û Û . Û ’ ’ #

. œ œ . C #© ƒ œ œ œ. œ œ œ œ œ œ œ œœ œœ >œ œ œ >>

3

F #Â7

’

3

D #ñ

œ n œ œ # >œ ˙

3

DK

œ

3

C #©

œ . >œ Ó

VS 1 10 VS 2 R.S.

F #Â7

C #ï

? # # # .. Û Û .Û ’ ’

•Bring it down under vocal: 14

R.S.

###

C #ï F #Â7

Û Û .Û ’ ’

F #Â7 C #ï

Û Û .Û ’ ’

C #ï F #Â7

•Kick it up a bit...

F #2 A#

Û Û .Û ’ ’

! ! Œ œ >œ>œ >œ >œ # F > BÂ7 F #Â9 C #ï F #Â9 # BÂ7 F #Â9 #D #D # ? # # # Û Û .Û ’ ’ Û Û .Û ’ A’ Û Û .Û ’ ’ C>œ >œ>œC!œ>!>œCŒ &

FILL=

>œ >œ

C #©

>œ >œ

'Friend Of God'

- Houghton/Gungor

#m7 F #m7 E # # # # c . Û Û Û Û Û Û Û Û CÛÛÛ Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û ÛÛ . &

FOR INTRO: Vamp 1st 8 Bars

A E

{VERSE}

‹‹‹‹

# # # # EÛ Û Û Û Û Û Û Û CÛ#Ûm7 Û Û Û Û Û Û FÛ#m7Û Û Û Û Û Û Û DÛ Û Û Û Û Û Û Û . . KIK 2nd X:

etc...

# # # . Û Û Û Û Û Û Û Û CÛ#Ûm7 Û Û Û Û Û Û FÛ#m7Û Û Û Û Û Û Û EÛ Û Û Û Û Û Û Û . . . #B E

#### C

E

{CHORUS}

C #m7

F #m7

E

ÛÛÛÛ ÛÛÛÛ ÛÛÛÛ ÛÛÛÛ ÛÛÛÛ ÛÛÛÛ ÛÛÛÛ ÛÛÛÛ {VERSE}

# # # # EÛ Û Û Û Û Û Û Û CÛ#Ûm7 Û Û Û Û Û Û FÛ#m7Û Û Û Û Û Û Û DÛ Û Û Û Û Û Û Û #### Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û

# # # . Û Û Û Û Û Û Û Û CÛ#Ûm7 Û Û Û Û Û Û FÛ#m7Û Û Û Û Û Û Û EÛ Û Û Û Û Û Û Û . . . #D E

{CHORUS}


Tom Brooks

***Write in the Chord Symbol Chord and write the Notes in the Treble Staff:

4 &4 1

Rhythm

? 44 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

Roman Numeral Symbols: I

IV maj7

vi min7

V add 2

5

& R.S.

?’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ii min7

bVII add 2

IV add 2

I add 2


Tom Brooks


C

Rhythm

& R.S.

Am 7

FJ

wwww

G2

? 44 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’


5

www w

www w

& 44 ww w 1

www w

Dm 7

vi min7

IV maj7

www bw

B b2

wwww F2

V add 2

wwww C2

?’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ii min7

bVII add 2

IV add 2

I add 2

CHORD CONSTRUCTION III EVERY CHORD THERE IS - Built on C Major Triad - with Major 7th Family 9 - #11 - 13 Personality / function of each



CJ

CK

& 44 www w 1

Rhythm

www ww

C Major Triad + Major 7th

R.S.

CK#11,13 w

# ww & wwww 4

C Major Triad + Major 7th + Major 9th + #11 + 13

C Major Triad + Major 7th + Major 9th

D/C w

# ww www

Same with 9th omitted

CK#11

# www ww w

C Major Triad + Major 7th + Major 9th + #11

D/C

# ww wwww

Same with inversion

CHORD CONSTRUCTION EVERY CHORD THERE IS - Built on C Major Triad - with minor 7th Family 9 + *11* - 13 // + #11 - 13 Flat 9 (borrowed from minor scale) + 11 Personality / function of each

"CHORD PERMUTATIONS 4" Rhythm C7

C9

4 & 4 b wwww 1

Rhythm


b wwww w


5

R.S.

