From The Composer's Chair

Creating Melody With Common Chord Progressions Part XII

Sun, 01 Jan 2012 22:25:11 -0800

In this next series of lessons I will demonstrate some of the most common techniques of combining melody with common chord progressions.

Now using the C Double Harmonic Minor Scale.

This is created from the iv chord of the Double Harmonic Major Scale.

I am using this scale for some of the themes in my latest film project "Chills".

It's family of chords has wonderful altered chords!

The scale intervals are:

major 2^nd, minor 3^rd, sharp 4^th, perfect 5^th, minor 6^th and major 7^th.

The number formulas is: R/1, 2, b3, #4, 5, b6, 7

Note names: F, G, Ab, B, C, Db, E, F

The three note family of chords in the key of C are:

F, Ab, C = F minor i chord

G, B, Db = G major flat five IIb5 chord

Ab, C, E = A flat augmented bIII+ chord

B, Db, F = B suspended flat five bII7 chord

C, E, G, = C major V chord

Db, F, Ab = D flat major bVI chord

E, G, B = E minor vii chord

The four note family of chords are:

F, Ab, C, E = F minor major seventh imaj7 chord

G, B, Db, F = G dominant seventh flat five II7b5 chord

Ab, C, E, G = A flat major seventh augmented IIImaj7+ chord

B, Db, F, Ab = D flat dominant seventh-third inversion bII7 chord

C, E, G, B = C major seventh Vmaj7 chord

Db, F, Ab, C = D flat major seventh bVImaj7 chord

E, G, B, Db = E minor sixth vii6 chord

The following piece is created entirely from the notes of the Double Harmonic minor scale and its family of chords.

Figure out the chord progression and then write it in roman numerals.

Observe the techniques and incorporate in your own compositions.

Figure out all chords, their voicing's and the melody's interval

relationship to the chords and itself. Also any counterpoint.

Remember the scale formula and created chord types are always the same for all keys.

(this is true of every scale and its created chord types).

Now using this same chord progression create three variations of your own.

Always transpose all examples and your own examples to each position

(register) of your instrument (octave). Once your

comfortable in one key transpose to all 15 keys.

Also get accustomed to writing out all your ideas on the musical staff.

All materials for personal use only.

Vince Lauria Sun and Earth Music

Creating Melody With Common Chord Progressions Part XI

Sun, 18 Dec 2011 20:17:13 -0800

In this next series of lessons I will demonstrate some of the most common techniques of combining melody with common chord progressions.

Now using the C Double Harmonic Major Scale. It is also called the Byzantine scale and the Arabic scale. It also a Spanish flavor because of the minor 2^nd interval. It has two augmented 2^nd intervals. I am using this scale for some of the themes in my latest film project "Chills".

It's family of chords has wonderful altered chords!

The scale intervals are:

minor 2^nd, major 3^rd, perfect 4^th, perfect 5^th, minor 6^th and major 7^th.

The number formulas is: R/1, b2, 3, 4, 5, b6, 7

The three note family of chords in the key of C are:

C, E, G, = C major I chord

Db, F, Ab = D flat major bII chord

E, G, B = E minor iii chord

F, Ab, C = F minor iv chord

G, B, Db = G major flat five Vb5 chord

Ab, C, E = A flat augmented VI+ chord

B, Db, F = Db/B seventh bII7 chord or viiobb3

(also can be viewed as B suspended flat five. The vii chord of double harmonic major is interesting because it is commonly written as a bII7 with the flat seventh in bass and no fifth.

(third inversion flat seventh in bass (B) is the lowest sounding tone in the chord)

So you have a flat II major seventh and a flat II dominant seventh within the same scale.

The four note family of chords are:

C, E, G, B = C major seventh Imaj7 chord

Db, F, Ab, C = D flat major seventh bIImaj7 chord

E, G, B, Db = E minor sixth iii6 chord

F, Ab, C, E = F minor major seventh ivmaj7 chord

G, B, Db, F = G dominant seveth flat five V7b5 chord

Ab, C, E, G = A flat major seventh augmented VImaj7+ chord

B, Db, F, Ab = D flat dominant seventh -third inversion bII7 chord

The following piece is created entirely from the notes of the

C double harmonic major scale and its family of chords.

