1 the language of music

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

| !e Institute of Worship Arts at Yonsei University

Practical Music !eory for the Worshiping Musician

by Tom Brooks

-"/(6"(&

5)&

of.64*$

The LANGUAGE of MUSIC

Institute of Worship ArtsYonsei UniversityFall Semester Class VIITom Brooks, Instructor

Its 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

The Language of Music

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

...its time to break a few RulesEar Training - yes, Yes, YES!!!Chord Construction - melody & harmonyChord Relationships - The Journey - cadencesTransposition - Modulation - ImprovisationLanguage of Music JEOPARDY!

TheLanguage of Music

...a quick review of the Basics:

The BasicsMUSIC THEORY

(in 5 minutes or less)

The Major ScaleTriads - Personality - Upper Tonality Chords1-2-3 / do-re-mi / A-B-C /...its all the same

The BasicsMUSIC THEORY (QUICK! - TIMES running out!!!)

1-2-3 / do-re-mi / A-B-C /...its all the same1-2-3 do-re-mi Scale Degree Key of C

1 do Tonic C2 re Super-Tonic D3 mi Mediant E4 fa Sub-Dominant F5 so Dominant G6 la Sub-Mediant A7 ti Leading Tone B

The BasicsMUSIC THEORY (4:30 left...)

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

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

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

The BasicsMUSIC THEORY (3 minutes left!)

C Major Triad>Structure - major 3rd/minor 3rd

>Other Triads - Minor/Augmented/Diminished

TRIAD TYPE INTERVALS KEY OF C

Majorminor 3rdMajor 3rd C - E - G

MinorMajor 3rdminor 3rd C - Eb - G

AugmentedMajor 3rdMajor 3rd C - E - G#

Diminishedminor 3rdminor 3rd C - Eb - Gb

The BasicsMUSIC 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

&?

##

# #

44

44

..

..

..

..Rhythm

1

D B7INTRO

=FULL DRIVING ROCK GROOVE=

***2 Bars ofDrum build up>>>

A G D B7 A G

&?

##

# #

..

..R.S.

5

D B7

VS 1

VS 2

>Tuck down under Verse... A G D B7 A G

&?

##

# #R.S.

9

D B7 A G>Kick it up a bit... E7 D/F

# G

&?

##

# #R.S.

13

D B7

=Tuck back down under Vocal... A G

D B7

A G

&?

##

# #R.S.

17

D B7 A G E7 D/F#

>Kick it up > > > G

DRUM FILL==>

Arranged by Tom BrooksWorshipAlliance.com

"TODAY IS THE DAY"RhythmBPM = 120 Lincoln Brewster

The BasicsMUSIC THEORY (2 minutes left)

Chord Quality - Major / MinorAugmented / Diminished - Extended ChordsBORROWED Chords from other keysThe Personality of each Chord type... on each degree of the scaleLead the Journey - emotional impact of each sonority

&?

### #

# # # #

44

44Rhythm

1

wE2

INTRO [!K!E!Y!S! !O!NLY]

w

&?

### #

# # # #

..

..R.S.

3

wE2

VS 1a

VS 1b

*VS 1a = Piano only w/ pads*VS 1b = Add Band gently

Pw

B7 wnD2 wA2

&?

### #

# # # #

..

..R.S.

7

wE2 wB7 wnD2 w

A2

&?

### #

# # # #R.S.

11

E2

CH 1

=GRANDE ROCK BALLADE GROOVE=

B7

D2 A2

&?

### #

# # # #R.S.

15

E2 B7 D2 A2=Keep Driving > > >


"REVELATION SONG"RhythmBPM = 61.8 Kari Jobe

The BasicsMUSIC THEORY (1 minute to go)

The 12 Major Keys - Circle of FifthsKey Signatures - Time SignaturesMajor and Minor KeysInversion / Transposition / Modulation

DESERT SONG

Minor Key

CCLI TOP 25

October

09/20/2007 06:26 PMTop 25 Songs

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Top 25 Songs

Following are the Top 25 songs reported by churches in their Copy

Activity Reports, as used for the August 2007 royalty payout (for

surveys returned between October 1, 2006 and March 31, 2007).

