Let's well structure hot pop elements into perfect harmonic frame . I eventually it's an architecture very hard to improvise. In fact, an improvised device may be easily explosive.
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A confined structure suggested in study of Jewish folk and Tang Poetry, has refined elements effectively with musical meaning. Yet, in this construction, you may not necessarily follow this principle all through, as it is to be mathematically simple at certain stage of structuring.
Here , let me firstly cover some basics for the starter, and the advanced learner may just have exemption on this lesson.
1> Harmonic frame
Basic chords :
I II III IV V VI VII represent the sequence on scales
C major: C D E F G A B
D major: I II III IV V VI VII
D E #F G A B #C
When talking about function of harmony in different keys, the sequence means the note a chord build up on.
Here the basic functional chords in every scales , I, IV, and V.
I : chord build on the 1st note of each scale , C major : C, E, G; D major : D ,#F , A
IV: 4th chord of each scale , C major : F, A, C; D major : G, B, D
V : 5th chord of each scale , C major : G , B, D ; D major : A, #C, E
Regular pattern of harmonic progression in music are:
I-V, I- IV- V, Phrase stop at V, are used in middle of music.
I-V-I, I- IV-I , I- IV-V- I I , used as conclusion of music.
We classify the chords according to its harmonic function:
group of I : I
group of IV : II, IV, VI
group of V : III, V, VII
Order of V-IV is very unusual, so sound unnatural:
Example : The song started in D major, with a second instrument tuned in G major. Where is the odd effect from?
According to D major, this progression is
(D)I- (accidental natural C) flat VII - IV(G).
VII( V function)- IV, is impossible in D major .
If we count as in G major then :
(D)V - (C) IV- (G)I ,
As you can see it's a totally reversed procession. A half G chord, in B(3rd) and D(5th), was in between of D and C, but isn't functional, as it didn't stand on the root( G missing ), so is a D11-13 chord in nature , instead of a G chord.
This explanation is on the nature of chords decided by root note, often on bass instrument.
If we must tell where the odd we heard is from, this is the theoretical explanation.
As a matter of fact, guitarists and keyboard do have natural advantage of harmonic sense. In the other hand, despite the theory may still sound complicated immediately, a natural sense has already been in most of people without their awareness. If you are following the study however unable to reach so far instantly, I do suggest you have patience on even the very first little step.
2> Position
A second principle of harmony, is the even middle note , in between the higher and the lower.
Baroque music has inspired fresh and experimental compositions , including those inspired by Violin Partita . In fact, to create a powerhouse of 3 dimension architectural spaces with , or even one single instrument, no one else could teach better than J.S. Bach.
Harmonic study is often a pure mathematics(count and calculate) study with paper and pens, based on theory first, then heard next. But we understand it with hearing and discerning, and test.
For example
In G :
I: b, d, G(root) - V: a, D(root), f sharp - I:. G(root), d, b
As in the example of I- V-I , traditional harmonic principle is the middle note kept even ,here all in D. Or generally the closest note .
1> You will see it forms three separate melodic lines.
2> For the advanced you can see the same chord on G with different positions, when middle note kept even, reverse the top and bottom is possible, and bring totally different sense of space.
With such knowledge, one is able to explore in a wider choices of spacial and expressional design, after hearing the difference.
Further, the significance of studying the open(wider) chords, is to construct the architectural space of Baroque style and the secret acoustic powerhouse with a single instrument, simply aware the possibility of your instrumental range, and put into use in full.
With such understanding, we will be able to develop unlimited possibility by applying the principle , keeping the frame tight by maintaining the midst even, while developing a huge space above and below.
This structure is what I believe putting multiple lines in one unity, especially in those fugue pieces, however each within confined or narrower , but fully characterstic range of notes.
Here is an example for possibility of layers , created by variations of melodic lines.Yet we should not be restricted by the style of music.
Pachelbel's Canon - an useful indicator is the dog racing sign:)
Through this example, people may understand the unlimited melodic possibility based on very primitive harmonic lines. And how in the end all the lines functioning in one unity , to understand the importance of harmonic structure.
3> Setting hot pop in the middle
Understand the function of the frame, then we can handle the middle part. Link these note together, in whatever the form, as the melody has already existed, just to meet a top selling standard is much easier than you thought of. Have this in mind, lots songs are written with repeated notes, and this is not problem at all, just need change before getting bored.
Please please listen to more top selling songs!!!
Then the next is to handle your part both above and below.
In fact, here I find, if we start from composing the middle part, our imagination is somewhat very limited for the rest. So I suggest, an initial idea of musical content, or the basic expression of the music to come first as a whole.
Even Middle Part III - Add Commercial
So although this part maybe first to be taught in this particular topic, most people may find it easier to start reversely, from their composed pieces.
There's lots possibility, as each of them can both suggest a melody or rhythm . But with the harmonic frame, it's much easier to put all together.
I have no restriction on the rest apart from the frame, and that the middle part should be heard first!!
In fact, when midst solo is dominant now- it should be left for further clothing- job of celebrity, and we then should focus on handle the rest parts and polish it!!
In fact, at this stage I would only suggest the spirits to sound fully, as they were invisible , even though the polish has to been taken dedicatedly : solo must be heard first.
standard midst solo + polished top and below
is contrast and unity.
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