4 making your praise band rock

Yonsei University - Institute of Worship Arts Spring Semester - Class VIInstructor - Tom Brooks

Making your Praise Band R O C K !

10 Steps to make your Praise Band ROCK!

1. Draw a ‘Line-in-the-Sand’ - “Urgent” versus “Important”

2. ‘Clear the Cloud’ - You’ll need Hand-cuffs / wire cutters / padlock / etc...

3. To GROOVE or not to GROOVE... There is No Question!

4. Chart your Course - Write it Right! ...make Players responsible

5. Teach your Children well - listen, adapt, follow, respect, love


6. ORCHESTRATE! ...in a Rock-n-Roll way {Gab’s plate}

7. You CAN improve! ...as a Band + as an individual - God’s Grace

8. Just like Diet and Exercise -

9. Band Close / EYE-to-EYE / Monitors low (ears vs. wedges)

10. NIKE! - Just DO IT!!!


1. Draw a ‘Line-in-the-Sand’ - The BIG Meeting“Urgent” versus “Important”

URGENTto you

IMPORTANTto you

URGENTto others

IMPORTANTto others


2. ‘Clear the Cloud’

...Clean out the low Mid Range (‘Mud Range’)

>HAND CUFF Keyboard Player’s Left Hand behind his back

>WIRE CUTTERS - cut off lower 2 strings from all Guitars

>PADLOCK - remove Bass Pedals from organ; lock in basement

***Leave the Bass Range to the Bass Player


3. To GROOVE or not to GROOVE... There is No Question!

“What does it mean?!?!?” {let’s talk later}

{{Korean Piano Girl}}


4. Chart your Course - Write it Right! ...make the Players responsible to get it right

Put all the information CLEARLY right in front of them

==> NO ‘ROAD MAPS’!


5. Teach your Children well

- listen, adapt, follow, respect, love

>YOU as a Player...

>YOU as a Teacher -

***I hereby Deputize YOU...

==> Go back and teach this Seminar to your BAND!


6. ORCHESTRATE!

...in a Rock-n-Roll way

Simple Effective Band Arranging{Gab’s plate}


7. You CAN improve!

...as a Band + as an individual - God’s Grace

8. Just like Diet and Exercise

- don’t worry about ‘over-doing’ it


9. Band Close / EYE-to-EYE / Monitors low (ears vs. wedges)

10. NIKE! - Just DO IT!!!

Class OutlineGROOVE is EVERYTHING! [Locking]

*Chart Reading - fast & accurate

Seeing Music EYE-to-EYE [Looking]*Rehearsing more effectively

‘SPACE’ - the New Frontier [Layering]*Simple Arranging

Music is Sound [Listening]*Using your ears & your brain & your heart

(...all at the same time!)

“God, please don’t let us get in your way” [Loving]

Locking with the Worship Band

(Groove IS Everything!)

Step #1- “Groove is Everything”

*Locking the Band together

*The Right Tempo

*Locking with Loops & Click

“TODAY IS THE DAY”

Lincoln BrewsterPaul Baloche

&?

##

# #

44

44

..

..

..

..Rhythm

1

’ ’ ’ ’D BÂ7

INTRO

=FULL DRIVING ROCK GROOVE=

***2 Bars ofDrum build up>>>

ƒ’ ’ ’ ’A G ’ ’ ’ ’D BÂ7 ’ ’ ’ ’A G

&?

##

# #

..

..R.S.

5

’ ’ ’ ’D BÂ7

VS 1

VS 2

>Tuck down under Verse...’ ’ ’ ’A G ’ ’ ’ ’D BÂ7 ’ ’ ’ ’A G

&?

##

# #R.S.

9

’ ’ ’ ’D BÂ7 ’ ’ ’ ’A G

>Kick it up a bit...’ ’ ’ ’EÂ7 D/F# ’ ’ ’ ’G

&?

##

# #R.S.

13

’ ’ ’ ’D BÂ7

=Tuck back down under Vocal...’ ’ ’ ’A G

’ ’ ’ ’D BÂ7

’ ’ ’ ’A G

&?

##

# #R.S.

17

’ ’ ’ ’D BÂ7 ’ ’ ’ ’A G ’ ’ ’ ’EÂ7 D/F#

>Kick it up > > >’ ’ ’ ’G

DRUM FILL==>

Arranged by Tom BrooksWorshipAlliance.com

"TODAY IS THE DAY"RhythmBPM = 120 Lincoln Brewster

Today is the Day‘The GRID’ - Locking Kick Drum and Bass Where are the ‘Traps’?

Build your Foundation:DRUMS & BASS

Remember...

“Groove is EVERYTHING!”

