What The Heck Is Neo-Riemannian Analysis?

Well that's... different. Let's do some exercises!

1) Let's start with transformation paths. For each of the following sets of chords, see if you can find the shortest set of transformations that will get you from one to the other:

• G# minor to A major
• Db major to G minor
• F# major to F minor
• C major to F major
• B major to Bb minor
• A minor to E major

2) Second... We broke down the compound transformations starting from a major triad, but what about minor? Try starting from A minor and build a tree like we did in the video. How does it compare to the major tree?

3) Discussion time! What do you think of this method? Does it make sense? Does it seem useful? If so, how would you use it? If not, does it at least seem interesting?

And that's Neo-Riemannian Analysis... For now. See you next week!

Augmented Triads: The Six Million Dollar Chord

Hey! This week we talked about augmented triads and some of their uses. Let's try some exercises!

1) Let's start at the end. I mentioned that any augmented triad could modulate to any key, but how? See if you can figure it out! Remember they're symmetrical, so you only need to find ways to four different groups of keys. Can you find more than one way to a key? What's the simplest?

2) Next, let's talk line cliches. What did you think of their sound? We covered a few of the most common types, but there are others. Can you think of any more examples? Maybe moving a different note? Or maybe the line doesn't go the same way the whole time? Come up with some ideas and try them out!

3) Finally, let's talk chord scales. Specifically, let's look at the Whole Tone scale. Whole Tone can be thought of as the notes of two augmented triads a whole step apart. What are some possible uses for that? We covered some basic places you might see it, but there's a lot of more creative options out there. Play around with it, see what you can come up with!

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

Fire The Canons!

Canons! No, not cannons, those are totally different. Let's get started!

1) Let's begin with a bit of score study. Pachelbel's Canon in D is perhaps one of the best-known canons out there, and it's a great example of the style. Here's a copy of the score, and here's a recording. Listen to it for as long as you can and try to differentiate the various violin lines. It'll be tricky if you're not used to it, and you may get distracted by the cello and harpsichord (This is an accompanied canon.) but really try to listen to how the different independent voices interact.

2) Now let's try writing one! These get harder and harder to do the more rules you add on, so I don't want to overburden you. If you want to just write a simple canon, that's great! If you want to try one (or more) of the more advanced versions, give it a shot! Whatever you feel up to. Just share it here when you're done, and if you can't play it I'll try to get you a demo track of it. Have fun!

3) Last, let's have a discussion question. Had you heard of canons before? Did you know what they were? What do you think of them? Are there any variations that particularly stand out to you? Even better, can you think of any ways to play with them that we didn't cover? Any new variations? Let us know!

And that's it! As always, you can put answers in the comments below or on the main video, and we'll see you next time!

The Twelve Tone Matrix Reloaded

Hey! This week we talked about a really useful (And fun) tool, the twelve tone matrix! As always, put your answers in the comments below or on the main video. Let's get started!

1) Let's start with the new notation. Below is a twelve-tone row, with standard note names below it. How would we write this row with our new numbering system?





2) Now let's get to the main attraction. It's matrix time! Make a matrix, using any row you want. If you can't think of one, try using the one from exercise 1. Or create your own, whichever you want! And now that you have the matrix done, why not try writing something with it if you feel up to it?

3) Let's talk about composition techniques. We covered a bunch of these in the video. Did any stand out as interesting to you? Were there any that seemed like something you'd want to try? Or did you think of any other techniques or tricks that we didn't mention? Let us know!

And that's it! See you next week!

Scaling The Summit With Dominant Scales

Hey! This week we talked about the scales we use over dominant chords. There's a lot to cover, so let's jump right in!

1) First let's take a look at some examples. Below are some dominant resolutions. Which scale would you use over each dominant chord? Mind the key signatures. There are multiple right answers to some of these, so don't be afraid to get creative!

2) Can you think of any other dominant scales? We covered many of the more common ones, but there's plenty of other ways to construct them. All you need is a shell voicing: Everything else is wide open. Try to devise some of your own and, if you can, try to play them and see how they sound.

3) We mentioned that the Blues scale is often used over dominant chords, but that's really weird, isn't it? It doesn't even have the leading tone in it. So why does it work? What do you think? Or do you even think it does? It might help to do a little research on its history, if you really want to go deep here.

And that's it! We'll see you next week!

Talking Like A Musician: Solfege and Chord Functions

This week we went over some terminology so you can sound overly smart when talking about music. Let's dive in!

1) For the melody below, first identify each pitch in fixed do. Then, once you have that, try it in movable do. Remember the key signature!

2) Let's talk about fixed and movable do. I know I biased the answers by giving my opinions first, but what do you think of them? Which seems like a better system? What are some situations where fixed do is more useful? How about movable do?

3) Finally, let's talk chord functions. As the video mentioned, we've talked about the primary functions (Tonic, Dominant, and Subdominant) before. In fact, the function groups take their name from these: To be a tonic function chord means that you're similar to the primary Tonic chord, the I. So just to make sure you understand, let's sort our new names into our old function groups. We mentioned 8 names: Tonic, Supertonic, Mediant, Subdominant, Dominant, Submediant, Subtonic, and Leading Tone. For each of those, just identify whether it's a Tonic function, Dominant function, or Subdominant function chord.

And that's it! We'll see you next week!

Odd Meter Out

This week we looked at what happens when time signatures go rogue. Let's do some exercises! As always, answers in the comments below or on the video.

1) Below are some examples of rhythms in 7/8, 9/8, and 5/4. I've removed the time signatures: Can you put them back correctly?

2) Let's talk groupings. Take, say, 23/16. What are some ways we might break that up? Try to come up with a couple different ones and tap them out to see how they sound. Once you've done that, maybe pick another obscure meter and see what you can do with that one. Getting a handle on these groupings is fundamental to being able to write with them, so don't hold back!

3) Finally, try writing a melody with an odd meter. For this, probably stick to one of the basic ones, 5/4, 7/8, or 9/8. Or if you want, try writing melodies for all three! Send me some notation for them and I'll try to get you an example track.

And that's it! See you next week!