‣ 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.
&
##
D
BÂ7
? ## ’ ’ ’ ’ 13
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
&
##
D
BÂ7
? ## ’ ’ ’ ’
A
G
’ ’ ’ ’
D
G
EÂ7
’ ’ ’ ’
A
G
’ ’ ’ ’
BÂ7
’ ’ ’ ’
A
G
’ ’ ’ ’
D/F # G
’ ’ ’ ’
’ ’ ’ ’
D
A
>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
Arranged by Tom Brooks WorshipAlliance.com
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.
&
*VS 1a = Piano only w/ pads
####
E2 # ? ## # w
CH 1 11 R.S.
w
&
####
ƒ E2 ? #### ’ ’ ’ ’
BÂ7
w
BÂ7
’ ’ ’ ’
D2
nw
D2
nw
D2
’ ’ ’ ’
A2
w
A2
w
A2
’ ’ ’ ’
.. ..
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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EÂ7
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=FULL DRIVING ROCK GROOVE=
25
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C2
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R.S.
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A\
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"ALL TO YOU" Rhythm
Arranged by Tom Brooks WorshipAlliance.com
BPM = 107 *Driving Rock INTRO -REINTRO Rhythm
3
R.S.
Ac. Gtr: # # # 4*Aggressive . œ œ œ œœœœœ œœœœœœœœ & 4 .
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[***1st time = Drum Fill on 4***] [***2nd time = Rest on 4 for GTR SFX***]
†!B!A!N!D IN"==>
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†!B!A!N!D IN"=DRIVING ROCK GROOVE=
VS 1 7 VS 2
Lincoln Brewster
F #Â
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Band CRANK!
ƒ Aœ œ œ E œ œ œ ’ ’ ’ ’ D
D œ œœ œ œ œ
D œ œœ œ œ œ
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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
5)&
-"/(6"(& of
.64*$ Practical Music Theory for the Worshiping Musician by Tom Brooks
| The Institute of Worship Arts at Yonsei University
The One Minute Music Manager
?
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
_________
_________
_________
_________
?’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
"CHORD SPELL 1" Keyboard
Tom Brooks
***Spell the notes in each Chord and write them in the Treble Staff:
4 & 4 www C
Rhythm
F
A m in
F, A, C _________
A, C, E _________
www
E m in
? 44 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ C, E, G _________
& wwww 5
R.S.
www
www
1
Dm 7
www w
FJ
www w
G7
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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Music Theory in the 21st Century “...it’s time to break a few Rules”
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
#### C
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{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}
Music Theory in the 21st Century “...it’s time to break a few Rules”
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
Arranged by Tom Brooks WorshipAlliance.com
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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œœ œœ œœ œœ ˙˙
? 44 ’ ’ ’’ ’ ’ ’’ ’ ’ ’’ ’ ’ ’’
VS 1 5 VS 2 R.S.
& ..
C
Am 7
FJ
? .. ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ =MEDIUM GROOVE=
11
R.S.
&
C
Am 7
FJ
? ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’
Music Theory in the 21st Century “...it’s time to break a few Rules”
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"
Drum Groove / Ac. Gtr. / Wah-Wah OD Gtr. # # # *ADD: . . & F DK A2 F #Â7 ? # # # .. ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
5
R.S.
*ADD BASS on repeat
VS 1 R.S.
9
# # #*Gtr Hook / Drum Groove ONLY:
& P DK ? ### ’ ’ ’ ’ †!B!A!N!D OUT"
13
R.S.
&
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’ ’ ’ ’ A2
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E4-3
’ ’ ’ ’ .. œ E4-3
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Music Theory in the 21st Century “...it’s time to break a few Rules”
End on Tonic Use the IV or V Chord to end a song rather than I
Music Theory in the 21st Century “...it’s time to break a few Rules”
Music is complex CLEAR & SIMPLE is always the Best Choice
The One Minute Music Manager
?
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
"CHORD PERMUTATIONS 2" Rhythm
& 44 www
C Major Triad
4
R.S.
Cminor
& b www
CJ
Cmajor
1
Rhythm
ORCHESTRATION BY TOM BROOKS
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
"CHORD SPELL 2" Keyboard
Tom Brooks
***Spell the notes in each Chord and write them in the Treble Staff:
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
"CHORD SPELL 2" Keyboard
Tom Brooks
***Spell the notes in each Chord and write them in the Treble Staff:
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
Arranged by Tom Brooks WorshipAlliance.com
*Salsa Caliente
### 4 Œ ! œ œ œ & 4 œœœ œ œœœ œ œœ *Brass pickups: ƒ œ # ? # # 44 œœ " 1
INTRO Rhythm
R.S.
###
. œ œ œ & œœ . œ œ œ ? ### œ œ 4
†!B!A!N!D I!N !U!NISON" 7
R.S.
&
###
#
=FULL GROOVE=
### . . &
œ œ. œ œ œ œ œ œ œ .œ œ œ œ œ œ œ œœ
†!B!A!N!D I!N !U!NISON"
. œ œ . >œ >œ >œ œ œ . œ œ œ œ . C #© >œ œ œ >>
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 ’ ’ #
Dan & Martha Munizzi Israel Houghton
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 ’ ’
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}
"CHORD SPELL 3" Keyboard
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
"CHORD SPELL 3" Keyboard
Tom Brooks
***Write in the Chord Symbol Chord and write the Notes in the Treble Staff:
C
Rhythm
& R.S.
Am 7
FJ
wwww
G2
? 44 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
Roman Numeral Symbols: I
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
"CHORD PERMUTATIONS 3" Rhythm
ORCHESTRATION BY TOM BROOKS
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
ORCHESTRATION BY TOM BROOKS
b wwww w
C Major Triad + minor 7th
5
R.S.
C7
& b wwww
C Major Triad + minor 7th
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
"CHORD SPELL 4" Keyboard
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 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
Roman Numeral Symbols: I
IV maj7
vi min7
V add 2
5
&b R.S.
?b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ii min7
bVII add 2
IV add 2
I add 2
"CHORD SPELL 4" Keyboard
Tom Brooks
***Write in the Chord Symbol Chord and write the Notes in the Treble Staff:
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
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
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
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
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 One Minute Music Manager
?
“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”)
Musical Spelling Bee!
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”)
Musical Spelling Bee!
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]
5)&-"/(6"(&0'.
5)&
-"/(6"(& of
.64*$ Practical Music Theory for the Worshiping Musician by Tom Brooks
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
5)&-"/(6"(&0'.64
5)&
-"/(6"(& of
.64*$ Practical Music Theory for the Worshiping Musician by Tom Brooks
WorshipAlliance.com | The Institute of Worship Arts at Yonsei University