Build on Solid Ground:

THE GROOVE

Locking with Drums...***Kick - Bass***Hat - Guitar / Keys ***Tom Fills - Nail the CrashExamples - Hornsby


THE GROOVE

Locking with Drums...***Kick***Hat***Tom Fills - CrashExample 2 - Cetera


THE GROOVE

Locking with Drums...***Kick***Hat***Tom Fills - CrashExample 3 - Paul Simon

“ALL TO YOU”

Lincoln Brewster

&?

###

# # #44

44

..

..Rhythm

INTRO *Aggressive Ac. Gtr:

-RE-INTRO

1 œ

†!B!A!N!D OUT"

œ œ œ œ œ œ œA E

!

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

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

==>

[lo-fi]

œ œ œ œ œ œ œ œ

†!B!A!N!D IN"

F#Â D!

&?

###

# # #R.S.

=DRIVING ROCK GROOVE=

3

œƒ†!B!A!N!D IN"

œ œ œ œ œA E œ œ œ œ œ œF#Â D œ œ œ œ œ œA E œ œ œ œ œ œ

F#Â D

&?

###

# # #R.S.

VS 2

VS 1

Band way down / Kick: å notes

*Add VS Wurli:7

’ ’ ’ ’P A E

’ ’ ’ ’F#Â D

Band CRANK!

œƒ œ œ œ œ œA E œ œ œ œ œ œF#Â D

&?

###

# # #R.S.

Band way down / Kick: å notes

11

’ ’ ’ ’P A E

’ ’ ’ ’F#Â D

Band CRANK!

œƒ œ œ œ œ œA E œ œ œ œ œ œ

F#Â D

&?

###

# # #R.S.

PRE-CH-

15

’ ’ ’ ’f D2

’ ’ ’ ’E4-3

’ ’ ’ ’A2

’ ’ ’ ’G/A

’ ’ ’ ’D

’ ’ ’ ’DRUM FILL==>

DÂ6


"ALL TO YOU"

Tom Brooks

"This Is Chicago"

Sears Tower 1993

RhythmBPM = 107 Lincoln Brewster*Driving Rock

All To You‘The GRID’ - Shuffle vs. straight 8ths or 16ths Teach yourself (and your Band) to ‘LOCK to the GRID’


THE GROOVE

Locking with Drums...***Kick***Hat***Tom Fills - CrashExample 4 - How Far Is Heaven


THE GROOVE

Locking with Drums...***Kick***Hat***Tom Fills - CrashExample 5 - Lord I Lift (Shuffle)

“The GRID”2 Grids (...well really 1 HUGE Grid)

The ‘GROOVE GRID’ - Rhythm

The ‘HARMONY GRID’ - Pitch

The Electro-Magnectic Spectrum

To Quantize or not to Quantize... Drum Machines, Sequencers, and Equal Temperament

LOCKING TO THE GRID:THE RHYTHM SECTION

Drums = ‘quantize’ with loop or click

Hi Hat is the ‘Grid’ the Band locks to




“DEAD-LOCK” these key elements: >>>Kick Drum = Bass Guitar >>>Hi Hat subdivision = Guitar/Keys = Perc. >>>All backbeat hits = Snare




“DEAD-LOCK” these key elements: >>>Kick Drum = Bass Guitar >>>Hi Hat subdivision = Guitar/Keys = Perc. >>>All backbeat hits = Snare

Develop an appreciation for a solid Groove

Learn to identify tight and loose elements

“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”

February

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

Page 1 of 2http://www.ccli.com/usa/LicenseHolder/Top25Lists.aspx

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 can’t 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 GRID”Impact of the FANTASTIC number 4

Exceptions to the Rule are striking

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

| !e Institute of Worship Arts at Yonsei University

Practical Music !eory for the Worshiping Musician

by Tom Brooks

of

Tricks of the Trade

‣Your ‘120 BPM’ Reference

‣Chart everything in 4s!

‣Leave a “Bread-Crumb Trail”

“The GRID”

Now we will leave the 1-3 cps / 1-3Hz range and head for the 20-20,000 Hz range... Moving from Rhythm to Pitch ==>

“The Pitch GRID”From 20 - 20K Hz

Fundamentals versus Harmonics

Fundamentals = (roughly) 25 - 2,000 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 - 2,000 Hz KEEP GOING! Within that range...

Roughly 7 Octaves (2:1 ratios)

Within each octave are 12 divisions

...Equal Temperament - 12 Half Steps

Of those 12, 8 (really 7) are ‘Close Family’

STEP #2 - Build on Solid Ground:THE GROOVE

• Locking with Loops

• Click Track - Metronome

• Know the “Traps”

• Anticipate- ...“read” the other players

GROOVE IS EVERYTHING:

Lock tempo to BPM with Loop or Click

Simple, definable, consistent parts

LISTEN as much as you play

The Beauty of simplicity

“...prefer your brother in love...”

