A Scale For Every Chord

Hey folks! This week we talked about chord scales, a useful tool for melodies and improvisation. Let's get to the exercises!

1) For the progression below, I want you to do a couple things. First, I want you to figure out the "correct" chord scale for each chord in it, using relative modes. Try writing a melody using those scales! Then I want you to change one or more scales to different, also-appropriate ones and see if you can write a melody using those too. Get creative! Feel free to send me your melodies and I'll try to get you a demo track if you can't play it yourself.

2) Ok, that last one was a lot of work, so let's keep this next one simple. Near the end we talked about pivot modulations, and how a chord could have multiple scales associated with it at once. What do you think of that? Which answer makes the most sense to you? Absent surrounding context, what would you lean towards, theoretically?

3) Finally, let's grab a quick preview. We mentioned that dominant chords have a lot of available chord scales. Mixolydian is, of course, the most obvious, but there's so many others. Can you think of any other scales we've talked about that would fit over a dominant chord? How about ones we haven't talked about? Are there any scales you've encountered elsewhere that would fit over a dominant 7th chord?

And that's it! Put your answers in the comments below or on the main video, and we'll see you next week!

6/4, Good Buddy

This week we covered the 6/4 chord, or some ways to use second inversion rooted in classical composition. Let's dive in!

1) First let's see if you can identify the different types. Below are 6 examples of auxiliary, passing, and cadential 6/4s. But which are which? Some have chord symbols to help, others don't.

2) Let's try some voicings. Below are some set-ups for various types of 6/4 chords. For each, I want you to tell me what each voice should be doing on the 6/4 chord itself. The first should be an auxiliary 6/4, the second passing, and the third cadential.

3) Finally... let's go for broke. The 6/4 chord is a classic figured bass technique, so let's try a figured bass exercise. below is a figured bass example that contains all three types of 6/4 chord. Try realizing it in four parts. Remember our four-part writing rules!

Good luck! Post your answers in the comments below or on the main video, and we'll see you next week!

Diminished 7th Modulations and the Swiss Army Pivot Chord

Not gonna lie, I've been waiting to make this video for about over a year now, and we finally got the chance to! Let's do some exercises to make sure you got it.

1) First we'll make sure you got the concept. Let's take a look at E diminished 7. For each of the 12 keys, what means do you have of pivoting through E diminished 7? Hint: Start by figuring out what the enharmonic chords are.

2) Now let's have a discussion question. Listening to the resolutions, were there any that didn't sound right? Any you think didn't really work? Or did they all sound good? Structurally speaking, does this make sense to you? Does it seem interesting? Surprising? How would you describe this phenomenon?

3) Finally, let's do a writing exercise. Taking what you've learned (including from previous episodes) try to write a progression that uses these to modulate. If you're feeling adventurous, maybe even modulate more than once. I'm not gonna tell you where to modulate to and from because part of the point is that you can go anywhere, so use whichever device feels right to you. I'd aim for 16 chords minimum, to let you establish both keys, but whatever works. If you can't play your progression, send it to me and I'll try to make you a demo.

And that's it! Put your answers in the comments below or on the main video, and we'll see you next week!

Counterpoint: Round The World

Hey guys! Today we finally started talking counterpoint! Not the most advanced counterpoint, certainly, but that's ok, we've gotta start somewhere. Let's talk rounds!

1) Let's start by talking about counterpoint. Had you heard of it before? If so, in what context? If not, what do you think of the idea? Either way, can you think of some examples you've encountered before?

2) Let's look at other rounds. Pick another round you remember and look up the melody. Analyze it like we did with Frere Jacques and see if you can figure out what the underlying chord progression is. Some of them only have one chord, others have way more. See what you can find!

3) Finally, let's try writing your own! It's not as hard as it sounds. We actually made a video demonstrating this, which you can watch here if you haven't already: https://youtu.be/gmgOjHTlImM

Just pick a chord progression you like and see what you can do with it. If you can't come up with one on your own, try this one:

Or use one of your own. Up to you! Good luck! As always, you can put your answers in the comments below or on the main video. See you next week!

Diminished 7ths: Tritones Taped To Tritones

Hi! This week we talked about one of my favorite chord types, the diminished 7th. Let's dive in!

1) Let's start by looking at symmetry. This is one of the most important aspects of diminished 7ths. So for each of the chords below, give me three other enharmonic diminished 7th chords, chords that would sound exactly the same.

1. D diminished 7
2. G diminished 7
3. A diminished 7
4. E diminished 7

2) Now let's look at common tone resolutions. Each of the resolutions below is either a dominant or common tone resolution. All you have to do is tell me which one each is. Be careful! I used some enharmonic chords so it's not always obvious what the true root is.

3) Finally, let's talk about sound. It's easy to get lost in its structure, but the diminished 7th chord also just has a pretty unique sound. Go back and listen to it. How does it make you feel? How would you describe the sound? What emotions would you use it to convey?

Put your answers in the comments below or leave them on the video, and we'll see you next time!

Striking A Chord: Power Chords, Sus Chords, And Added Notes

Hey! This week we talked about some chord variants when we stop worrying about being quite so tertian. Let's try some exercises!

1) As we mentioned, one great use of power chords is in riffs. They don't carry as much harmonic weight as normal chords, so you can use them to create melodies with your supporting harmony. There's no better way to learn than by doing, so let's try writing a power chord riff! Use any of the rhythmic or scale tricks we've learned so far, just try to make something that sounds cool. As always, if you can't play it yourself, send me a transcription and I'll try to get you a sample recording.

2) Sus chords! Sus chords let you extract some extra movement and dynamics from static harmony. We talked about a bunch of different types of sus chords, so let's make sure you understand them all. Give me the notes in each of the following:

• A sus 4
• D sus 2
• F# sus 2/4
• Bb7 sus 4

3) And finally we get to added note chords. For this one, I want to examine something I said in the video a little closer. I mentioned that, no matter what quality the triad is, 6 chords always use a major 6th. But why is that? Why do you think that would be the case? Why wouldn't a minor 6 chord use a minor 6th? This might require you to use knowledge from some of our earlier videos.

And that's that! Put your answers in the comments below or on the main video, and we'll see you next week!

Tensions: Somewhere Over The Chord Tones

Hey! Today we talked about chord extensions, best known by their nickname "tensions". They're not that complicated, but let's get some practice to make sure you got it! As always, you can put your answers in the comments below or on the main video!

1) Let's start with identification. For each chord listed below, tell me the listed tension, and whether or not it fits over that chord.

1. What's the 9th or Ema7?
2. What's the 11th of A7?
3. What's the b13th of C#mi7?
4. What's the #11 of Gmi7?

2) Now let's look a little harder at avoid notes. For each diatonic chord in the key of F major, tell me all its diatonic available tensions. An available tension is any tension that is not an avoid note for that chord. To get you started, the available tensions of Fma7 are G (the 9th) and D. (the 13th)

3) Below is a progression of 7th chords. Write a melody over it. Use at least one tension per bar. Remember: Tensions are used like chord tones, so you can sit on them for a while.

Here's an example of that progression being played a couple times. Try to play your melody along with it if you can. If you can't, send me notation of it and I'll try to get you audio of what it sounds like, hearing your compositions is really useful.

And that's it! See you next week!