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Electronic Music Theory: How to Quickly Write Better Chord Progressions w/ Pat Cupo

Electronic Music Theory: How to Quickly Write Better Chord Progressions w/ Pat Cupo
A lot of students have asked me for tips and tricks to writing better chord progressions. By that time they had already learned about building Major and Minor chords, but when it came to a chord progression – a series of chords occurring in time – they were a bit stuck. If you’re ever in the same position, then feel free to use these simple guidelines to help you quickly write chord progressions. Follow them carefully and strictly at first and over time it’ll start to come naturally to you. 1) Use only Major or Minor chords. Just keep things simple. C Major [audio: Major Chord C Minor [audio: Minor Chord 2) Begin and end with the same chord The thing about music is that it’s like a game. [audio: Minor Chord So what chord am I going to end with? 3) Move freely among diatonic chords The word Diatonic means “from the tonic”. What’s Included: Related:  M THEORY

Kinderszenen op. 15, no. 1 The following animation presents a formal and harmonic analysis of the piece. Comments about the analysis are presented below. Comments about the analysis The piece is made using two contrasting phrases. The higher voice (in red) presents the main motive to be developed. The first two measures are repeated in measures 3 and 4: The next four measures of the phrase are a variation of the first two measures followed by two more measures that complete the phrase ending with an imperfect cadence: The second phrase has only six measures.

210 Awesome Open Guitar Chords and How to Use Them - A Kings Mercury Are you bored of the sound of standard chords? Then, using open guitar chords is a way to pimp up your playing and boring chord progressions. There are thousands of open guitar chords and millions of ways to use them creatively. Open chords are chords that have at least one open string like this shape of E-minor x7x087. Below you find five din-A4 pages full of guitar chords. 210 to be precise, I counted them. Each row contains a scale or collection of open guitar chords that have the same shape moved around the neck. Remark: Not every open chord sounds even beautiful. Open E major scale: Here the basis shape of the E major chord is moved up and down the neck to form the E major scale in chords. Open A major scale: This is the same scale as E major just one string or a fifth higher.Open A major scale variation 1: Again an inversion of the basis A major shape.Open A major scale variation 2: Again an inversion of the basis A major shape.It is a bit of work to get used to this chords.

Music Theory for Songwriters - Home Species Counterpoint An Introduction to Species Counterpoint COUNTERPOINT may be briefly defined as the art of combining independent melodies. In figure 1 the lower melody is harmonized by one a third higher - such an arrangement of the voices could be regarded as counterpoint, but there is little or no independence between the parts; for example there is no dissonance between the voices, and both rise and fall together in parallel. However, the arrangement in figure 1a demonstrates much greater independence between its two voices, with movement in one part while the other halts, divergence in the melodic direction of the parts, and with at least some occurrence of dissonance. J.J.Fux's Gradus Ad Parnassum is the classic text dealing with species counterpoint and fugue; it presents a set of rules for writing in the style of 16th century vocal composition (i.e. There are several rules governing melodic movement in the counterpoint; these are common to all five species. First Species An example from Gradus

THE ETHOS OF THE AXIS SYSTEM (tonal serialism) Comparisons are, by their very nature, delusive. Still, I would like to venture the following — comparative — statement: classical harmony is to modal harmony what a geocentric world concept is to a heliocentric one. However, earlier we came to the conclusion and one glance at a piano keyboard (with the white and black keys) will make us understand that the axis of symmetry of the C major scale is not C... but D (or Ab), in relation to which every note of the C major scale has a symmetrical counterpart both upward and down. Wouldn’t it be more appropriate, in a depiction of the circle of fifths, to place the D at the top of the system and the Ab at the bottom? Fig. 215 Now let us replace the preceding fifths with their corresponding keys. The relative C major and A minor keys rest on the same notes and (as it appears from Fig. 216 on p. 114) have identical weight! Fig. 216 the basic formulaof our chapter According to our basic formula the symmetrical counterpart of Fig. 217

Free printable staff paper @ Blank Sheet Music .net Measuring the Evolution of Contemporary Western Popular Music : Scientific Reports To identify structural patterns of musical discourse we first need to build a ‘vocabulary’ of musical elements (Fig. 1). To do so, we encode the dataset descriptions by a discretization of their values, yielding what we call music codewords20 (see Supplementary Information, SI). In the case of pitch, the descriptions of each song are additionally transposed to an equivalent main tonality, such that all of them are automatically considered within the same tonal context or key. Next, to quantify long-term variations of a vocabulary, we need to obtain samples of it at different periods of time. For that we perform a Monte Carlo sampling in a moving window fashion. The dataset contains the beat-based music descriptions of the audio rendition of a musical piece or score (G, Em, and D7 on the top of the staff denote chords). Full size image (297 KB) We first count the frequency of usage of pitch codewords (i.e. the number of times each codeword type appears in a sample). ).