Report Period 1006 - United States

Rank Song Title Author/s CCLI #

1 How Great Is Our GodTomlin, Chris \ Reeves,Jesse \ Cash, Ed

4348399

2 Here I Am To Worship Hughes, Tim 3266032

3 Blessed Be Your NameRedman, Beth \ Redman,Matt

3798438

4Open The Eyes Of MyHeart

Baloche, Paul 2298355

5 Forever Tomlin, Chris 3148428

6Come Now Is The TimeTo 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

10Lord I Lift Your NameOn High

Founds, Rick 117947

11 God Of WondersByrd, Marc \ Hindalong,Steve

3118757

12 We Fall Down Tomlin, Chris 2437367

13 You Are My All In All Jernigan, Dennis 825356

14You're Worthy Of MyPraise

Ruis, David 487976

15 The Heart Of Worship Redman, Matt 2296522

16 Breathe Barnett, Marie 1874117

17 Trading My Sorrows Evans, Darrell 2574653

18 Beautiful One Hughes, Tim 3915912

19 Friend Of GodGungor, Michael \Houghton, Israel

3991651

20 Better Is One Day Redman, Matt 1097451

21 Draw Me Close Carpenter, Kelly 1459484

The One Minute Music Manager

Lets 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 Gods Voice - Helper / Healer / Teacher / Physicist...


The GRID2 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 GRIDFrom 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 GRIDFundamentals = (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 4 beats 4 bars 4 phrases per beat per bar 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

9/17/08 4:09 PMCCLI Top 25 Songs

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Home What We Offer Who We Are License Holders Copyright Owners CCLI TV Store

Following are the Top 25 songs reported by churches in their Copy Activity Reports, as used for the August2008 royalty payout (for surveys returned between October 1, 2007 and March 31, 2008).

Report Period 1007 - United States

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

7Come Now Is The Time ToWorship

Doerksen, Brian 2430948

8 Shout To The Lord Zschech, Darlene 1406918

9Lord I Lift Your Name OnHigh

Founds, Rick 117947

10 Holy Is The Lord Tomlin, Chris \ Giglio, Louie 4158039

11 Everlasting God Brown, Brenton \ Riley, Ken 4556538

12Amazing Grace (My ChainsAre Gone)

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 825356

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

3148435

25 Days Of Elijah Mark, Robin 1537904

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Song Search Which songs are covered?

Knowlege Base Find answers to common questions.

License Manual What you can and cant do.

Help Clips Video answers to questions.

CCLI TV

Not Forgotten

by Israel Houghton

Be Still

by Howard Agnew

Praise Guitar Lessons: #25 - Here I Am To

Worship

by John Standefer

See All: CCLITV | Open Mic | Instruct | First Take

The GROOVE GRIDImpact 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 4 beats 4 bars 4 phrases per beat per bar per phrase per section

&?

##

# #R.S.

21

D

CH 1

=FULL DRIVING ROCK GROOVE=

E7 A

D

&?

##

# #R.S.

25

D G/B

nC2

n n D

&?

##

# #R.S.

29

b #D E2/G#

# E A

E7

&?

##

# #R.S.

33

E7

>A\ G

&?

##

# #R.S.

35

> > J> J>G D

VAMP 1

> > J> J>A > > J> J>

G

"We Have Overcome", page 2.

&?

###

# # #44

44

..

..Rhythm

INTRO *Aggressive Ac. Gtr:

-RE-INTRO

1

!B!A!N!D OUT"

A E

!

[***2nd time = Rest on 4 for GTR SFX***]***

[***1st time = Drum Fill on 4***]

==>

[lo-fi]

!B!A!N!D IN"

F# D!

&?

###

# # #R.S.

=DRIVING ROCK GROOVE=

3

!B!A!N!D IN"

A E F# D A E

F# D

&?

###

# # #R.S.

VS 2

VS 1

Band way down / Kick: notes

*Add VS Wurli:7

P A E

F# D

Band CRANK!

A E F# D

&?