C7

& b wwww


C Major Triad + minor 7th + Major 9th

C9

b wwww w

C Major Triad + minor 7th + Major 9th

C 11

w b www w

C Major Triad + minor 7th + Major 9th + 11 (omit 3rd)

C¢

# w b wwww w

C Major Triad + minor 7th + Major 9th + #11

C11,13 w

w b www w

C Major Triad + minor 7th + Major 9th + 11, 13 (omit 3rd)

C® w

# w b wwww w

C Major Triad + minor 7th + Major 9th + #11 + 13


Tom Brooks

***Write in the Chord Symbol Chord and write the Notes in the Treble Staff: [Same progression, transposed to F Major]

4 &b 4 1

Rhythm

? b 44 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’


IV maj7

vi min7

V add 2

5

&b R.S.

?b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ii min7

bVII add 2

IV add 2

I add 2


Tom Brooks


4 & b 4 www 1

Rhythm

B bJ

F

&b R.S.

www w

Dm 7

C2

? b 44 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

Roman Numeral Symbols: I 5

ww ww

ww ww

www w

Gm 7

vi min7

IV maj7

www bw

E b2

wwww

B b2

V add 2

wwww F2

?b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ii min7

bVII add 2

IV add 2

I add 2

‣Chord Relationships ‣‘The JOURNEY’ ‣Cadences ‣2 > 5 > 1

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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... 4:5:6 Minor 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

‣Transposition ‣Modulation ‣Improvisation

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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. “Let’s MODULATE up to D Major for the last chorus” or “Let’s 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 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 holds the KEYS

Home on the RANGE

Lend me Your EARS

Musical Spelling Bee

WORD MATCH

**He Holds the KEYS**

ROUND #1

Answer 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 you’ve ever seen?!?!?

The correct answer is... “YES!!!”

**Home On The Range**

ROUND #2

Answer 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 RANGE Soprano Mezzo-Soprano Alto Tenor Baritone 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 #3

Listen to each Music Excerpt Use your Ear Training and analyze what you hear Ring 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! 3-3-4-2 2-3-4-4-3-2-1 3-3-4-2-2-3-1

Lend Me Your EARS! Sing the SOLFEGE syllables (do - re - mi) of this melody:

Lend Me Your EARS! do-re-mi mi-so-fa-mi re-mi-fa-mi

*Musical Spelling Bee*

ROUND #4

Spell 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”)


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”)


Spell out the notes in a ‘G (#5, #9) Chord’

Musical Spelling Bee! G (#5, #9) is spelled G - B - D# - F - A# (as in Israel’s “Come In From the Outside”)

Wheel of MIS-fortune .

Wheel of MIS-fortune .

A

A

Wheel of MIS-fortune E .

A

A

E

Wheel of MIS-fortune E .

A

A I

E

Wheel of MIS-fortune E A

.

A

O I

E

Wheel of MIS-fortune E A

.

U A

O U

I

E

Wheel of MIS-fortune E A N

.

U A

O U

I

E

Wheel of MIS-fortune E A N

.

U A

O U

I C

E

Wheel of MIS-fortune T .

E A N

U A

O U

I C

E

Wheel of MIS-fortune T .

E A N

O M U

U A I C

E

Wheel of MIS-fortune T . L O M

H E A N G U A G E F 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]

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I have made music with Tom Brooks for many years - I believe God planted the seed for this book in Tom’s 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 Tom’s immense not only at the | The Institute of Worship knowledge Arts at Yonsei University Theory level; but at the practical and Spiritual level as well. Yours truly, Abraham Laboriel

WorshipAlliance.com

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WorshipAlliance.com | The Institute of Worship Arts at Yonsei University

1 the Language of Music

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