The “WHOLE” is the Goal

The satisfaction of filling your role

STEP 3 - Build on Solid Ground:THE GROOVE

Locking with a soloist

Following a Worship Leader

Monitors - Wedges vs. in-ears

Monitor Mix - Volume

STEP #4 - Build on Solid Ground:

Remember your Shakespeare...“To GROOVE or not to GROOVE...

There IS NO QUESTION!”

• Coordinate Keyboard with Guitar

• Foundation - Color

• Choose the roles for each song section

• ***Don’t ‘cloud’ the Bass Guitar range



• Foundational Rhythm part

• Simple, identifiable repetitive figures

• Support and work around the melody

• *Stay consistent throughout each section

• *Design a new part for each section


• Color Rhythm part

• Leave S P A C E for melody

• Insert Counter-Melody figures in the holes (breaths)

• *Pick up where the Melody leaves off...

• ...then lead back into the next melody

TEN SIMPLE STEPS TO A BETTER BAND(if you don’t get anything else, GET THIS!)

*STEP #1 - LOCK DOWN the first 4 bars + ending*STEP #2 - Select 3 “Red Flashing Light” spots...

...and NAIL THEM!*STEP #3 - Use BPM + Loop or Click for every song*STEP #4 - Don’t cloud the Bass Range*STEP #5 - Be sure Charts are easy and instinctive

*STEP #6 - “Look ‘em in the eye!”*STEP #7 - Listen first, then blend in your part*STEP #8 - “If notes are silver, rests are GOLD”*STEP #9 - Anticipate the ‘Traps’ and avoid them*STEP #10 - Offer your music back to God,

the ultimate Source of ALL CREATIVITY

THE FINAL STEP

*just one thing to Remember...“Groove is EVERYTHING!”

The One Minute Music Manager

Chart Reading

Developing Speedand Accuracy

Chart ReadingSee the Chord - Know the notes

Analyze the Groove

Choose a Rhythmic figure

Orchestrate your part

“LOCK DOWN” the Groove with the Band

“REVELATION SONG”

Kari Jobe

&?

### #

# # # #

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

BÂ7 wnD2 wA2

&?

### #

# # # #

..

..R.S.

7

wE2 wBÂ7 wnD2 w

A2

&?

### #

# # # #R.S.

11

’ ’ ’ ’E2

CH 1

=GRANDE ROCK BALLADE GROOVE=

ƒ’ ’ ’ ’

BÂ7’ ’ ’ ’

D2’ ’ ’ ’A2

&?

### #

# # # #R.S.

15

’ ’ ’ ’E2 ’ ’ ’ ’BÂ7 ’ ’ ’ ’D2 ’ ’ ’ ’A2

=Keep Driving > > >


"REVELATION SONG"RhythmBPM = 61.8 Kari Jobe

“SAY SO”

Israel Houghton

&?

### #

# # # #

44

44Rhythm

INTRO

SNARE: ä notes- start soft and build>>>µAD!!D! B!ASS

*Keys: simili...1 œœœ

> œ œ œ> œ œ œ> œ

œP

œ œ

CRESC. MOLTO...

CRESC. POCO A POCO....œ œ œ œ œE2 œ œ œ œ œ œ œ œ œ œ œ œ œCRESC. POCO A POCO....œ œ œ

BÂ9œ œ œ œ œ œ œ œ

&?

### #

# # # #R.S.

5

œ œ œ œ œ œ œ œA2/C# œn œ œ œ œ œ œ œD2

Jœ œ jœ>ƒ ˙E2

. .˙ jœ>œ œ œ œ œ>

E4

&?

### #

# # # #R.S.

=FULL DRIVING ROCK GROOVE=

*GTR: Melody inside chords...9

œ œ œ .œ jœ

œƒ

œ œ œE4 E3

œ œ œ œ .œ jœ>œ œ œ œ œ>

BÂ7

simili...

œ œ œ œ œ œ œ œ œ>A2

&?

### #

# # # #R.S.

13

œ œ œ œ œnA2 D2 œn œ œ œ .œ jœ ˙

E2 *Basssimilaridea:

œœ œ œ œ œ œ ~~~


"SAY SO"

Tom Brooks

"This Is Chicago"

Sears Tower 1993

RhythmBPM = 145 Michael Gungor*Driving Rock

Say SoBand “Lock Spots” Where are the ‘Traps’?

