The Components of Music: Part Two

Melody

A melody is a succession of pitches that move in time. Each tone in a melody has both pitch and duration. Most modules are built from pitch arrangements called scales. There are many kinds of scales. You are familiar with major scales and minor scales. Here's an earlier post to refresh your studies, Reviewing 4 Scales.

Because melody has both pitch and duration, it cannot be separated from rhythm. Melody, therefore, could be described as motion plus rhythm. Melody is a continuous movement, and is, therefore, the progress of a moving line passing through successive sounds. A composer manipulates this movement in much the same way as a painter draws a line or a sculptor molds a shape. A line of any kind, however, whether visual or tonal, has direction. It moves either upward or downward. The movement of the line is what gives the melody a recognizable profile. Most melodies are built from pitch organizations called scales. There are many kinds of scales.

Modes

D-E-F-G-A-B-C-D

The scale above is called the Dorian mode. If you want to experiment with different modes, then read Learn Improv with Modes.

"Scarborough Fair" is an old English song that is based on this scale, D  E  F  G  A  B  C  D. This scale is called the Dorian mode. There are many kinds of modes. each mode uses a different pattern of intervals.

Reviewing Scales

The meaning of the term "scale" is an ascending or descending arrangement of pitches from which melodies and harmonies are built (generally within the octave). Half step examples: C-C#, E-F, A-Ab, B-C. Whole step examples: C-D, E-F#, A-G, Bb-C). A scale may start on any tone. Play some of these scales, starting in different tones. Choose one of the scales and improvise a melody.

• Major Scale

          W   W   1/2    W W W 1/2

• Minor Scale

        W  1/2  W  W  1/2  W  W

• Dorian mode

         W  1/2  W  W  W  1/2  W

• Mixolydian mode

         W  W  1/2  W  W  1/2  W
       
A great resource you may be interested in is Fundamentals of Piano Theory - Level 1.

Pentatonic Scales

You can use pentatonic scales for improvisation and composition. Pentatonic scales are related to the music of some of the Indian cultures. This is an example of a Pentatonic scale: D E F# A B. Not all scales have seven tones. Many songs are built on a five-tone scale. Five-tone scales are called pentatonic scales. Much music from the Far East uses pentatonic scales.

If you want to understand pentatonic scales, visit Altered Pentatonic Scales and Patterns.

Composing with Pentatonic Scales

"Sakura" is a famous Japanese folk song. This song is a delicate musical picture of cherry blossom time in Japan. When arranging notes of the song from low to high, use B C E F A B C. Notice that there are two half steps in this scale, unlike the more familiar, pentatonic scale. (Half steps are between B and C, E and F.)

Tone Row

Tone rows are pitch organizations like scales except that they have no tonal center. Some music has no tonal center. 

Building a Tone Row

The tone row was first developed by an Austrian author-composer, Arnold Schoenberg. Now manycomposers use tone row as a basis for their music. Schoenberg developed the twelve-tone system, in which every composition is based upon an arbitrary arrangement of the twelve chromatic tones, called a tone-row. An example would be C, E, G, C#, A, B, F, Eb, D, F#, G#, A#.

Microtonal Music

Some composers make up their own scales. The American composer Harry Partch (1901-1974) used a scale which has forty-three pitches to each octave. His music based on intervals smaller than half steps is called microtonal music. Microtonal music sounds out of tune to people who listen only to music built from half and whole steps.

A great handbook resource I recommend to musicians is Jermaine Griggs, 300 Pg Piano By Ear Home Study Course. I refer to it often with my piano students wanting to compose songs with a few chords.

Have fun building on music theory and using the information to improvise with making songs at your fingertips! 

-- LadyD

 "The beautiful thing about learning is that no one can take it away from you." B.B.King

Famous Chord Progression: 2-5-1

You've probably heard of lots of references to chord progressions like the 2-5-1 and 6-2-5-1 turnarounds. A chord progression is a series of chords played one after the other. And chord progressions make up songs.

So, what are the 2-5-1 progressions? First, the numbers come straight from the major scales. The 2-5-1 is three chords because each number of the scale represents a chord.

C Major

C - D - E - F - G - A - B - C

1 - 2 - 3 - 4 - 5 - 6 - 7 - 8

A 2 - 5 - 1 from this scale is a chord based on "D" moving to a chord based on "G" moving to a chord based on "C". This is called the number system.

Let's take a look at Dmin9 Chord (D minor ninth chord)

L.H. / R.H.

D/FACE

To make the sound stronger, play D and C with your left hand. You'll want to play the D and C far apart to create a nice sound.

If you desire a fuller sound, try playing DAC in your left hand.

With the G13 chord ( G thirteenth chord), play:

G/FACE

You can see that this is the same chord as the one above but the bass is different so it's not a Dmin9 but rather, G13. If you want to make the bass full, play GF or GDF in place of a single G bass note.