###

# # #R.S.

Band way down / Kick: notes

11

P A E

F# D

Band CRANK!

A E

F# D

&?

###

# # #R.S.

PRE-CH-

15

f D2

E4-3

A2

G/A

D

DRUM FILL==>

D6


"ALL TO YOU"

Tom Brooks

"This Is Chicago"

Sears Tower 1993

RhythmBPM = 107 Lincoln Brewster*Driving Rock

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



by Tom Brooks

-"/(6"(&

5)&

of.64*$

Tricks of the Trade

Your 120 BPM Reference Your Relative Pitch ReferenceLeave a Bread-Crumb TrailChart everything in 4s!

Chord Construction

*The Basic Building Blocks of Music

CHORD CONSTRUCTION4 Types of Triads - Built on C

MajorMinorAugmentedDiminished

& 44Rhythm1

wwwCmajor

wwwbCminor

&R.S.3

wwwCmajor

www#Caugmented

&R.S.5

wwwbCminor

wwwbbCdiminished

ORCHESTRATION BY TOM BROOKS

"CHORD PERMUTATIONS 1"

Rhythm

CHORD CONSTRUCTION

PERSONALITY OF EACH TRIAD1 - Tonic - Home BaseThe 1 - 4 - 5 Family (Primary - Major)The 2 - 3 - 6 Family (Secondary - Minor)Relationships / Progression / Retrogression

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

CHORD CONSTRUCTION

PERSONALITY OF EACH TRIAD1 - Tonic - Home BaseThe 1 - 4 - 5 Family (Primary - Major)The 2 - 3 - 6 Family (Secondary - Minor)Relationships / Progression / Retrogression

TRIADS - 7thson each scale degreeScale Degree Triad 7th

1 Major Major2 minor minor3 minor minor4 Major Major5 Major minor6 minor minor7 diminished minor

&?

44

44Rhythm

1

_________

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

C

_________

F

_________

Am in _________

Em in

&

?R.S.

5

_________

Dm 7 _________

FJ _________

G7 _________

C2

Tom Brooks

"CHORD SPELL 1"

Keyboard

&?

44

44Rhythm

1

www

_________


C, E, G

C

www

_________F, A, C

F

www

_________A, C, E

Am in

www

_________E, G, B

Em in

&

?R.S.

5 wwww

_________

D, F, A, C

Dm 7

wwww

_________F, A, C, E

FJ

wwww

_________G, B, D, F

G7wwww

_________C, D, E, G

C2

Tom Brooks

"CHORD SPELL 1"

Keyboard


Music Theory in the 21st Century

...its time to break a few Rules

Music Theory in the 21st Century

...its time to break a few Rules

TRIADSVoice Chords in 2nds & 4ths

instead of 3rds & 6ths

! "" #$!"#

$%&'()*+%(

% && && &&,"-. /"'+001( % && && &&

2-3 ,"4 % && && &&,"-. /"'+001( && & & )2-3 ,

"4

"" **56'76,+%08$%89*:;&88?%08@4&& & && &

,"-. /"'+001(&& & )2 ,"4

A*>BBB+ + + +

,"-. /"'+001( + + + +2 ,"4

""1

+ + + +,"-. /"'+001( + + + +2 C>" + + + +/

"'+001( 2 && & && && & &&

,"4

""D;('E7,E7*6'8?%08@FG+ + + +

.>" C>"

+ + + +," /"?

+ + + +2 C>"

+ + + +," /"?

""F"

+ + + +2 C>"

+ + + +," /"?

+ + + +,"-. /"?

+ + + +27E7 2

"" **?F

FB% && && &&,"-. /"'+001( % && && &&

2-3 ,"4 % && && &&,"-. /"'+001( && & & )2-3 ,

"4

""$%7&'E>?4

&& & & && && &&C> & & & && && && && &

2H+00#I& & & &, & && &

D7E7 D &&, & & & && & &

""?1

&& & & && && &&C> & & & && && && && &

2H+00#I& & & &, & && &

D7E7 D

**&& -& & & & &&/

"'+001( ....