CHORD CHARTSChord Charts versus Traditional Music

Translating Chord Symbols into Music

Reading - Realizing - Improvising

Traditional Music vs. Charts

& #### cq»¡¡§Cymbal Swell

Elec. Guitar, Bass, Cymbals

’ ’ ’ ’>E5 ’ ’ ’ ’ ’ ’ ’ ’E2

’ ’ ’ ’

& ####Acoustic Guitar In

5

’ ’ ’ ’>Esus ’ ’ ’ ’ ’ ’ ’ ’E Floor Tom

Bass Fill

’ ’ ’ ¿

& #### ..1st Time: Kick on all 4, cymbals2nd Time: Kick on all 4, Snare on 4, Jembe

9

’ ’ ’ ’E5

’ ’ ’ ’ ’ ’ ’ ’B/E

’ ’ ’ ’

& ####13

’ ’ ’ ’A2

’ ’ ’ ’ ’ ’ ’ ’E5 Floor Tom

1st Time

’ ’ ’ ¿

& ####17

’ ’ ’ ’E5

’ ’ ’ ’ ’ ’ ’ ’B/E

’ ’ ’ ’

& ####21

’ ’ ’ ’A2

’ ’ ’ ’ ’ ’ ’ ’E5 Drum Fill

’ ’ ’ ’

& ####1st, 2nd, 3rd Time Full Groove, ride4th Time Synth Only5th Time Synth & Drums: Kick on 1, Tom on 4, Hi-hat

25

’ ’ ’ ’B5

’ ’ ’ ’C#m

’ ’ ’ ’A2

’ ’ ’ ’B5

& ####29

’ ’ ’ ’B5

’ ’ ’ ’C#m Elec. Guitar Rhythm1

’ ’ ’Û ÛD2 D2#11 D2

’ ’Û Û Û ÛD2#11 D2 D2#11

©Integrity's Hosanna! Music/ASCAP CCLI #2298355

Open the Eyes of My Heart Paul BalocheIntro/ÿ/Ÿ/ÿ/Ÿ/Ÿ/⁄/Ÿ/Ÿ/¤

Intro

ÿOpen the eyes of my heart

Open the eyes of my heart

ŸTo see You high and lifted up

From the recording "Open the Eyes of My Heart"


With CHORD CHARTS you need to Master 3 Skills >>>Read the symbol - know the chord notes >>>Choose a Rhythmic pattern for the Groove >>>Read Bass Note, if not the root (Inversion)

CHORD CHARTS

• WITH CHORD CHARTS you need to...

>>>Read the symbol - know the chord notes

POP QUIZ!!!

POP QUIZ!!Spell the Chord Notes for each Symbol

! """" # $ $ $ $! "

$ $ $ $#"$%

$ $ $ $! "

$ $ $ $&'

! """"!"#$"%&' $ $ $ $! "

$ $ $ $#"$%

$ $ $ $! "

$ $ $ $&'

! """" $ $ $ $! "

$ $ $ $#"$% ("$%

$ $ $ $! "

$ $ $ $&'

$ $ $ $

! """"()*#+$%&' $ $ $ $!

$ $ $ $")*"

$ $ $ $!)+"

$ $ $ $&'

! """" $ $ $ $!

$ $ $ $")!

$ $ $ $!)+"

$ $ $ $&'

$ $ $ $

! """"!"#$"%,' $ $ $ $! "

$ $ $ $#"$%

$ $ $ $! "

$ $ $ $&'

! """" $ $ $ $! "

$ $ $ $#"$%

$ $ $ $! "

$ $ $ $&'

$ $ $ $

-*#./01%(*23,45675,664

)898%/%:;%<=%-=9>?@A%5%(:BB

POP QUIZ!!Spell the Chord Notes for each Symbol

! """ # $$ $$!"#$ !"#$%&'$()

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! """ $$*+,&-"./&!"#$%&'$()4$0&-"./&#00&5(/67&89",#2;&!/26&>"((+

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% % % %$#" " $%&% % % % %!'(() !*#+" % % % %$#" " $%&% % % % %!'(() $#,"

! """@

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! """*A

% % % %$#" " $%&% % % % %!'(() !*#+" % % % %$#" " $%&% % % % %!'(() $#,"

! """*B

% % % %-"./ !0/#$ % % % %"'(() !*#+" % % % %1./ "#! C).D#(&1E/((

% % % %+"%&%#," +"

! """*+,&-"./&1,2"$3+&F$

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% % % %! 1./ % % % %$#," ! % % % %1./ % % % %$#," ! $#,"

! """4?

% % % %-"./ !0/#$ % % % %"'(() !*#+" % % % %1./ !*#+" *

% % % %" $%&% $ % % % %! !#+"

! """ $$AG

% % % %" $%&% $ H#++&F$-%&I

% % % %! "#! !4

% % % %" -"./ $ -%&J

% % % %! -"./ " $A

% % % %" $%&% $ % % % %! $#,"

KD%L/&K((&!#9(&H#(%6M/&N&O/$$)&O/H(#$6F$,2%PIPJPIPJPJP-#3+

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VF$,/32",)W+&U%+#$$#&T9+"6PK1CK!&N&O/$+%$3+&!9D("+M"$3PK1CK!&CCOF&X4YB4ZZ?


