As we have chords by thirds (or 6th), chords by fourths (or fifths), we also have chords built by stacking seconds (or sevenths). Mind you that the fact that a chord by thirds or fourths has seconds in it, doesn’t… Read More »Chords by Seconds
Also referred to as quartal or quintal harmony when the chords are built by stacking fourths or fifths, respectively. These chords don’t need to have these intervals exclusively, as long as fourths or fifths predominate, they are still considered as… Read More »Chords by Fourths and Fifths
The construction of this scale basically consists on adding a b6 on a major scale that unlike the bebop major scale, with similar construction, is treated as a scale degree and not simply as a passing tone: The addition of… Read More »The 6th Diminished Scale
Learning how to harmonize a scale is a procedure that will allow you to figure out the possible chord formations as a consequence of using the notes from that tonality. In order to do so you just… Read More »How to Harmonize Scales
Now that you have a good idea of how each mode sounds and considering that we are dealing with modes from within the same tonality, it is time see how they relate to each other in terms of feel and… Read More »Darkest to Brightest Modes
As the name suggests, these are chords that approach a target chord (that being a tonic chord or any other), by a movement of a half-step either from above or below. Normally, the approach chord will be of the same… Read More »The Usefulness of Chromatic Approach Chords
Also known as Dodecaphony, the twelve-tone technique is a method of musical composition devised by Austrian composer Arnold Schoenberg, as an aftermath of “free atonality”, as a way to replace the structural differentiations present in the tonal system. The core… Read More »Twelve-Tone Music
With the harmonic scale, we run into an augmented 2nd interval between the 6th and 7th degree. The idea behind the construction of the melodic scale is so that the melodic ascension towards the tonic is smoother by raising the… Read More »The Melodic Minor Scale and Modes
Chords aren’t always played in their root position, like a C major with the notes C E and G in this order. While remaining the same, the notes of the chord may change places for practical reasons that may relate… Read More »Chord Inversions
Because a scale is a collection of notes that divide the octave into a certain number of steps, I previously implied that you could create your own scale materials. When you do so, my only advice is that the process… Read More »Synthetic Scale Formations
In this post I will be showing you how to make chords with extensions and how to read them. You will also find a table with examples of common chord extensions, that you are likely to come across, together… Read More »Chord Extensions
As it may happen with polychords, split chords may also imply polytonality. This type of chord is usually a chord built in thirds to which a change is made to one of its chord members and added to it. Those… Read More »Split Chords
“Drop” is a name that describes how a chord was derived from another chord. These chords are usually, but not limited to, seventh chords that are built by dropping the second highest note of that chord one octave down –… Read More »Drop Chord Voicings
Before we dive in, it is important to understand how this scale can be built. The harmonic minor scale stems from a need to have a leading tone in a minor scale that naturally doesn’t exist. In essence, the… Read More »Harmonic Minor Scale and Modes
These scales can be built either with the repetition of the tonic as the root for the second octave, or not. The easiest way of building such scales is by combining two different scales, like so: There are many harmonic… Read More »Two-Octave Scales
Simply put, tonality is a system of musical organization using the same set of notes and chords in which there are perceived relationships with the pitches or chords from within the same group of notes – stabilities, attractions and… Read More »Tonality
Throughout the post, I’ll be explaining what are modes and how you can use them; how you can make chords to emphasize that mode; and compare how they sound differently from each other – the different shades of major… Read More »The Diatonic Modes
The term applies to music that works within a tonal framework and uses chords that have specific functions in that tonality. The functionality of a given chord is based on where the chord “wants” to go next because a harmonic… Read More »Functional Harmony
To lower-level organizational structures I call them Microform and these decisions are related to materials inside a given section or how to prepare to go to the next section. At this point, I am referring to rhythmic parts, melodies, harmony… Read More »Microform as a Low Level Organizational Structure
A commonly accepted definition is that music is organized sound and to do so, we use the musical elements. Any of the presented materials, thus far, would not make much sense if they were not combined and organized in such… Read More »Form – Common Structures and Macroform
