2009 September

Music Theory: Modal Chord Progressions

by claybutlermusic on Sep.15, 2009, under For Businesses, Marketing & Promotion, Music Theory, Uncategorized

In the previous post from our “10 Things Every Musician Should Know” series, we began to look at how modes are constructed. We showed you how to alter a major scale to arrive at modes. Today, we’re going to look at what modes to play based on the given chord progression.

We’ve already established that the pattern of chord qualities for a major scale is as follows:

1M, 2m, 3m, 4M, 5M, 6m, 7d, 1M

If we shift to modes, not only do we shift the order of the intervals between the notes (whole step or half step), but we also shift the order of the chord qualities (major, minor, augmented, diminished). In the last post, we showed how those intervals changed. Now we’re going to build chords from each scale degree (flats denoted with lowercase “b”).

Ionian (Major) - 1M, 2m, 3m, 4M, 5M, 6m, 7d, 1M
Dorian - 1m, 2m, b3M, 4M, 5m, 6d, b7M, 1m
Phrygian - 1m, b2M, b3M, 4m, 5d, b6M, b7m, 1m
Lydian - 1M, 2M, 3m, #4d, 5M, 6m, 7m, 1M
Mixolydian - 1M, 2m, 3d, 4M, 5m, 6m, b7M, 1M
Aeolian (Natural Minor) - 1m, 2d, b3M, 4m, 5m, b6M, b7M, 1m
Locrian - 1d , b2M, b3m, 4m, b5M, b6M, b7m, 1d

PRACTICAL USES OF MODES

So, as an example, let’s look at a common chord progression one of the major modes:

E A D E

Now, let’s convert that to scale degrees:

1M 4M b7M 1M

Judging from this information, we can base our playing around a Mixolydian mode.

Let’s look now at a common progression in a minor mode:

Em A D Em

If we convert this to scale degrees, we have:

1m 4M b7M 1m

In this case, we can base our playing around the Dorian mode.

If you begin to think in terms of modes based on the chords within a song, it can really open up the possibilities of your playing. It can help you break out of the typical pentatonic box (not that there’s anything wrong with that–I am a guitarist, too) and help you to stay true to the chords underneath your melodies and solos. It does take a lot of memorization and practice to get used to modes, but understanding them will help make you a better musician.

Stay tuned for our next post, when we get rhythmic.

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Music Theory: Going Modal

by claybutlermusic on Sep.11, 2009, under Music Theory, Uncategorized

It’s time for yet another Installment of “10 Things Every Musician Should Know“. This time, we’re going to talk about Modes. We won’t discuss much about the history of Modes (although it’s rather interesting), but we will talk about their practical application.

Modes, for all intents and purposes, are “shifted” scales. Given a major scale, if you shift the starting note without altering your pattern of whole steps and half steps, you essentially have a mode. Modes, to most musicians, have a voo-doo-like mystique about them, but once you wrap your mind around the theory, they become fairly easy to understand and use. In fact, most musicians use chord progressions based off of modes without realizing it.

In the list below, we’re going to take each scale degree of a parent major scale and give its mode. We’ll also tell the pattern of whole steps (W) and half steps (h).

Ionian (Major): W W h W W W h
Dorian: W h W W W h W
Phrygian: h W W W h W W
Lydian: W W W h W W h
Mixolydian: W W h W W h W
Aeolian (Natural Minor): W h W W h W W
Locrian: h W W h W W W

Another way to think about modes while you’re playing is to think of it as altering a major scale. See the list below (flat is denoted with a lowercase “b”).

Ionian (Major) - 1 2 3 4 5 6 7 1
Dorian - 1 2 b3 4 5 6 b7 1
Phrygian - 1 b2 b3 4 5 b6 b7 1
Lydian - 1 2 3 #4 5 6 7 1
Mixolydian - 1 2 3 4 5 6 b7 1
Aeolian (Natural Minor) - 1 2 b3 4 5 b6 b7 1
Locrian - 1 b2 b3 4 b5 b6 b7 1

This will get you started knowing how modes are constructed. In our next post we’ll go into greater detail by describing when to use modes based on the chord progression of the song you’re playing.