)+EJ8,+J(K;6L8CJ6%%8)+KM*+>

K(N='*:;&

O(E'8P+>6

Music Theory in the 21st Century...its time to break a few Rules

The Sweet Collision

Half-tone crash between 7-8 & 3-4

& #### c ..A E C#m7 F#m7 E

# ## # ..B

E C#m7 F#m7 D # ## # .. .. E C#m7 F#m7 E # ## #C E C#m7 F#m7 E # ## #

D

E

F

E C#m7 F#m7 D ## # # # ## # .. .. E C#m7 F#m7 E # ## # .. ..p|

E/ABUILDING---->

| |E/G# | |F#m7 | |A [OPT. OPEN VAMP, ON CUE]|# ## # .. .. E C#m7 F#m7 u

E [VAMP CHORUSES]

'Friend Of God'

LAST X: RIT

{VERSE}

{VERSE}

{CHORUS}

{CHORUS}

{BRIDGE}

{CHORUS}

FOR INTRO: Vamp 1st 8 Bars

- Houghton/Gungor

KIK 2nd X: etc...


The Sweet CollisionHalf-tone crash between

7-8 & 3-4Major 7th Chord built on 1 and 4

&?44

44Rhythm

INTROACOUSTIC GUITAR ONLY:1

C

&?

..

..R.S.

VS 2

VS 1

=MEDIUM GROOVE=

5

C

Am 7

FJ

&?R.S.

CH 2

CH 1

11

C

Am 7

FJ

&?

..

..R.S.

*Building > > >

17

C

Am 7

F

G

C


"HOW GREAT IS OUR GOD"

Tom Brooks

"This Is Chicago"

Sears Tower 1993

Rhythm 73 BPM

Chris Tomlin


Suspension-Resolution

(Fahgetaboutit!!!)

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

&?

###

# # #44

44Rhythm

1

!

INTRO*GTR HOOK:

*GTR continue simili >>>

Pads / SFX fade up...

>>>!B!A!N!D OUT"

P

!

!

!

!B!A!N!D IN"

&?

###

# # #

..

..

..

..R.S.

5

DK*ADD: Drum Groove / Ac. Gtr. / Wah-Wah OD Gtr.

*ADD BASS on repeat

F A2 F

#7 .

E4-3

&?

###

# # #R.S.

9

DKVS 1 *Gtr Hook / Drum Groove ONLY:

!B!A!N!D OUT"

P A2 F

#7 .

E4-3

&?

###

# # #R.S.

13

DK

*ADD Ac. Gtr.:

A2

F#7

.

E4-3

&?

###

# # #R.S.

17

D2 EAD!!D! B!ASS

{start to Build > > >

D2 E


"MIGHTY TO SAVE"

Tom Brooks

"This Is Chicago"

Sears Tower 1993

RhythmBPM = 73

Reuben Morgan &Ben Fielding*Rock Ballade

2006 Hillsong Publishing

All Rights Reserved. Used by Permission.


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


Music is complexCLEAR & SIMPLE

is always the Best Choice

Ear Training!!

The BasicsMUSIC THEORY

1-2-3 / do-re-mi / A-B-C /...its all the same1-2-3 do-re-mi Scale Degree Key of C

1 do Tonic C2 re Super-Tonic D3 mi Mediant E4 fa Sub-Dominant F5 so Dominant G6 la Sub-Mediant A7 ti Leading Tone B

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

Interval Key of C TuneMajor 2nd C - D - (e) Do a (Deer)Major 3rd C - E - (g) Hey Jude (Chorus)

Perfect 4th C - F Louie, LouiePerfect 5th C - G Star WarsMajor 6th C - (e - g) - A Anchors AwayMajor 7th C - (e - g) - B PBS / Bali HaiOctave 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: 1-5-6-4-1-5-41-6-2-5-1-flat 7-4

CHORD CONSTRUCTION II

EVERY CHORD THERE IS - Built on CMajor Triad - with Major 7th / minor 7thminor Triad - with Major 7th / minor 7thPersonality / function of each

& 44RhythmC Major Triad

1

wwwCmajor

C Major Triad + Major 7th

wwwwCJ

C Major Triad + minor 7th

wwwwbC7

&R.S.C minor Triad

4

wwwbCminor

C minor Triad + Major 7th

wwwwbCminorJ

C minor Triad + minor 7th

wwwwbbCm 7



Rhythm

&?

bb b

b b b

44

44Rhythm

1

_________


Eb2 _________

Cm 7 _________

AbK _________

Ab/Bb

&

?

bb b

b b bR.S.

