4 making your praise band rock
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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
10 Steps to make your Praise Band ROCK!
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!!!
10 Steps to make your Praise Band ROCK!
1. Draw a ‘Line-in-the-Sand’ - The BIG Meeting“Urgent” versus “Important”
URGENTto you
IMPORTANTto you
URGENTto others
IMPORTANTto others
10 Steps to make your Praise Band ROCK!
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
10 Steps to make your Praise Band ROCK!
3. To GROOVE or not to GROOVE... There is No Question!
“What does it mean?!?!?” {let’s talk later}
{{Korean Piano Girl}}
10 Steps to make your Praise Band ROCK!
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’!
10 Steps to make your Praise Band ROCK!
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!
10 Steps to make your Praise Band ROCK!
6. ORCHESTRATE!
...in a Rock-n-Roll way
Simple Effective Band Arranging{Gab’s plate}
10 Steps to make your Praise Band ROCK!
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
10 Steps to make your Praise Band ROCK!
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
Build on Solid Ground:
THE GROOVE
Locking with Drums...***Kick***Hat***Tom Fills - CrashExample 2 - Cetera
Build on Solid Ground:
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# 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# 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
Arranged by Tom BrooksWorshipAlliance.com
"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’
Build on Solid Ground:
THE GROOVE
Locking with Drums...***Kick***Hat***Tom Fills - CrashExample 4 - How Far Is Heaven
Build on Solid Ground:
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
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
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
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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Select a territory: United States
View Top 25
SongSelect / Copy Report
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• Song Search Which songs are covered?
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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
STEP #5 - Build on Solid Ground:THE GROOVE
STEP #5 - Build on Solid Ground:THE GROOVE
• 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
STEP #5 - Build on Solid Ground:THE GROOVE
• 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 > > >
Arranged by Tom BrooksWorshipAlliance.com
"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 ~~~
Arranged by Tom BrooksWorshipAlliance.com
"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"
CHORD CHARTSChord Charts versus Traditional Music
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
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CHORD CHARTSChord Charts versus Traditional Music
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
! """ # $$ $$!"#$ !"#$%&'$()
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Rhythmic Options: Broken Chord Pattern
! """" # $ $ $ $! "
$ $ $ $#"$%
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! """"!"#$"%&' $ $ $ $! "
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CHORD CHARTSChord Charts versus Traditional Music
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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#
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44Rhythm
INTRO
HOOK [1]1
œ(no chord)
! œ œ ! œ ! œ ! .Jœ œ œ œ
Ϡ!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
&?
#
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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
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#
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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
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’ ’ ’ .œ œ>CJ D11 D G
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Am G C D11D G
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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 ˙
&
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###
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..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
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###
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˙ ‰ . rœ œ .œthings; A - bove all
œœœ œœ œ œœœ œœœA A
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.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
˙ ˙
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˙ ˙
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
The One Minute Music Manager
?
| !e Institute of Worship Arts at Yonsei University
Practical Music !eory for the Worshiping Musician
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’
The Language of Music
Just as with any SPOKEN Language, you need to be able to:
Hear it...
Understand it...
Speak it...
Read it...
Write it
The Language of Music
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 / A-B-C /...it’s all the same
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
The One Minute Music Manager
?
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
ORCHESTRATION BY TOM BROOKS
"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
’ ’ ’ ’_________
***Spell the notes in each Chord and write them in the Treble Staff:
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
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”
TRIADSVoice Chords in 2nds & 4ths
instead of 3rds & 6ths
! "" #$!"#
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2-3 ,"4 % && && &&,"-. /"'+001( && & & )2-3 ,"4
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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
“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...
Music Theory in the 21st Century“...it’s time to break a few Rules”
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
Music Theory in the 21st Century“...it’s time to break a few Rules”
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
œœ œœ œœ œœ ˙̇
’ ’ ’’
œœ œœ œœ œœ ˙̇
’ ’ ’’
œœ œœ œœ œœ ˙̇
’ ’ ’’
&?
..
..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
’’’’
Arranged by Tom BrooksWorshipAlliance.com
"HOW GREAT IS OUR GOD"
Tom Brooks
"This Is Chicago"
Sears Tower 1993
Rhythmã 73 BPM
Chris Tomlin
Music Theory in the 21st Century“...it’s time to break a few Rules”
End on TonicUse 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 complexCLEAR & SIMPLE
is always the Best Choice
The One Minute Music Manager
?
Ear Training!!
The BasicsMUSIC 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 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
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
ORCHESTRATION BY TOM BROOKS
"CHORD PERMUTATIONS 2"
Rhythm
&
?
bb b
b b b
44
44Rhythm
1
’ ’ ’ ’_________
***Spell the notes in each Chord and write them in the Treble Staff:
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
’ ’ ’ ’_________
***Spell the notes in each Chord and write them in the Treble Staff:
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
’ ’ ’ ’
***Write in the Chord Symbol Chord and write the Notes in the Treble Staff:
IRoman Numeral Symbols:
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
EVERY CHORD THERE IS - Built on C
Major - with Major 7th Family
9 - #11 - 13
Personality / function of each
& 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
ORCHESTRATION BY TOM BROOKS
"CHORD PERMUTATIONS 3"
Rhythm
CHORD CONSTRUCTION
EVERY CHORD THERE IS - Built on C
Major - with minor 7th Family
9 + *11* - 13 // + #11 - 13
b9 (borrowed from minor scale) + 11
Personality / function of each
& 44Rhythm
C 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®
ORCHESTRATION BY TOM BROOKS
"CHORD PERMUTATIONS 4"
Rhythm
&
?
b
b
44
44Rhythm
1
’ ’ ’ ’
***Write in the Chord Symbol Chord and write the Notes in the Treble Staff:
IRoman Numeral Symbols:
[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
’ ’ ’ ’
***Write in the Chord Symbol Chord and write the Notes in the Treble Staff:
IRoman Numeral Symbols:
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
| !e Institute of Worship Arts at Yonsei University
Practical Music !eory for the Worshiping Musician
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
| !e Institute of Worship Arts at Yonsei University
Practical Music !eory for the Worshiping Musician
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 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 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
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 spelledG - 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
.
EA A E
Wheel of MIS-fortune
.
EA A E
I
Wheel of MIS-fortune
.
EA A
OE
I
Wheel of MIS-fortune
.
EA U A
OE
U I
Wheel of MIS-fortune
.
EA N U A
OE
U I
Wheel of MIS-fortune
.
EA N U A
OE
U I C
Wheel of MIS-fortune
.
T EA N U A
OE
U I C
Wheel of MIS-fortune
.
T EA N U A
OE
M U I C
Wheel of MIS-fortune
.
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... TomBrooks@WorshipAlliance.com
| !e Institute of Worship Arts at Yonsei University
Practical Music !eory for the Worshiping Musician
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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