Figure out the chord progression and then write it in roman numerals.

Observe the techniques and incorporate in your own compositions.

Figure out all chords, their voicing's and the melody's interval

relationship to the chords and itself.

Remember the scale formula and created chord types are always the same for all keys.

(this is true of every scale and its created chord types).

Now using this same chord progression create three variations of your own.

Always transpose all examples and your own examples to each position

(register) of your instrument (octave). Once your

comfortable in one key transpose to all 15 keys.

Also get accustomed to writing out all your ideas on the musical staff.

All materials for personal use only.

Vince Lauria Sun and Earth Music

Creating Melody With Common Chord Progressions Part X

Sat, 10 Dec 2011 09:54:50 -0800

In this next series of lessons I will demonstrate some of the most common techniques

of combining melody with common chord progressions.

Now combining the C Harmonic Major Scale family of chords and chromatic passing notes.

I created a melody using the C harmonic major scale, its family of chords

and the chromatic scale.

Figure out the chord progression and then write it in roman numerals.

Determine what chords are within the family of chords and what are not.

Observe the techniques and incorporate in your own compositions.

Figure out all chords, their voicing's and the melody's interval

relationship to the chords and itself.

Harmonic Major Family of Chords:

2009.10.25: Harmonic Major Modes - Ionian b6 - Mode 1

Remember the scale formula and created chord types are always the same for all keys.

(this is true of every scale and its created chord types).

Now using this same chord progression create three variations of your own.

Always transpose all examples and your own examples to each position

(register) of your instrument (octave). Once your

comfortable in one key transpose to all 15 keys.

Also write out all your ideas on the musical staff.

All materials for personal use only.

Vince Lauria Sun and Earth Music

Creating Melody With Common Chord Progressions Part IX

Sat, 26 Nov 2011 18:29:25 -0800

In this next series of lessons I will demonstrate some of the most common techniques

of combining melody with common chord progressions.

Now combining the C Harmonic Minor Scale family of chords and chromatic passing notes.

I created a melody using the C harmonic minor scale, its family of chords

and the chromatic scale.

Figure out the chord progression and then write it in roman numerals.

Determine what chords are within the family of chords and what are not.

Observe the techniques and incorporate in your own compositions.

Figure out all chords, their voicing's and the melody's interval

relationship to the chords and itself.

Harmonic Minor Family of Chords:

2009.10.05: Harmonic Minor Modes - Aeolian #7 - Mode 1

Remember the scale formula and created chord types are always the same for all keys.

(this is true of every scale and its created chord types).

Now using this same chord progression create three variations of your own.

Always transpose all examples and your own examples to each position

(register) of your instrument (octave). Once your

comfortable in one key transpose to all 15 keys.

Also write out all your ideas on the musical staff.

All materials for personal use only.

Vince Lauria Sun and Earth Music

Creating Melody With Common Chord Progressions Part VIII

Tue, 15 Nov 2011 10:28:23 -0800

In this next series of lessons I will demonstrate some of the most common techniques

of combining melody with common chord progressions.

Now combining the C Natural Minor Scale family of chords and chromatic passing notes.

I created a simple melody based upon the C natural minor scale its family of chords

and the chromatic scale.

The chord progression in roman numerals to transpose to all keys:

i, i7, i/6, v, VI, VI/#11, i, II, bII, VI, V, i, bV, VII, v, bV, i

Determine what chords are within the family of chords and what are not.

Then learn the techniques for your own compositions.

Figure out all chords, their voicing's and the melody's interval

relationship to the chords and itself.

Natural Minor Family of Chords:

(large V = major chord - small v = minor chord)

i chord = minor (key of C) C minor

iio chord = diminished D diminished

III chord = major E flat major

iv chord = minor F minor

v chord = minor G minor

VI chord = major A flat major

VII chord = major B flat major

Remember this same formula and chord type remains the same for all keys.

(this is true of every scale).

Now using this same concept create three variations of your own.

Then transpose above examples and your own examples to each position

(register) of your instrument (octave). Once your

comfortable in one key transpose to all 15 keys.

Also write out you ideas on the musical staff.

All materials for personal use only.