5

_________

G\ _________

G7#5 _________

Cm 11 _________

F9#11

Tom Brooks

"CHORD SPELL 2"

Keyboard

&?

bb b

b b b

44

44Rhythm

1 wwww

_________


Eb, F, G, Bb

Eb2

wwww

_________C, Eb, G, Bb

Cm 7

wwwww

_________Ab, C, Eb, G, Bb

AbK

wwww

_________Bb - Ab, C, Eb

Ab/Bb

&

?

bb b

b b bR.S.

5 wwww

_________G, C, D, F

G\

wwww#n

_________G, B, D#, F

G7#5

wwwwww

_________C, Eb, G, Bb, D, F

Cm 11

wwwwwwnn

_________F, A, C, Eb, G, B

F9#11

Tom Brooks

"CHORD SPELL 2"

Keyboard

CHORD CONSTRUCTION IIUPPER TONALITY CHORDS7ths - 9ths - 11ths - 13thsMajor - Minor; diatonic - borrowedAdd Spice, but rarely change function

GLORIOUS

Martha MunizziIsrael Houghton

&?

###

# # #44

44Rhythm

INTRO

*Brass pickups:

1 ! "

.

!B!A!N!D I!N !U!NISON"

. . . >> >

. . >> >C#

&?

###

# # #R.S.

4

.

!B!A!N!D I!N !U!NISON"

. .

3 3 .

3

3

3

3

>

3

3

> FILL=

G#

&?

###

# # #R.S.

VS 2

VS 1

7

=FULL GROOVE=

. G# C# n #> F#7 D# . > DK C

#

&?

###

# # #

..

..R.S.

Bring it down under vocal:

10

. F#7 C#

. C# F#7

. F#7 C#

. C# F#7 F#2A#

&?

###

# # #R.S.

Kick it up a bit...

14

. B7 F#9

. C# F#9 F#A# .

B7 F#9> >>

! >!> > >

> >>! >!> > >C#D C#D C# C#


"GLORIOUS"

Tom Brooks

"This Is Chicago"

Sears Tower 1993

RhythmBPM = 100

Dan & Martha Munizzi Israel Houghton*Salsa Caliente

& #### c ..A E C#m7 F#m7 E

# ## # ..B

E C#m7 F#m7 D # ## # .. .. E C#m7 F#m7 E # ## #C E C#m7 F#m7 E # ## #

D

E

F

E C#m7 F#m7 D ## # # # ## # .. .. E C#m7 F#m7 E # ## # .. ..p|

E/ABUILDING---->

| |E/G# | |F#m7 | |A [OPT. OPEN VAMP, ON CUE]|# ## # .. .. E C#m7 F#m7 u

E [VAMP CHORUSES]

'Friend Of God'

LAST X: RIT

{VERSE}

{VERSE}

{CHORUS}

{CHORUS}

{BRIDGE}

{CHORUS}

FOR INTRO: Vamp 1st 8 Bars

- Houghton/Gungor

KIK 2nd X: etc...

&?

44

44Rhythm

1

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

IRoman Numeral Symbols:

IV maj7

vi min7

V add 2

&

?R.S.

5

ii min7

bVII add 2

IV add 2

I add 2

Tom Brooks

"CHORD SPELL 3"

Keyboard

&?

44

44Rhythm

1

www



C

wwww

IV maj7

FJ

wwww

vi min7

Am 7

wwww

V add 2

G2

&

?R.S.