Harmony Explained: Progress Towards A Scientific Theory of Music The Major Scale, The Standard Chord Dictionary, and The Difference of Feeling Between The Major and Minor Triads Explained from the First Principles of Physics and Computation; The Theory of Helmholtz Shown To Be Incomplete and The Theory of Terhardt and Some Others Considered Daniel Shawcross Wilkerson Begun 23 September 2006; this version 19 February 2012. Abstract and Introduction Most music theory books are like medieval medical textbooks: they contain unjustified superstition, non-reasoning, and funny symbols glorified by Latin phrases. In particular we derive from first principles of Physics and Computation the following three fundamental phenomena of music: the Major Scale, the Standard Chord Dictionary, and the difference in feeling between the Major and Minor Triads. Table of Contents 1 The Problem of Music1.1 Modern "Music Theory" Reads Like a Medieval Medical Textbook 1.2 What is a Satisfactory, Scientific Theory? ... wbwbw wbwbwbw wbwbw wbwbwbw ... What is a "scale"? Really?!

jazz chord substitution chord substitution concepts Harmonic substitution is simply about replacing one chordal sound with another, or as I need to think of it, as one color for another. Whether it is in the written harmony from sheet music or the harmony implied by the melody, the theoretical concepts behind chord substitution becomes "search" tools for the learner. The coolness here is that we can create different shades of color, allowing for a variety of ways to blend the melody and harmony of a song together. Through chord substitution we can create different pathways to the same emotional, tonal and artistic destinations. We can disguise our artistic directions by changing traditional harmonic motions to create new twists and shades of emotions in the music. Theory / practice. Stylistically, substituting harmonic elements is not something that folk players or the rockers tend to do, although changing the color of chords in these two styles is not uncommon. Chord type. Tonic chord substitutions. Cool?

Outline of basic music theory - www.oscarvandillen.com Professional music theory: an outline of basic music theory. Preface and Chapter 1 of the Outline of basic music theory – by Oscar van Dillen ©2011-2014 The beginner’s learning book can be found at Basic elements of music theory. Overview of chapters: Chapter 1: Introduction Chapter 2: Sound and hearing Chapter 3: Musical notation Chapter 4: Basic building blocks of melody and harmony Chapter 5: Consonance and dissonance Chapter 6: Circle of fifths and transposition Chapter 7: Concerning rhythm, melody, harmony and form Chapter 8: Further study Preface This outline offers a concise and complete overview of basic music theory. In order to speed up consulting this online book, its chapters can as of now be found on separate pages; unfortunately the original one-page version exceeded acceptable download times, because of the length of the total materials presented. © Oscar van Dillen 2011-2014 Chapter 1: Introduction integrating hearing-reading-singing-writing

classic piano method : how to play piano Here I publish a complete classic piano method by Karl Merz. This book was published in 1885 but contains many useful exercises and tips to study and learn piano. Moreover it contains helpful tips and suggestions for piano teachers Piano method summery Preface of the classic piano method by K. The very favorable reception extended to our instruction book for the "Parlor Organ," "The Musical Hints" and "The Elements of Harmony," have induced our publishers to request us to prepare for them also an Instruction book for the Piano. It is important that a skillful, masterly teacher should direct the first lessons of a pupil. Considerations about this piano method Remember that not only should a child's fingers and hands develop, but also its mind. Disclaimer: This work is - Author: Merz, Karl, 1836-1890 - Digitizing Sponsor: MSN - Book Contributor: Music - University of Toronto - Corrections, elaborations and final digitalization by Paolo Parrella

Harmonic Progressions | Learning and Loving Music Theory Kelvin, You actually caught a mistake on the roman numerals! Thanks, I’ll have to fix that. The first and last chords of the progression are not 7th chords. Somehow I inadvertently typed “I7″ on the first chord of all the major keys. (Notice that I didn’t do that for the minor keys.) In the classical tradition, for the sake of stability, the first and last chords of a circle-of-fifths progression are usually triads, not 7th chords. Harmonic Sequences Part 2 In the jazz tradition all chords usually are 7ths, in which case the progression will start and end with 7th chords. Thanks again for your interest and input.

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