WITH CHORD CHARTS you need to...

>>>Read the symbol - know the chord notes >>>Choose a Rhythmic pattern for the Groove

>>>Read Bass Note, if not the root (Inversion)

CHORD CHARTS• WITH CHORD CHARTS you need to...

>>>Choose a Rhythmic pattern for the Groove

Examples...• Whole Note ‘Rake’

• Solid Quarter Notes

• Broken Chord Pattern...

• ... built around Kick / work around melody

Rhythmic Options: Whole Note ‘Rake’

& #### cq»¡¡§Cymbal Swell

Elec. Guitar, Bass, Cymbals

’ ’ ’ ’>E5 ’ ’ ’ ’ ’ ’ ’ ’E2

’ ’ ’ ’

& ####Acoustic Guitar In

5

’ ’ ’ ’>Esus ’ ’ ’ ’ ’ ’ ’ ’E Floor Tom

Bass Fill

’ ’ ’ ¿

& #### ..1st Time: Kick on all 4, cymbals2nd Time: Kick on all 4, Snare on 4, Jembe

9

’ ’ ’ ’E5

’ ’ ’ ’ ’ ’ ’ ’B/E

’ ’ ’ ’

& ####13

’ ’ ’ ’A2

’ ’ ’ ’ ’ ’ ’ ’E5 Floor Tom

1st Time

’ ’ ’ ¿

& ####17

’ ’ ’ ’E5

’ ’ ’ ’ ’ ’ ’ ’B/E

’ ’ ’ ’

& ####21

’ ’ ’ ’A2

’ ’ ’ ’ ’ ’ ’ ’E5 Drum Fill

’ ’ ’ ’

& ####1st, 2nd, 3rd Time Full Groove, ride4th Time Synth Only5th Time Synth & Drums: Kick on 1, Tom on 4, Hi-hat

25

’ ’ ’ ’B5

’ ’ ’ ’C#m

’ ’ ’ ’A2

’ ’ ’ ’B5

& ####29

’ ’ ’ ’B5

’ ’ ’ ’C#m Elec. Guitar Rhythm1

’ ’ ’Û ÛD2 D2#11 D2

’ ’Û Û Û ÛD2#11 D2 D2#11

©Integrity's Hosanna! Music/ASCAP CCLI #2298355

Open the Eyes of My Heart Paul BalocheIntro/ÿ/Ÿ/ÿ/Ÿ/Ÿ/⁄/Ÿ/Ÿ/¤

Intro

ÿOpen the eyes of my heart

Open the eyes of my heart

ŸTo see You high and lifted up

From the recording "Open the Eyes of My Heart"

Rhythmic Options: Solid Quarter Notes

! """ # $$ $$!"#$ !"#$%&'$()

% % % %! % % % %"#!*+,&-"./&#00&1,2"$3+4$0&-"./&#00&5(/67&89",#2&:2"$3"$3;&$%&#,,#6<=

% % % %! % % % %"#!

! """ $$*+,&-"./&!"#$%&'$()4$0&-"./&#00&5(/67&89",#2;&!/26&>"((+

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% % % %$#" " $%&% % % % %!'(() !*#+" % % % %$#" " $%&% % % % %!'(() $#,"

! """@

% % % %-"./ !0/#$ % % % %"'(() !*#+" % % % %1./ "#! % % % %$#," ! !#+"

! """*A

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! """*B

% % % %-"./ !0/#$ % % % %"'(() !*#+" % % % %1./ "#! C).D#(&1E/((

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! """*+,&-"./&1,2"$3+&F$

4*

% % % %! 1./ % % % %$#," ! % % % %1./ % % % %$#," ! $#,"

! """4?

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% % % %" $%&% $ % % % %! !#+"

! """ $$AG

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% % % %! "#! !4

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JC296"R"/0

>2%.&,M/&2/6%20"$3&S'Q/$&,M/&5)/+&%R&T)&U/#2,S


Rhythmic Options: Broken Chord Pattern

! """" # $ $ $ $! "

$ $ $ $#"$%

$ $ $ $! "

$ $ $ $&'

! """"!"#$"%&' $ $ $ $! "

$ $ $ $#"$%

$ $ $ $! "

$ $ $ $&'

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$ $ $ $#"$% ("$%

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$ $ $ $&'

$ $ $ $

! """"()*#+$%&' $ $ $ $!

$ $ $ $")*"

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$ $ $ $! "

$ $ $ $&'

$ $ $ $

-*#./01%(*23,45675,664

)898%/%:;%<=%-=9>?@A%5%(:BB


WITH CHORD CHARTS you need to...