5 wwww

ii min7

Dm 7

wwwwb

bVII add 2

Bb2

wwww

IV add 2

F2wwww

I add 2

C2

Tom Brooks

"CHORD SPELL 3"

Keyboard

CHORD CONSTRUCTION IIIEVERY CHORD THERE IS - Built on CMajor Triad - with Major 7th Family9 - #11 - 13Personality / function of each

& 44RhythmC Major Triad + Major 7th

1 wwwwCJ

C Major Triad + Major 7th+ Major 9th

wwwwwCK

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

wwwwww#CK#11

&R.S.C Major Triad + Major 7th+ Major 9th+ #11 + 13

4 wwwwwww#CK#11,13

Same with 9th omitted

wwwwww#D/C

Same with inversion

wwwwww#D/C



Rhythm

CHORD CONSTRUCTION

EVERY CHORD THERE IS - Built on CMajor Triad - with minor 7th Family9 + *11* - 13 // + #11 - 13Flat 9 (borrowed from minor scale) + 11Personality / function of each

& 44RhythmC Major Triad + minor 7th

1 wwwwbC7

C Major Triad + minor 7th+ Major 9th

wwwwwbC9

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

wwwwwbC 11

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

wwwwwwbC11,13

&R.S.C Major Triad + minor 7th

5 wwwwbC7

C Major Triad + minor 7th+ Major 9th

wwwwwbC9

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

wwwwww#bC

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

wwwwwww#bC



Rhythm

&?

b

b

44

44Rhythm

1



[Same progression, transposed to F Major]

IV maj7

vi min7

V add 2

&

?

b

bR.S.

5

ii min7

bVII add 2

IV add 2

I add 2

Tom Brooks

"CHORD SPELL 4"

Keyboard

&?

b

b

44

44Rhythm

1 www



F

wwww

IV maj7

BbJ

wwww

vi min7

Dm 7

wwww

V add 2

C2

&

?

b

bR.S.

5 wwww

ii min7

Gm 7

wwwwb

bVII add 2

Eb2

wwww

IV add 2

Bb2

wwww

I add 2

F2

Tom Brooks

"CHORD SPELL 4"

Keyboard

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by Tom Brooks

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Chord RelationshipsThe JOURNEYCadences2 > 5 > 1

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... 4:5:6Minor 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

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by Tom Brooks

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TranspositionModulationImprovisation

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. Lets MODULATE up to D Major for the last chorus or Lets 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


*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 holdsthe KEYS

Home on the

RANGE

Lend me Your EARS

MusicalSpellingBeeWORDMATCH

**He Holds the KEYS**

ROUND #1Answer 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 youve ever seen?!?!?

The correct answer is... YES!!!

**Home On The Range**

ROUND #2Answer 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 RANGESoprano

Mezzo-SopranoAlto

TenorBaritone

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 #3Listen to each Music ExcerptUse your Ear Training and analyze what you hearRing 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 - 22 - 3 - 4 - 4 - 3 - 2 - 13 - 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-mimi-so-fa-mire-mi-fa-mi

*Musical Spelling Bee*

ROUND #4Spell out the notes in these

Chords and Scales.

(Ring in First!!!)

Musical Spelling Bee!

Spell out the notes in a C# Minor 11th Chord


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


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


G (#5, #9) is spelledG - B - D# - F - A#

(as in Israels Come In From the Outside)

Wheel of MIS-fortune

.


. A A


.

EA A E


.

EA A E

I


.

EA A

OE

I


.

EA U A

OE

U I


.

EA N U A

OE

U I


.

EA N U A

OE

U I C


.

T EA N U A

OE

U I C


.

T EA N U A

OE

M U I C


.

T H EL A N G U AO F

EG

M 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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by Tom Brooks

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of.64*$

I have made music with Tom Brooks for many years - I believe God planted the seed for this book in Toms 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 Toms immense knowledge not only at the Theory level; but at the practical and Spiritual level as well.

Yours truly,Abraham Laboriel

WorshipAlliance.com

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by Tom Brooks

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of.64*$

WorshipAlliance.com

1 the language of music

Documents

iv chord

v chord progressions

g d b7

key of c major

c major triadstructure

c eb

chord type

scalesthe basicsmusic