MP102 Intro – Part II

Quick review of Part I Building triads Building triads Making chord progressions Making chord progressions Creating a melody with Consonance Creating a melody with Consonance

Consonance and Dissonance Consonance: chord tone Consonance: chord tone Dissonance: non-chord tone Dissonance: non-chord tone (Not an official definition, but will get you far in life)(Not an official definition, but will get you far in life) Consonance is the “ center of gravity ” Consonance is the “ center of gravity ” Dissonance is the “ spice ” Dissonance is the “ spice ”

Types of dissonance Passing tone Passing tone fill in the gaps between chord tonesfill in the gaps between chord tones Neighbor tone Neighbor tone Step off of chord tone and returnStep off of chord tone and return Suspended tone Suspended tone Tone “ hangs over ” from last chordTone “ hangs over ” from last chord Becomes dissonant when the chord changesBecomes dissonant when the chord changes Leaning tone Leaning tone Accented dissonanceAccented dissonance Can be introduced by a leapCan be introduced by a leap Anticipation Anticipation tone changes before the chord doestone changes before the chord does Becomes consonant when the chord changesBecomes consonant when the chord changes Can be introduced by a leapCan be introduced by a leap Almost ALL dissonances are “ resolved ” by a step motion of course, there ’ s always an exception… Escape tone Escape tone Introduced by step; resolved by leap in opposite directionIntroduced by step; resolved by leap in opposite direction

We’ll do this one together

Using syncopation Moving the note “ off the beat ” Moving the note “ off the beat ” Using a dotted rhythm Using a dotted rhythm Sometimes what you DON ’ T say is more important than what you say Sometimes what you DON ’ T say is more important than what you say Use restsUse rests

The 12-Bar Blues Form is 12-bars long (duh) Form is 12-bars long (duh) Based on a defined chord progression Based on a defined chord progression There are variationsThere are variations Uses Dominant 7 th chords Uses Dominant 7 th chords Melodies use “ Blue ” notes Melodies use “ Blue ” notes Derived from Blues ScaleDerived from Blues Scale Examples: Examples: “ Thrill is Gone ” - B.B. King“ Thrill is Gone ” - B.B. King “ The Twist ” - Chubby Checker“ The Twist ” - Chubby Checker “ U Got the Look ” - Prince/Sheena Easton“ U Got the Look ” - Prince/Sheena Easton “ Soul Bossa Nostra ” - Quincy Jones“ Soul Bossa Nostra ” - Quincy Jones

The Dominant 7 chord V 7 V 7 Comes from adding a 7th over the root of a triad built on the 5 th scale degreeComes from adding a 7th over the root of a triad built on the 5 th scale degree Major triad with minor 7 th added Major triad with minor 7 th added For the Blues: For the Blues: You will need to “ flat ” the 7 th of the I and IV chordsYou will need to “ flat ” the 7 th of the I and IV chords “ flat ” = lower by a half-step“ flat ” = lower by a half-step Sharp becomes natural Sharp becomes natural Flat becomes double flat Flat becomes double flat

12-Bar Blues Progession There are several variations Rock Blues: I-I-I-IVI-VI-I-IV–V–I-I “ Chicago ” Blues: I-IV-I-IVI-VI-I-IV–IV–I-I Jazz Blues: I-IV-I-IVI-VI-I-Iii–V–I-I

Blues Scale Add flat-3, flat-5, and flat-7 Add flat-3, flat-5, and flat-7 Ex: C-Blues scale: C-E b -F-G b -G-B b -CEx: C-Blues scale: C-E b -F-G b -G-B b -C Gives you “ Major/Minor ” flavor Gives you “ Major/Minor ” flavor

Building bass lines Root of chord on the beat Root of chord on the beat Can ’ t go too wrong with this approachCan ’ t go too wrong with this approach However, sometimes inversion makes the progression more interestingHowever, sometimes inversion makes the progression more interesting eg: No Woman No Cry eg: No Woman No Cry Walking Bass Walking Bass “ Fill in the Gaps ” with steps and leaps“ Fill in the Gaps ” with steps and leaps Generally outlines the “ beat ”Generally outlines the “ beat ” Ostinato Bass Ostinato Bass Repeating rhythmic motifRepeating rhythmic motif Pedal Point Pedal Point Stay on the same note, even when the chord changesStay on the same note, even when the chord changes Can create interesting tensionCan create interesting tension