>>>Read the symbol - know the chord notes >>>Choose a Rhythmic pattern for the Groove

>>>Read Bass Note, if not the root (Inversion)

CHORD CHARTS• WITH CHORD CHARTS you need to...

>>>Read Bass Note, if not root (Inversion)

Important...• What is “Inversion?”

• Slash Chords

• Below C2 is the BASS DOMAIN... Don’t cloud the lower register when Bass is active

Read Bass Note - Inversion - Slash Chord

! """ # $$ $$!"#$ !"#$%&'$()

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! """*A

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! """ $$AG

% % % %" $%&% $ H#++&F$-%&I

% % % %! "#! !4

% % % %" -"./ $ -%&J

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&?

#

#44

44Rhythm

INTRO

HOOK [1]1

œ(no chord)

! œ œ ! œ ! œ ! .Jœ œ œ œ

œ†!B!A!N!D I!N !U!NISON"

! œ œ ! œ ! œ ! .jœ œ œ œ

œ ! œ œ ! œ! œ! œ# ! œ œM œ

œ ! œ œ ! œ! œ! œ# ! œ œM œ

&?

#

#R.S.

3

œ ! œ œ ! œ ! œ ! œ œ3œ# œ œ

œ ! œ œ ! œ ! œ ! œ œ3œ# œ œ [#P#E#R#C# 1 #FILL]

œ œ!œ œ> œ> Ó

œ œ! œ œ> œ> Ó

&?

#

#R.S.

CHORUS 1'A'5 Œ œ œ .œ œ

Jœ> ‰ œ> œ> .œ> œ>G F#ºB©D/E

=MEGA LATIN GROOVE!=! .jœ œ œ œ

! .jœ> =FULL GROOVE=œ œ œ œ

Em 7 D/F#G

3œ œ œ œ ‰ jœ’ ’ ’ ’Am 7 G2/B

3

œ œ œ Jœ ‰ .œ œ

’ ’ ’ .œ œ>CJ D11 D G

&?

#

#R.S.

9 Œ œ œ .œ œ

Œ œ œ .œ œG F#º B©D/E

! .jœ œ œ œ

! .jœ œ œ œ œEm 7 D/F#G

3œ œ œ3

œ œ œ

3

œ> œ> œ>3

œ> œ> œ>STOP!!

Am G C D11D G

[#P#E#R#C# 2 #FILL]"

Ó Œ ‰ œ>†!B!A!N!D IN"

œ>

ORCHESTRATION BY TOM BROOKS

Tommy Walker

"MOURNING INTO DANCING"

Rhythm

&

&?

###

## #

## #

44

44

44

q»§™!

Optional Intro

Œ " œ œ œ œœ œœ œœ œœ œœA

Ó " œ œ œ˙

!

œœ œ œ œ œ œ œD Esus E

˙̇˙ ˙

Ó ‰ .Worship Leader

rœ œ œ œA - bove all

wA

œ œ œ .œ œ ˙DA A

"̇ œ œ œ ˙

&

&?

###

## #

## #....

..VERSE

4 1st time Worship Leader2nd time All.œ œ œ ‰ . rœ œ œ œ

pow - ers, a - bove all

œœœ œœœ œœœ œœœED D Esus E

˙ ˙

œ œ œ ‰ . rœ œ œ œkings, a - bove all

œœœ œœ œ œœœ œœ œA A

C#

˙ œ œ

.œ œ œ œ œ œ œ œ œ .œna - ture and all cre - a - ted

œœœ œœœ œœœ œœœED D Esus E

.œ jœ ˙

&

&?

###

## #

## #

˙ ‰ . rœ œ .œthings; A - bove all

œœœ œœ œ œœœ œœœA A

G#

˙ œ œ

8

.œ œ œ œ œ œ œ œ œ œ œwis - dom and all the ways of man,

œœœ œœ œ œœœ œœ œF#m Amaj7

E

˙ ˙

œ .œ œ œ Œ

œœœ œœœ œ œ ˙̇̇D A

C#

˙ ˙

Words and Music byPAUL BALOCHE and LENNY LeBLANC

ABOVE ALL

© 1999 Integrity's Hosanna! Music c/o Integrity Media, Inc., 1000 Cody Road, Mobile, AL 36695& LenSongs Publishing, 287 Spout Spring Road, Muscle Shoals, AL 35661

All rights reserved. International copyright secured. Used by permission. CCLI #2672885

QUICK FIX for CHARTSBe sure each section is CLEARLY marked

>Verse 1, Chorus 1A - 1B, Bridge, Breakdown

>ReIntro, Pre-Chorus, Chorus Inst., Outro, etc

*Start each section on the LEFT MARGIN

*Start each phrase on the LEFT MARGIN

*Start each Section at the TOP OF A PAGE

QUICK FIX for CHARTSMake each line of Chart = 1 phrase of music

Be sure BAR NUMBERS and SECTION NAMES match on all parts

Avoid “Road Map” charts with confusing repeats, D.S., and jumps

Tape Chart pages - use Ring Binders and Tabs

Encourage Players to write in highlights / changes / traps / etc...