Vince Lauria Sun and Earth Music

Creating Melody With Common Chord Progressions Part VII

Fri, 11 Nov 2011 11:03:57 -0800

In this next series of lessons I will demonstrate some of the most common techniques

of combining melody with common chord progressions.

Now combining the C Major Scale family of chords and chromatic passing notes.

I created a simple melody based upon the C major scale its family of chords and the chromatic scale.

Figure out chords, voicing's and the melody's interval relationship to the chords and itself.

The chords are from the C Major Family of Chords created from the C major scale. See:

2008.08.11: Family Of Chords - Song Writing 101

To learn to read bass clef go to:

http://www.youtube.com/watch?v=JBbBkTGWbeg

Now using this same concept create three variations of your own.

Then transpose above examples and your own examples to each position

(register) of your instrument (octave). Once your

comfortable in one key transpose to all 15 keys.

Also write out you ideas on the musical staff.

All materials for personal use only.

Vince Lauria Sun and Earth Music

Creating Melody With Common Chord Progressions Part VI

Mon, 24 Oct 2011 09:50:50 -0800

In this next series of lessons I will demonstrate some of the most common techniques

of combining melody with common chord progressions.

Now using the C Melodic Minor Scale Traditional. Traditional because it ascends Melodic Minor and descends using Natural Minor.

This time I want you to write out the inversions and anything unique about this piece.

Notice how when descending I use the Natural Minor scale and it's family of chords.

Figure out the chord progression in roman numerals to transpose to all keys:

The chords are from the C Melodic Minor Family of Chords created from the

C melodic minor scale traditional.

C melodic minor ascending = C, D, Eb, F, G, A, B, C ascending

C melodic minor family of chords ascending:

i C minor, ii D minor, III+ E flat augmented, IV F major, V G major, vio A diminished, viio B diminished ascending (up in tone).

C melodic minor descending = C, Bb, Ab, G, F, Eb, D, C descending

C melodic minor family of chords descending =

i C minor, iio D diminished, III E flat major, iv F minor, v G minor, VI A flat major, VII B flat major descending (down in tone) (C natural minor)

Also learn the 3, 4, 5, 6, and 7 note harmonized family of chords for each scale given.

Now using this same progression create three melody variations of your own.

Also create three variations of the chord progression.

Then transpose above examples and your own examples to each position

(register) of your instrument (octave).

Once your comfortable in one key transpose to all 15 keys.

Also write out you ideas on the musical staff.

I recommend keeping staff paper always by your side to write down ideas.

Some my best ideas were jury duty or the DMV.

All materials for personal use only.

Vince Lauria Sun and Earth Music

Creating Melody With Common Chord Progressions Part V

Tue, 11 Oct 2011 16:26:45 -0800

In this next series of lessons I will demonstrate some of the most common techniques

of combining melody with common chord progressions.

Now using the C Melodic Minor Scale. Sometimes called the Jazz Melodic Minor because it ascends and descends using the exact same intervals (notes).

I use a simple two note melody in C melodic minor except bars seven though ten.

(notice how the quarter notes add depth to the melody).

The chords are parallel movement with the root and fifth (power chord) except for: bar two - root and minor seventh, bar four - second inversion augmented fifth, bar sixth - suspended fourth in bass, bar eight - first inversion and bar nine - second inversion (fifth in bass). Also notice in bar six the suspended fourth is in the bass clef and bar seven moves to the soprano position in the treble clef. Final bar nine uses a second inversion. So now do this progression with root and fifth parallel movement then do this same progression with first, second and third inversion chords. Take your time to explore the many subtle variations a voicing or inversion can make. Many of the examples in my blog have four to ten variations.

The chord progression in roman numerals to transpose to all keys:

I, ii7, III+/11, IV7/#11, ii6, Vsus4/9, V+/11, IV, i.

The chords are from the C Melodic Minor Family of Chords created from the

C melodic minor scale.

C melodic minor = C, D, Eb, F, G, A, B, C.

C melodic minor family of chords:

i C minor, ii D minor, III+ E flat augmented, IV F major, V G major, vio A diminished, viio B diminished.

Also learn the 3, 4, 5, 6, and 7 note harmonized family of chords for each scale given.

Now using this same progression create three melody variations of your own.

Also create three variations of the chord progression.