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Music Theory: Relative Majors and Minors

by claybutlermusic on Sep.10, 2009, under Music Theory, Uncategorized

Once again, we’re expanding the series, “10 Things Every Musician Should Know“. Today, we’re going to deal with Relative Majors and Minors.

Every Major key has a relative minor key. This means that they share the same key signature, which, in turn means that the same accidentals are used to build the keys. There are a couple of ways to determine the relative minor of a major key (or chord). In our last post, “Datonic Triads: Chords by Key“, I mentioned that the relative minor of a major scale was found by using the 6th note in the scale as the starting note. So, the sixth note of the C major scale is “A”, therefore its relative minor is A Minor.

The second way to find the relative minor is to start at the first note in the scale and go down a minor third. A minor third consists of a half step, followed by a whole step. So, for C Major, we start on C, go down a half step to B, then a whole step to A. It just so happens that this process also leads you to the 6th scale degree.

Now that we know how to find the relative minor for each key/chord, here’s a list so you can commit them to memory:

C = Am
G = Em
D = Bm
A = F#m
E = C#m
B = G#m
F# = D#m or Gb = Ebm
C# = A#m or Db = Bbm
Ab = Fm
Eb = Cm
Bb = Gm
F = Dm

Tune in next time, when we go modal. Until then, here’s that handy tool again to help with finding relative minors, in case you missed it.

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Diatonic Triads: Chords by Key

by claybutlermusic on Sep.08, 2009, under Music Theory, Uncategorized

I hope everyone had a great Labor Day yesterday. It’s back to the grind today, so I bring you all another installment in the series “10 Things Every Musician Should Know“. We’ve established how to build a scale using the correct pattern of whole steps and half steps. Then we determined how the pattern worked using accidentals (sharps/flats) and which accidentals are present in each key. The next logical step is to build triads (chords) from each scale degree.

In Western music, our music is most commonly based on Tertian Harmony, meaning that our harmonies (chords) are built in “thirds”. Triads are three-note chords ascending in thirds. If we’re building a C Major triad, we’ll build our triad from the scale degrees 1, 3, and 5 in C Major, or in this case C, E, and G. We could dig way deeper into the theory behind thirds, but that would take too long for this particular post. If you have any questions, please post a question in the comments section, and I’ll be glad to answer it for you.

Now that we know a little about how triads are made, we need to talk about yet another pattern to remember: the pattern of chord qualities by scale degree. “Chord quality” is just the term for denoting whether a chord is Major, minor, Augmented, or diminished. If the scale is truly a major scale, then the pattern will always be as follows (abbreviations of qualities in parenthesis):

1=Major (Maj or M)
2=minor (min or m)
3=minor
4=Major
5=Major
6=minor
7=diminished (dim or d)
1=Major

If you’re building triads from the minor key, your pattern will be different. Although we will more thoroughly discuss relative minors for each major key in a later post, the relative minor of any key is found by starting on the 6th scale degree There are two ways you can write out the pattern in natural minor.

You can write it in its relative major key by calling your starting degree “6″, and your pattern will be as follows:

6min, 7dim, 1Maj, 2min, 3min, 4Maj, 5Maj, 6dim

Or you can write it as the minor key by calling your starting chord “1″. Then you have:

1min, 2dim, 3Maj, 4min, 5min, 6Maj, 7Maj, 1dim

Regardless of whether you write it as the relative major or as the minor key, the pattern remains the same for Natural Minor.

CHORDS BY KEY

Now that we should know how to build our scales and which chord qualities to use by scale degree, we can determine which chords are in each key. Here’s a list:

C Major = C, Dm, Em, F, G, Am, Bdim, C
G Major = G, Am, Bm, C, D, Em, F#dim, G
D Major = D, Em, F#m, G, A, Bm, C#dim, D
A Major = A, Bm, C#m, D, E, F#m, G#dim, A
E Major = E, F#m, G#m, A, B, C#m, D#dim, E
B Major = B, C#m, D#m, E, F#, G#m, A#dim, B
F# Major = F#, G#m, A#m, B, C#, D#m, E#dim, F#
C# Major = C#, D#m, E#m, F#, G#, A#m, B#dim, C#

Now for the flat keys (using the lowercase b as a flat symbol):