QUICK FIX for CHARTSUse BIG CLEAR MARKINGS to anticipate and avoid potential “Train Wreck” traps...

“BAND STOP! - Vocals only”

“PLAY SECTION 4 TIMES”

“BIG RALL”

“STOP GROOVE” - “Back to Groove”

“3rd Time JUMP TO CODA”

Seeing Music...EYE-to-EYE



by Tom Brooks

of

The LANGUAGE

of MUSIC

‣The Basic Building Blocks of Music

‣Essential Music Theory

‣Contemporary Rock Focus

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 a Physicist

The Language of Music

Class Outline:“The Language of Music” - The GRIDMusic Theory in the 21st Century...

“...it’s time to break a few Rules”Ear Training - yes, Yes, YES!!!Chord Construction - melody & harmonyChord Relationships - “The Journey” - cadencesTransposition - Modulation - Improvisation‘Tom’s Top Ten List’


Just as with any SPOKEN Language, you need to be able to:

Hear it...

Understand it...

Speak it...

Read it...

Write it


Just as with any SPOKEN Language, you need to be able to:

Hear it - *Pure Music is Sound / Aural / in the air

Understand it - *Ear Training

Speak it - *Play fluently

Read it - *Transform from ‘paper’ to real “Music”

Write it - *Chord Chart / Staff / Number System

TheLanguage of Music

...a quick review of the Basics:

The BasicsMUSIC 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 BasicsMUSIC THEORY (QUICK! - TIME’S running out!!!)


1-2-3 do-re-mi Scale Degree Key of C1 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)

The BasicsMUSIC THEORY (2 minutes left)

Chord Quality - Major / Minor

Augmented / Diminished - Extended Chords

The ‘Personality’ of each Chord type... on each degree of the scale

Lead the Journey - emotional impact of each sonority

The BasicsMUSIC THEORY (1 minute to go)

The 12 Major Keys - “Circle of Fifths”

Key Signatures - Time Signatures

Major and Minor Keys

Inversion / Transposition / Modulation

Chord Construction

*The Basic Building Blocks of Music

CHORD CONSTRUCTION4 Types of Triads - Built on C

Major

Minor

Augmented

Diminished

& 44Rhythm

1

wwwCmajor

wwwbCminor

&R.S.

3

wwwCmajor

www#Caugmented

&R.S.

5

wwwbCminor

wwwbbCdiminished


"CHORD PERMUTATIONS 1"

Rhythm

CHORD CONSTRUCTION

PERSONALITY OF EACH TRIAD1 - 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”

&

?

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

CHORD CONSTRUCTION

PERSONALITY OF EACH TRIAD1 - Tonic - Home Base

The 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


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”

TRIADSVoice Chords in 2nds & 4ths

instead of 3rds & 6ths

! "" #$!"#

$%&'()*+%(

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

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

"" **56'76

,+%08$%89*:;&8<;=&;>8?%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“...it’s time to break a few Rules”

The Sweet Collision

Half-tone ‘crash’ between 7-8 & 3-4

“DESERT SONG”

Kari Jobe

& #### c ..A ÛÛÛÛE ÛÛÛÛ ÛÛÛÛC#m7‹ ‹ ‹ ‹ ÛÛÛÛ ÛÛÛÛF#m7 ÛÛÛÛ ÛÛÛÛE ÛÛÛÛ

# ## # ..B

Û Û Û ÛE Û Û Û Û Û Û Û ÛC#m7 Û Û Û Û Û Û Û ÛF#m7 Û Û Û Û Û Û Û ÛD Û Û Û Û# ## # .. ..Û Û Û ÛE Û Û Û Û Û Û Û ÛC#m7 Û Û Û Û Û Û Û ÛF#m7 Û Û Û Û Û Û Û ÛE Û Û Û Û# ## #C Û Û Û ÛE Û Û Û Û Û Û Û ÛC#m7 Û Û Û Û Û Û Û ÛF#m7 Û Û Û Û Û Û Û ÛE Û Û Û Û# ## #

D

E

F

Û Û Û ÛE Û Û Û Û Û Û Û ÛC#m7 Û Û Û Û Û Û Û ÛF#m7 Û Û Û Û Û Û Û ÛD Û Û Û Û## # # Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û# ## # .. ..Û Û Û ÛE Û Û Û Û Û Û Û ÛC#m7 Û Û Û Û Û Û Û ÛF#m7 Û Û Û Û Û Û Û ÛE Û Û Û Û# ## # .. ..p|