Looking at a Cmaj9 chord (C major ninth chord), here it is:

C/ EGBD

If you'd like, play CB in the left hand for a fuller, richer sound.

Combining all three chords, you'll hear these changes in all music styles, especially jazz.

Practice:

Dmin9 to G13 to Cmaj9

This progression, the 2-5-1 is common when a song is either about to end or at a point where it needs to return back to the beginning to repeat another verse. The 2 prepares for the 5 and the 5 creates this tension that is only calmed by resolving to a point of rest - the 1 chord... that is probably the chord that opened the song.

The Major Modes and II-V-I

The basic chords played in jazz harmony come from the major scale and all of its modes. Each mode starts on a different note of the major scale. The Greek names for these modes, in use for over 2,000 years are written below. The Roman numerals I-VII are on the left and correspond to the modal names on the right. In other words, Ionian is always the I mode, Dorian is always II, Phrygian is always III...
the same in every key.

C Major Scale and Its Modes

I         C D E F G A B C       C Ionian
II       D E F G A B C D        D Dorian
III      E F G A b C D E        E Phrygian
IV      F G A B C D E F        F Lydian
V       G A B C D E F G        G Mixolydian
VI      A B C D E F G A        A Aeolian
VII    B C D E F G a B         B Locrian

From these modes come seventh chords. Seventh chords are constructed by playing every other note of each mode.

C      D     E      F      G     A     B      C           (CEGB)
root  2nd  3rd    4th   5th   6th   7th   octave

This particular chord is the C major seventh chord because of the interval relationship between the root of the chord and its other notes. A major seventh chord has a major third, a perfect fifth and a major seventh. Because this chord is built off of the first mode, it is called a I chord.

CE = major 3rd
CG = perfect 5th
CB = major 7th

The second, or Dorian Mode, of the C major scale runs from D to D. The root, third, fifth and seventh of this mode - again form a chord, the D minor seventh chord because of the interval relationship between the root of the chord and its other notes. A minor seventh chord has a minor third, a perfect fifth and a minor seventh. Because this chord is built off of the second mode, it is called a II chord.

D      E       F      G     A     B     C     D             (DFAC)
root   2nd  3rd   4th    5th   6th   7th   octave

Dmin7 = DFAC

DF = minor 3rd
DA= perfect 5th
DC = minor 7th

The fifth, or Mixolydian mode runs from G to G.

G      A      B     C       D      E      F     G              (GBDF)
root   2nd   3rd   4th    5th    6th   7th   octave

This is called a "G seventh" chord, or G dominant seventh and is notated G7.
This chord is a dominant seventh chord because of the interval relationship between the root and its other notes. A dominant seventh chord has a major third, a perfect fifth and a minor seventh. Because this chord is built off of the fifth mode, it is called a V chord.

G7 = GBDF

GB = major 3rd
GD = perfect 5th
GF = minor 7th

These three chord, I, II, and V-major seventh, minor seventh and dominant seventh-are the three most commonly played chords in jazz. Since each one has a perfect fifth (there is an exception though), the third and seventh are the variables. They determine whether the chord is major, minor, or dominant, or what's called the quality of the chord. The following rules sum up the differences between the three chords:

• A major seventh chord has a major 3rd and a major 7th.
• A minor seventh chord has a minor 3rd and a minor 7th.
• A dominant seventh chord has a major 3rd and a minor 7th.

These three chords often occur as a II-V-I chord progression and is the most common chord progression in jazz. The II-V-I in the key of F is Gm7,  C7 and F. 

Memorize the II-V-I progression in every key.

For more information, visit 2-5-1-chord-progressions

Take Your Piano Playing To The Next Level With These Courses


All the best,






"The beautiful thing about learning is that no one can take it away from you." B.B.King

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• Introduction to Modulation

Learn Improv With Modes

MODAL MUSIC began in ancient Greece. Influence by the Greeks, the early church used a system of MODES- almost all music written before the 1500's was based on the various modes. Many well-known folk songs are modal. In recent years modal music has become more and more popular, and modern composers use modal melodies and harmonies in their compositions.

Any scale of 8 NEIGHBORING WHITE KEYS is a MODAL SCALE.

Each Greek mode was named after an ancient group of people whose musical system it was supposed to represent. In our modern system, we still use the IONIAN MODE, which we call the MAJOR MODE.

The scale using 8 white keys, beginning and ending on C, which we call the C MAJOR SCALE, may also be called the IONIAN SCALE. It is in the IONIAN MODE.

The scale using 8 white keys, beginning and ending on D, is called the DORIAN SCALE. It is in the DORIAN MODE.

The scale using 8 white keys beginning and ending on E, is called the PHRYGIAN SCALE. It is in the PHRYGIAN MODE.

The scale using 8 white keys, beginning and ending on F, is called the LYDIAN SCALE. It is in the LYDIAN MODE.

The scale using 8 white keys, beginning and ending on G, is called the MIXOLYDIAN SCALE. It is in the MIXOLYDIAN MODE.

