Harmonic rhythm addresses the rate in which chord changes occur within a piece of music. On the surface, it seems like a simple concept. On a deeper level there's so much more to discuss. So let's discuss!
Once you've written a theme, or a main melody, there are a number of ways you can develop it and organize it into your overall piece. Repetition, transposition, expansion, contraction, augmentation, diminution, fragmentation, variation and melodic sequences are just a few of the many ways this can be achieved. Let's, listen!
Moving forward in our discussion of form and analysis, we will dig deep into the rondo form. We will listen to a popular example, Fur Elise, and yap about the form in real time. Ready your theory brains!
Continuing our discussion from episode 106, we will find yet more ways to alter chords. We will listen to non-dominant, extended tertian chords. We will marvel at the common tone diminished chord. We will revisit linear chromaticism and reckon with the appoggiatura chord. Finally, we will ponder a few good simultaneities!
Continuing our discussion from episode 88, we will dig deeper into extended tertian harmonies from a theory perspective with the 9th, 11th and 13th chords. We will listen to chords with substituted 6ths and raised and flatted 5ths. We will discuss how they work in traditional, and in not so traditional, ways!
Follow along as we delve into enharmonic spellings and reinterpretation and the various reasons why they are necessary. We will also demonstrate some great ways to use these reinterpretations for some snappy modulations to far away places!
We've almost said everything we can about the fully diminished 7th chord. ALMOST! In this episode we will explore this versatile chord and its many possibilities. We will hear it's use as a secondary leading tone chord (viiº7 of), as a modulatory technique, as a chain of viiº7 chords and as a counterpuntal element. Enjoy our chatter on this extraordinary chord!
Orchestration is the art of choosing the right instruments, and the proper balance thereof, for a composition. Different considerations go into conveying different moods and emotions to better tell the story. The string section is often the most utilized. So well will focus on it's instruments: the contra bass, the cello, the viola and the violin!
We've familiarized ourselves with the building blocks of a form, such as motives, phrases and periods. We have delved into small forms, such as binary and ternary. Now it's time to think a little bigger. It's time to talk about the sonata form and it's basic elements: the exposition, the development and the racapitulation.
Dive with us, face first, into chromaticism with this discussion on extended and altered chords. We will make sure we're well acquainted with the concept of suspended ("sus") chords and added ("add") chords. This will prepare us for an ongoing exploration of altered chords. We will also compare the use of these chords, in classical theory, to their rolls in the jazz and pop music genres!
It's time to get a little out of step with time! Syncopation is a technique that can add more color and interest to your rhythms. In this episode, we will define syncopation, give some examples and share some stories where we've been challenged by this composition technique.
In episode 65, we discussed the Italian, French and German augmented sixth (+6) chords and their main functions. In this episode, we'll dig a little deeper into these chords and talk about some other functions and placement options that can really add color to your chord progressions!
When you learn or write a melody, you may want to add some harmonic textures to it. In this episode, we will learn a melody. We will write harmonies that move along with it in parallel motion. We will then find the chords that suit it best. Get ready to know harmony better!
Picking up from where we left off on episode 71, we will now further our discussion on modulation to distantly related keys. The focus, on this show, will be the use of chromatic mediants!
Picking up from where we left off on episode 69, we will now learn how to modulate to distantly related keys using chords that are diatonic, or chromatic, in either key (or any combination thereof). Some pivot chords we will use to pull this off will include the German augmented 6 chord (Gr+6), the Neapolitan chord (N) and secondary seven diminished vii chord (viiº7 of ?). Let us invite a few more accidentals to the table, shall we? Join us!
Picking up from where we left off on episode 50, we will continue our discussion on modulation to closely related keys. We will talk about modulating to relative keys. We will discuss chromatic modulations, with and without pivot chords. We will also take on sequential and phrase modulation and we may get blind sided by a direct, or abrupt, modulation or two. Finally, we will take a moment to harmonize some modulating melodies!
The hexatonic scales are six note scales. In many cases we are simply adding a note to a pentatonic scale or deleting one from one of the seven modes. But there are other interesting possibilities: the blues scales, the whole tone scale, the augmented scale, the tritone scale and the elusive Prometheus scale. We will also create some of our own by combining triads. Let's listen!
The augmented 6th (+6) chord is a very tense predominant chord. Like most chromatic chords, it can add motion and color to your chord progressions. In this episode we will discuss the 3 main types of augmented six chords: Italian, French and German.
The Neapolitan chord and the Neapolitan Sixth chord add a very distinctive sound to a progression. You've heard it many times and you probably LOVED it. Now you're going to learn all about it! We will discuss how to build one, how it's used in a progression and we'll play a few examples you may recognize. This ain't just some boring ice cream favor. This is good music!
We are bringing chromaticism to your doorstep! Today's special delivery? Mixed modes and borrowed chords! Learn how borrowing just two or three notes from a parallel key can allow for several new chords that can add intrigue to your progressions and help to smooth our your modulations.
Just as you can use secondary dominant chords to aid in the movement to any diatonic chord, you can also use secondary leading tone chords for the same purpose. These chords can add intrigue, color and tension to any harmonic progression. We'll discuss how to identify them, how to spell them out and how to analyze them. Give them a listen. Give them a try.
In part one of our "Form and Analysis" series, we familiarized ourselves with the building blocks of a form, such as motives, phrases and periods. Now, we will begin our official discussion on small forms. We will cover rounded, simple, sectional and continuous binary forms. Then we will move into ternary and compound ternary forms. Finally, we will close it out with a brief discussion on theme and variations.
At this point, we've discussed the two most common diatonic 7th chords: V7 and II7. Now, we will discuss "The Others". These are the VII7, IV7, VI7, I7 and III7 chords. We will take a little time with each of these, give them a listen, discuss the way they sound and briefly discuss their functionality. Just because these are a little less common, that's no reason to not bring them up because they are often featured in great music!
We celebrate our 50th episode by breaking the ice on the much anticipated topic of modulation. This discussion will include an introduction to the concept of modulation, or change of key.
We will first cover modulation to closely related keys and what makes a closely related key. Then will discuss the pivot chords that can help to facilitate this technique. Also included will be some tips on how to hear key changes in music and recognize them on paper. And, of course, we will share some advice and tips on how to write them!
Join us, as we continue to venture toward the coming mountain of chromaticism. We will approach the foothills as we resume our discussion of secondary dominants. We will talk about how these chords can be used in the tonicization of chords other than the tonic, with their dominant function. In this episode, we will focus on the V of ii (V/ii), V of vi (V/vi) and the V of iii (V/iii).