Jonathan Peters - Music Composition 2
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Music Composition 2: summary, description and annotation
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Includes free life-time access to on-line quizzes and audio samples)Music Composition 2 is the second book in a two book series by award-winning composer, Jonathan Peters, which explains how music is formed and how to compose your own music. Book 1 covers the study of rhythmic and melodic composition, while book 2 covers harmonic composition and compositional form. Each lesson covers a particular concept (or related concepts). Concepts and compositional techniques are demonstrated throughout the course with real musical examples (pictures and on-line audio samples). Each lesson also contains memory questions, access to on-line quizzes, listening assignments, and composition assignments. Memory questions serve to summarize and reinforce key concepts learned, while the quizzes tests the students knowledge and understanding of the material from each lesson. In the composition assignments students will get real life practice using the information and techniques learned in each lesson to write their own chord progressions and entire pieces.WHAT ARE THE REQUIREMENTS FOR THIS COURSE? A computer with internet connection, screen, and speakers.A basic knowledge of music theory. If you do not already have a rudimentary understanding of music theory, it is recommended that you take a music theory course before this course. (See Music Theory by the same author)Some type of music notation software. The notation software demonstrated in this course is the Finale NotePad software. NotePad is a very basic music notation program and has all the necessary functions for a beginning composition student. An important part of music composition is getting your music to paper, and so this course will also develop the students ability to properly notate their music. This software not only prints professional looking sheet music, it also allows the student to hear their compositions as they are writing them. You can read more about NotePad and download it for FREE at: www.finalemusic.com/NotePad Although not a necessity, it is very beneficial that the student have some ability to play the piano (or other instrument)It is also recommended that you take Music Composition 1 (by the same author) before taking this course. WHAT AM I GOING TO GET OUT OF THIS COURSE? Includes free life-time access to on-line audio samples and quizzes for each lesson By the end of the course you will understand be able to compose chord progressions. You will also have composed a number of entire pieces in various compositional forms.You will learn how to develop your harmonic material through a variety of compositional techniques.You will learn about musical texture and how rhythm, melody, and harmony are combined.You will get practice notating music using basic music notation software. WHO SHOULD TAKE THIS COURSE? Anyone who has always wanted to learn how to write music! Every student of music! Beginning Composers/Songwriters Composers/Songwriters with previous knowledge or experience who want to brush up and hone their skills (and maybe learn some new techniques!) Although this course uses many examples from classical music, most of the information and compositional techniques learned in this course can be used by musicians of other genres.If you want to deepen your understanding of music, learn to write it! Note: If at any point in this course you have music composition questions that you would like answered or if you would like to have each composition assignment reviewed and commented on, please contact the author at his web site www.ComposerJonathanPeters.com about receiving this service.
Jonathan Peters: author's other books
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Music
Composition 2
JONATHAN E. PETERS
Copyright 2014 Jonathan E. Peters
All rights reserved.
ISBN-10: 1503284611
ISBN-13: 978-1503284616
To MY PARENTS
for the gift of life and for paying for all those music lessons!
Contents
1. TONAL FUNCTION
BEFORE WE BEGIN
This is the second course in a two course series on music composition. The first course, Music Composition 1 , dealt with the study of rhythmic and melodic composition. If you have not taken Music Composition 1 , it is highly recommended that you do so before taking Music Composition 2 . Music Composition 2 is divided into two portions. The first portion deals with the study of harmonic composition. The second portion deals with the study of compositional form.
To get free life-time access to all of the audio samples for the diagrams in this book and also quizzes for each lesson, please go to:
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CHORDS OF THE SCALE
If you have studied music theory then you know that music written in a key is built upon the notes of the scale. The notes of the scale are the palette of pitches a composer can choose from to form a melody. They are also the notes the composer can use to form harmonies.
Using only the notes of the C major scale we can form the following chords.