The scale using 8 white keys, beginning and ending on A, is called the AEOLIAN SCALE. It is in the AEOLIAN MODE.

The scale using 8 white keys, beginning and ending on B, is called the LOCRIAN SCALE. It is in the LOCRIAN MODE. the LOCRIAN MODE was not used in ancient times and is only occasionally used by modern composers. The IONIAN, DORIAN, PHRYGIAN, LYDIAN, MIXOLYDIAN, and AEOLIAN modes are called AUTHENTIC MODES. The LOCRIAN is not an authentic mode.

Each mode, however, may be transposed to begin on any KEY.
AN EASY WAY TO KNOW EACH MODE:

THE IONIAN MODE is very easy:
It's the same as the Major scale.
THE DORIAN MODE:
Play any natural minor scale with the 6th tone raised one half-step. Dorian is playing from the 2nd-to-the-2nd. It is a minor sounding mode that works well over minor chords.
THE PHRYGIAN MODE:
Play any natural minor scale with the 2nd tone lowered one half-step. Phrygian is playing from the 3rd-to-the-
3rd. This mode gives you a "Spanish" sound.
THE LYDIAN MODE:
Play any major scale with the 4th tone raised one half-step.Lydian is playing from the 4th-to-the-4th. This
mode has a Major sound that is "uplifting" due to the
sharped fourth.
THE MIXOLYDIAN MODE:
Play any major scale with the 7th tone lowered one half-step. Mixolydian is playing from the 5th-to-the-5th.
This mode is often used for a dominant seventh chords due
to the flattened seventh.
THE AEOLIAN MODE:
Play any natural minor scale with no changes. Aeolian is playing from the 6th-to-the-6th. This mode is the same as
the Natural minor scale. It is a minor sounding mode.
THE LOCRIAN MODE:
Play any natural minor scale with the 2nd and 5th tones lowered one half-step. Locrian is playing from the 7th-to-the-7th. It is a minor sounding mode that is often
used with diminished sounding chords.

Helpful Tip: D to D is D Dorian or "the Dorian mode in the key of C." It is not C Dorian. It is Dorian in the Key of C. If we want to know what C Dorian is, we need to ask ourselves, "C is the second scale degree of what Major scale? B flat, of course! Have fun playing and improvising with modes, creating unique sounds quickly!




http://www.LadyDpiano.com

Fun With Modes

MODAL MUSIC began in ancient Greece. Influence by the Greeks, the early church used a system of MODES- almost all music written before the 1500's was based on the various modes. Many well-known folk songs are modal. In recent years modal music has become more and more popular, and modern composers use modal melodies and harmonies in their compositions.

Any scale of 8 NEIGHBORING WHITE KEYS is a MODAL SCALE.

Each Greek mode was named after an ancient group of people whose musical system it was supposed to represent. In our modern system, we still use the IONIAN MODE, which we call the MAJOR MODE.

The scale using 8 white keys, beginning and ending on C, which we call the C MAJOR SCALE, may also be called the IONIAN SCALE. It is in the IONIAN MODE.

The scale using 8 white keys, beginning and ending on D, is called the DORIAN SCALE. It is in the DORIAN MODE.

The scale using 8 white keys beginning and ending on E, is called the PHRYGIAN SCALE. It is in the PHRYGIAN MODE.

The scale using 8 white keys, beginning and ending on F, is called the LYDIAN SCALE. It is in the LYDIAN MODE.

The scale using 8 white keys, beginning and ending on G, is called the MIXOLYDIAN SCALE. It is in the MIXOLYDIAN MODE.

The scale using 8 white keys, beginning and ending on A, is called the AEOLIAN SCALE. It is in the AEOLIAN MODE.

The scale using 8 white keys, beginning and ending on B, is called the LOCRIAN SCALE. It is in the LOCRIAN MODE. the LOCRIAN MODE was not used in ancient times and is only occasionally used by modern composers. The IONIAN, DORIAN, PHRYGIAN, LYDIAN, MIXOLYDIAN, and AEOLIAN modes are called AUTHENTIC MODES. The LOCRIAN is not an authentic mode.

Each mode, however, may be transposed to begin on any KEY.
AN EASY WAY TO KNOW EACH MODE:

THE IONIAN MODE is very easy:
Just play any major scale.
THE DORIAN MODE:
Play any natural minor scale with the 6th tone raised one half-step.
THE PHRYGIAN MODE:
Play any natural minor scale with the 2nd tone lowered one half-step.
THE LYDIAN MODE:
Play any major scale with the 4th tone raised one half-step.
THE MIXOLYDIAN MODE:
Play any major scale with the 7th tone lowered one half-step.
THE AEOLIAN MODE;
Play any natural minor scale with no changes.
THE LOCRIAN MODE;
Play any natural minor scale with the 2nd and 5th tones lowered one half-step."

P.S. I have found it easy for children to remember the first letter of each mode! BTW, I'm Greek!

http://www.LadyDpiano.com