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!

Worth A Tritone Substitution

Hey! This week we covered a dominant variant called tritone substitutions.  Let's get practicing!

1) So we know that each dominant seventh chord shares its tritone with another one. Let's see that in practice: For each dominant seventh chord below, identify the tritone, then figure out which of the other dominant sevenths listed shares that tritone.

• C7
• F7
• Ab7
• F#7
• B7
• D7

2) Alright, now let's talk II-Vs! Below are four progressions: One is a regular II-V, one a chromatic II-V, and the other two are the other variants we discussed in the video. All you need to do is figure out which is which!

3) And finally, let's take a look at those augmented 6th chords. These can be a little complicated, but let's see if you got the idea. For each of the chords below, give me the notes it would contain:

• German Augmented 6th, root: Eb
• Italian Augmented 6th, root: A
• French Augmented 6th, root: F

And that's it! Hopefully you were able to follow along fine, and we'll see you next week!

Writing A Row

Since this week's episode was all about writing, we're gonna focus on that. Let's try writing rows in the various styles discussed! As always, put your answer in the comments below or on the main video.

1) Let's start with a random number generator. Go to random.org and roll up a completely arbitrary row. Now take a look at the intervals: Do you see any patterns? Any emergent structures? Try playing it if you can: What do you hear? Does anything stand out to you?

2) Now let's try to write a row with intervals. pick an interval you like and try to write a row with about 5 to 7 of it. Play it: How does it sound?

3) Finally, let's look at derived rows. Pick a 3-note seed and try to figure out how to extrapolate it into a full derived row. (NOTE: You can build a derived row with any 3-note seed except for a diminished triad. Those don't fit.)

Post your results below, and we'll see you next week!

Secondary Function And The Wonderful World Of II-Vs

This week we went over some really important concepts in modern harmony, so let's get started! As always, put your answers in the comments below or on the main video.

1) Let's start with a discussion question. At the start of the video, we mentioned how the V chord is special, getting most harmonic developments before other chords do. Why do you think that is? What makes the V chord, or dominant function in general, so special?

2) Let's move on to II-Vs, because those are the real meat of this episode. Let's try identifying them: Below are the basic chords for the jazz song I Love You, by Cole Porter. See how many II-Vs you can find! (HINT: There's a lot.)

3) Finally, let's talk about that last thing I said, about the voice-leading symmetries. I'm not gonna give you more work to do than that, but see if you can't go back and figure out what I was talking about there. It's not crucial, but it's an interesting concept and understanding it might give you some valuable insight into harmonic structure. Give it a try!

And that's it! See you next week!

An Exploration Of Odd Accents

Well that was fun. Odd accents are a bit hard to do exercises for, since they're mostly just something to play around with, but let's see what we can come up with. As always, put your answers in the comments below or on the main video.

1) Let's start with a listening exercise. Go through your favorite songs and see if you can find any odd accent patterns. If you hear off-beat emphasis, try to figure out if it's really an odd accent or if it's just syncopation. If you're not sure, share it and I'll try to help you figure it out, although really it's kind of a judgment call anyway.

2) Let's look at the clave specifically. Go back and listen to it again: How would you describe the feel? What does it make you think of? Specific emotions? Specific songs? That rhythm has been used all over the place in a lot of different ways. Try tapping it out. How would you use it?

3) Try making up your own odd accent patterns. Remember, the sky's the limit! Use whatever rhythmic subdivisions you like. Try tapping out your rhythms, or if you play an instrument try playing it on there. Maybe even write a melody with it!

And that's odd accents! We'll see you next week!

Secondary Dominants: A Thing You Should Probably Know About

And we're back! We kicked off the new year with secondary dominants, an important but kind of complicated concept. But don't worry, we're here to help! As always, you can put your answers in the comment box below or on the main video: Either way, we'll get back to you. Let's get to the exercises!

1) Let's start by analyzing secondary dominants in isolation. For each chord below, use the key signature to identify what degree it's the secondary dominant of. The first two examples give you the chord and the key names, the next two just the chord, and the last two you'll have to figure out on your own. (All the keys are major.)

2) Now let's look at it another way. Let's start with the key of C major and identify every available secondary dominant. For each chord in C major, what secondary dominant would resolve to it? What non-diatonic notes are needed in order to make that secondary dominant? What about B diminished? Does a secondary dominant for that make sense to you?

3) Write something! Maybe try the interpolation method, finding a chord progression you like and inserting some secondary dominants to help guide the listener along. Or start with an interesting resolution and build around it. It's up to you! If you have a progression you think is interesting, send it to me and I'll try to get you a track of it so you can hear what it sounds like.

And that's secondary dominants! Welcome back, and we'll see you next week!