C Major = C, Dm, Em, F, G, Am, Bdim, C
F Major = F, Gm, Am, Bb, C, Dm, Edim, F
Bb Major = Bb, Cm, Dm, Eb, F, Gm, Adim, B
Eb Major = Eb, Fm, Gm, Ab, Bb, Cm, Ddim, Eb
Ab Major = Ab, Bbm, Cm, Db, Eb, F, Gdim, Ab
Db Major = Db, Ebm, Fm, Gb, Ab, Bb, Cdim, Db
Gb Major = Gb, Abm, Bbm, Cb, Db, Ebm, Fdim, Gb
Cb Major = Cb, Dbm, Ebm, Fb, Gb, Abm, Bbdim, Cb

Here’s a handy tool to assist you with learning the chords by key. Check back for the next post, when we discuss Relative Minors in more detail. As always, I welcome your questions and comments!

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Music Theory: Accidentals are No Accident

by claybutlermusic on Sep.04, 2009, under Music Theory, Uncategorized

Yesterday’s post dealt with building a scale using whole steps and half steps, which is part of the series “10 Things that Every Musician Should Know”. Today, we’re going to take the concept one step further by telling what role accidentals, or sharps/flats, play in scale building.

We’ve already established that scales are built by using a specific pattern of whole steps and half steps, and that C Major (or it’s relative A minor) is the only one that can get away with using only white keys. The rest have to alter certain notes in order to conform to that pattern. If the note spacing is too wide (a whole step when we need a half step), we reduce it by making the next note a flatted note. If the note spacing is not wide enough (a half step when we need a whole step), then we sharp the next note. Here’s an example below.

If we move from C to D on the piano to start a scale here’s what we end up with:

D (whole) E (HALF) F (WHOLE) G (whole) A (whole) B (HALF) C (WHOLE) D

As we can see from the ones in bold, this pattern does not make a major scale. (Actually it’s the Dorian mode, which we’ll cover in a later post). So, we need to use accidentals, in this case # (sharp) in order to conform the scale to the correct pattern of whole steps and half steps. Here’s the corrected pattern:

D (whole) E (whole) F# (half) G (whole) A (whole) B (whole) C# (half) D

We now have a true major scale. Here’s an example using flats. Since there’s no easy way to denote a flat other than the lowercase “b”, I’m going to stick with spelling it out.

Let’s try an E flat scale. The accidentals are in bold.

E flat (whole) F (whole) G (half) A flat (whole) B flat (whole) C (whole) D (half) E flat

So, in essence, sharps and flats exist for the sole purpose of conforming scales to the correct pattern. Once we understand this, the mystique of the accidental subsides and we have a very functional tool for making and understanding music.

ACCIDENTALS BY KEY

If you’ve ever looked at a piece of music and wondered what the groups of sharps or flats are at the beginning of each line, here’s the answer: that’s the Key Signature. This simply tells us which sharps or flats are needed to conform that scale to the correct pattern of whole steps and half steps. They also follow a pattern called the “Circle of Fifths” (here’s a great Circle of Fifths tool to help you with keys and key signatures).

Below is a list of major keys and their key signatures using the circle of fifths pattern. It’s a good idea to commit these to memory, as you’ll eventually have to use this knowledge on the fly at a gig or in a recording session.

C = No sharps/flats
G = 1 Sharp. Accidentals Present = F#
D = 2 Sharps. Accidentals Present = F#, C#
A = 3 Sharps. Accidentals Present = F#, C#, G#
E = 4 Sharps. Accidentals Present = F#, C#, G#, D#
B = 5 Sharps. Accidentals Present = F#, C#, G#, D#, A#
F# = 6 Sharps. Accidentals Present = F#, C#, G#, D#, A#, E#
C# = 7 Sharps. Accidentals Present = F#, C#, G#, D#, A#, E#, B#

Now for the Flats (using the dreaded “lowercase b” to save space).

C = No sharps/flats
F = 1 flat. Accidentals Present = Bb
Bb = 2 flats. Accidentals Present = Bb, Eb
Eb = 3 flats. Accidentals Present = Bb, Eb, Ab
Ab = 4 flats. Accidentals Present = Bb, Eb, Ab, Db
Db = 5 flats. Accidentals Present = Bb, Eb, Ab, Db, Gb
Gb = 6 flats. Accidentals Present = Bb, Eb, Ab, Db, Gb, Cb
Cb = 7 flats. Accidentals Present = Bb, Eb, Ab, Db, Gb, Cb, Fb

Commit these to memory. You’ll thank me later. Here’s a handy tool that will assist you with key signatures. Stay tuned to learn which chords are present in each key!