E/ABUILDING---->

| |E/G# | |F#m7 | |A [OPT. OPEN VAMP, ON CUE]|# ## # .. ..Û Û Û ÛE Û Û Û Û Û Û Û ÛC#m7 Û Û Û Û Û Û Û ÛF#m7 Û Û Û Û ÛuÛ Û Û

E [VAMP CHORUSES]Û Û Û Û

'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

“LET GOD ARISE”

Chris Tomlin

“REVELATION SONG”

Kari Jobe


Suspension-Resolution

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

&?44

44Rhythm

INTROACOUSTIC GUITAR ONLY:1

œœ œœ œœ œœ ˙̇

’ ’ ’’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

Rhythmã 73 BPM

Chris Tomlin


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!!



1-2-3 do-re-mi Scale Degree Key of C1 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


Scale Intervals and Common TunesInterval Key of C TuneMajor 2nd C - D - (e) Do a (Deer)Major 3rd C - E - (g) Hey Jude (Chorus)

Perfect 4th C - F Here Comes the Bride

Perfect 5th C - G Star WarsMajor 6th C - (e - g) - A Anchors AwayMajor 7th C - (e - g) - B PBS ThemeOctave C - C 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

EVERY CHORD THERE IS - Built on C

Major - with Major 7th / minor 7th

minor - with Major 7th / minor 7th

Personality / function of each

& 44Rhythm

C 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

UPPER TONALITY CHORDS

7ths - 9ths - 11ths - 13ths

Major - Minor; diatonic - borrowed

Add Spice, but rarely change function

& #### c ..A ÛÛÛÛE ÛÛÛÛ ÛÛÛÛC#m7‹ ‹ ‹ ‹ ÛÛÛÛ ÛÛÛÛF#m7 ÛÛÛÛ ÛÛÛÛE ÛÛÛÛ

# ## # ..B

Û Û Û ÛE Û Û Û Û Û Û Û ÛC#m7 Û Û Û Û Û Û Û ÛF#m7 Û Û Û Û Û Û Û ÛD Û Û Û Û# ## # .. ..Û Û Û ÛE Û Û Û Û Û Û Û ÛC#m7 Û Û Û Û Û Û Û ÛF#m7 Û Û Û Û Û Û Û ÛE Û Û Û Û# ## #C Û Û Û ÛE Û Û Û Û Û Û Û ÛC#m7 Û Û Û Û Û Û Û ÛF#m7 Û Û Û Û Û Û Û ÛE Û Û Û Û# ## #

D

E

F

Û Û Û ÛE Û Û Û Û Û Û Û ÛC#m7 Û Û Û Û Û Û Û ÛF#m7 Û Û Û Û Û Û Û ÛD Û Û Û Û## # # Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û# ## # .. ..Û Û Û ÛE Û Û Û Û Û Û Û ÛC#m7 Û Û Û Û Û Û Û ÛF#m7 Û Û Û Û Û Û Û ÛE Û Û Û Û# ## # .. ..p|

E/ABUILDING---->

| |E/G# | |F#m7 | |A [OPT. OPEN VAMP, ON CUE]|# ## # .. ..Û Û Û ÛE Û Û Û Û Û Û Û ÛC#m7 Û Û Û Û Û Û Û ÛF#m7 Û Û Û Û ÛuÛ Û Û

E [VAMP CHORUSES]Û Û Û Û

'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


Bb2

wwww

’ ’ ’ ’IV add 2

F2wwww

’ ’ ’ ’I add 2

C2

Tom Brooks

"CHORD SPELL 3"

Keyboard

CHORD CONSTRUCTION


Major - with Major 7th Family

9 - #11 - 13


& 44Rhythm

C 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


Major - with minor 7th Family

9 + *11* - 13 // + #11 - 13

b9 (borrowed from minor scale) + 11


& 44Rhythm


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.


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


’ ’ ’ ’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


Eb2

wwww

’ ’ ’ ’IV add 2

Bb2

wwww

’ ’ ’ ’I add 2

F2

Tom Brooks

"CHORD SPELL 4"

Keyboard



by Tom Brooks

of

The LANGUAGE of MUSIC

‣Chord Relationships‣‘The JOURNEY’‣Cadences

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



by Tom Brooks

of

The LANGUAGE of MUSIC

‣Transposition‣Modulation‣Improvisation

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 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 holdsthe KEYS

Home on the

RANGE

Lend me Your EARS

MusicalSpelling

Bee

WORDMATCH

**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 you’ve 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 Israel’s “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]

mailto:[email protected]

mailto:[email protected]



by Tom Brooks

of

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 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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