If a composer is writing a piece in the key of C major, these seven chords are the chords they will most likely use to harmonize their melodies and to construct their chords.
Note: It is possible for a chord to use pitches outside of the key, but right now we are only dealing with diatonic chords (chords that use only the pitches of the diatonic scale).
In this lesson we will look at three chords in particular: I, IV, and V. These chords are called the primary chords. It doesnt matter which notes of the scale we choose to form our melodies, they can all be harmonized with one of these three chords. The following diagram will help to illustrate this. The right hand consists of a C major scale. The left hand consists only of primary chords and harmonizes the scale.
(Lesson 01 - Audio 01)
DEPARTURE, ANTICIPATION & RETURN
When chords move from one to another in succession toward a definite tonal goal it is called a chord progression . Many chord progressions conform to the basic structure of departure, anticipation, and return. Departure is the moving away from the tonic, anticipation is the aural expectation of hearing the tonic again, and return is the coming back home to the tonic chord. (The tonic chord is the I chord or root chord of the key. It is the chord in which we feel at rest.) To achieve this structure of departure, anticipation and return, at least three different chords are needed; the tonic chord and two other chords.
The first thing needed is to establish a tonic. A single chord by itself cannot establish a tonic since a single chord is ambiguous and could be interpreted in a number of ways.
The F major chord in the preceding diagram could be any of the following.
I chord (in the key of F major)
V chord (in the key of B flat major)
IV chord (in the key of C major)
VI chord (in the key of A minor)
If a single chord cannot establish a tonic, can a progression made up of only two chords establish a tonic? The answer isnot really. A progression of only two chords is still not enough to establish a tonic since there continues to be some degree of ambiguity as to which chord is acting as the tonic. Take for example the following chord progression.
(Lesson 01 - Audio 02)
It sounds like we might be in the key of F major and that the progression is a V (C major chord) moving to a I (F major chord). The problem is, without more musical context we really cant tell if we are coming or going. In other words, is the second chord the departure from the first chord, or is the first chord the anticipation of the return to the second chord? We therefore need at least three chords to establish a tonic.
Here is the preceding example with more musical context. What at first sounded as if it was in the key of F major, is actually in the key of C major.
(Lesson 01 - Audio 03)
IV serves as the departure from the tonic, V sets up the anticipation of the return to the tonic, and I is the return to the tonic. As you can see, not only can the primary chords harmonize any melody made up from the pitches of the scale, they also provide the sense of harmonic movement necessary to chord progressions. This brings us to the topic of tonal function .
Every chord has a tonal function. Tonal function is the role each chord plays in a chord progression. A chords tonal function is determined by the degree of the scale the chord is built upon.
There are three tonal functions: the tonic function , the pre-dominant function (also called the subdominant function), and the dominant function .
The function of the tonic is to establish the key.
The function of the pre-dominant is to lead to the dominant.
The function of the dominant is to lead back to the tonic.
Each of the primary chords falls into one of these categories. The I chord obviously has a tonic function, the IV chord has a pre-dominant function, and the V chord has a dominant function.
Note: This is not to say that every chord progression must follow the pattern: I - IV - V - I. Since this is a beginning course on music composition, knowledge of the three basic tonal functions will serve as a great foundation and springboard for further study.
When a piece is written in a minor key, the primary chords (i, iv and V) have the same tonal functions as the primary chords in major keys. The V chord in the following example is major since we are using the pitches of the harmonic minor scale. (See Music Theory by the author)
(Lesson 01 - Audio 04)
We will learn more about tonal function and other types of chord progressions in the coming lessons.
VOICE LEADING
Since this is a beginning course in music composition we will not be covering more advanced topics such as four-part writing, open and closed voicing, etc. We will however need to understand a few basic principles. One of these principles is the principle of voice leading .
Theoretically, any chord can move to any other chord. There are however certain elements that make some chord progressions more appealing than others. One of these elements is the voice leading between chords.
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