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Music Theory: Building a Scale

by claybutlermusic on Sep.03, 2009, under Music Theory, Uncategorized

In the post “10 Things that Every Musician Should Know”, the first on the list was how to build a scale using whole steps and half steps. In this entry, we’re going to deal with just that.

Music is about patterns. In western music (not the country/western variety, but music from our side of the world), we have specific tonal patterns that are present. We’ve come to inherently expect these certain patterns as we listen to music. The most basic of these patterns are the major and minor scales. From a melodic, and even harmonic, standpoint, the building of these scales is perhaps the most important information that musicians should know. Let’s see how these patterns work:

Scales are built up of a specific sequence of “whole steps” and “half steps”. “Half steps”, on a piano, are notes that are on adjacent keys (for instance, two white keys without a black key in between, or a white key next to a black key). On a guitar or bass, a half step is the distance between one fret to the next. “Whole steps” are two half steps. These, on a piano, are notes that are a key apart, like a white key with a black key in between. On a guitar or bass, it’s notes that are two frets apart. Now that we’re armed with that information, let’s see how they are arranged to form a Major Scale.

The MAJOR SCALE

A scale is made of of seven notes, each with a whole step or half step between. Going up eight notes brings us to the same note as the first, only an octave higher. We will assign each note in the scale a number (called a “scale degree”) and denote their distances apart to make the Major scale:

1 (whole) 2 (whole) 3 (half) 4 (whole) 5 (whole) 6 (whole) 7 (half) 1

The C scale is the only naturally occurring major scale on the piano that is possible if you use only white keys. (The C on a piano is the white key that’s just before the set of two black keys.) Really, you can start on any note you want to make a scale. As long as you follow that set pattern of whole steps and half steps, you will have a major scale. Just know that if you start on a note other than C, you’ll have to use black keys, which we call “accidentals” (sharps or flats).

The MINOR SCALE

A minor scale still contains seven notes, but the pattern of whole steps and half steps changes. There are different types of minor scales, but we’re only going to deal with the Natural Minor. Here’s the pattern for the natural minor scale:

1 (whole) 2 (half) 3 (whole) 4 (whole) 5 (half) 6 (whole) 7 (whole) 1

The A minor scale is the only naturally occurring minor scale on the piano that is possible by using only white notes. Therefore C Major and A Minor are “relatives” of each other. (We’ll talk more about relative majors, minors, and other modes in upcoming posts.) Again, you can start on any note you want, as long as you follow that pattern. In our next post, we’ll show you how Accidentals help conform scales to the correct pattern of whole steps and half steps.

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Ten Things that Every Musician Should Know

by claybutlermusic on Sep.02, 2009, under Music Theory, Uncategorized

As my Music Theory and Producing class comes to a close, I’m reflecting on things that my students should know for the final exam. Then, it hit me that there are several things that every musician should know. I’m sure these things will inspire future posts as I expand on some of the individual topics, but for right now, here’s the basic list:

Order of whole steps and half steps for a major scale and minor scale
Number of accidentals (sharps/flats) for each key
Which accidentals are present in each key signature
Chord qualities (Major, minor, Augmented, or diminshed) for each scale degree in a major and minor key
Relative majors and minors
Which scaled degree of the parent key is each mode built from
Which notes are altered in each mode if you started with a major (or minor) scale
Which chord qualities are altered from a major (or minor scale) for each mode
The differences between simple and compound meters and how to count them
How to count and conduct the most commonly used meters

Stay tuned for future posts as I expand on these topics in greater detail!

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MusicIsMyBiz

Archive for September, 2009

Music Theory: Modal Chord Progressions

Music Theory: Going Modal

Music Theory: Relative Majors and Minors

Diatonic Triads: Chords by Key

Music Theory: Accidentals are No Accident

Music Theory: Building a Scale

Ten Things that Every Musician Should Know

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