Then transpose above examples and your own examples to each position

(register) of your instrument (octave).

Once your comfortable in one key transpose to all 15 keys.

Also write out you ideas on the musical staff.

I recommend keeping staff paper always by your side to write down ideas.

Some my best ideas were jury duty or the DMV.

All materials for personal use only.

Vince Lauria Sun and Earth Music

Creating Melody With Common Chord Progressions Part IV

Thu, 06 Oct 2011 10:28:26 -0800

In this next series of lessons I will demonstrate some of the most common techniques

of combining melody with common chord progressions.

Now using the C Harmonic Major Scale.

I use a simple two note melody in C harmonic major except bar four

(notice how the quarter notes add variety to melody).

The chords are parallel movement with the root and fifth (power chord) except for: bar three - root and third, bar four - first inversion (3rd in bass), bar seven - third inversion (seventh in bass), bar eight - first inversion and bar nine - second inversion augmented fifth (sharp fifth in bass). Also notice how the piece begins with the augmented fifth in treble clef (Ab - G) and ends measure nine in bass clef (Ab - G). Also notice the C pedal tone from bar one though three.

The chord progression in roman numerals to transpose to all keys:

I+, iiØ7, VI+, V, iii, iv, V7, viio7, I+.

The chords are from the C Harmonic Major Family of Chords created from the

C harmonic major scale.

C harmonic major = C, D, E, F, G, Ab, B, C.

C harmonic major family of chords:

I C major, iio D diminshed, iii E minor, iv F minor, V G major, VI Ab augmented, viio B diminished.

Also learn the 4, 5, 6, and 7 note harmonized family of chords for each scale given.

Now using this same progression create three melody variations of your own.

Then transpose above examples and your own examples to each position

(register) of your instrument (octave).

Once your comfortable in one key transpose to all 15 keys.

Also write out you ideas on the musical staff.

I recommend keeping staff paper always by your side to write down ideas.

All materials for personal use only.

Vince Lauria Sun and Earth Music

Creating Melody With Common Chord Progressions Part III

Tue, 20 Sep 2011 16:49:51 -0800

In this next series of lessons I will demonstrate some of the most common techniques

of combining melody with common chord progressions.

Now using the C Harmonic Minor Scale.

I use a simple two note melody in C harmonic minor.

Notice the chords are parallel movement with the root and fifth (power chord).

The chord progression is:

I, iio, V7, IIImaj7 (no 5th), VImaj7, iv#11, V7, viio7, i

(lower-case Roman numerals indicate minor - upper - case major)

For more info on Roman numerals: http://www.musictheory.net/lessons/44

The chords are from the C Harmonic Minor Family of Chords created from the

C harmonic minor scale scale. For more info go to:

See: http://www.vincelauria.com/blog/2009/10/recap-of-harmonic-minor-scale.html

C harmonic minor = C, D, Eb, F, G, Ab, B, C.

C harmonic minor family of chords = i Cm, iio D dim, III+ Eb, iv Fm, V G, VI Ab, viio Bb.

Also learn the 4, 5, 6, and 7 note harmonized family of chords for each scale given.

Later transpose to all keys.

Also write down all ideas on Grand Staff.

To learn to read bass clef go to:

http://www.youtube.com/watch?v=JBbBkTGWbeg

Now using this same progression create three melody variations of your own.

Then transpose above examples and your own examples to each position

(register) of your instrument (octave). Once your

comfortable in one key transpose to all 15 keys.

All materials for personal use only.

Vince Lauria Sun and Earth Music

2009.10.11: Recap of Harmonic Minor Scale Modes

Creating Melody With Common Chord Progressions Part II

Fri, 16 Sep 2011 10:44:04 -0800

In this next series of lessons I will demonstrate some of the most common techniques

of combining melody with common chord progressions.

Now using the C Natural Minor Scale.

I use a simple two note melody in C natural minor.

Notice the chords are parallel movement with the root and fifth (power chord).

The chord progression is:

I, III, iv, v, III, VI, iio, v, i (lower-case Roman numerals indicate minor - upper - case major)

For more info on Roman numerals: http://www.musictheory.net/lessons/44

The chords are from the C Natural Minor Family of Chords -created from the

C natural minor scale.

See: 2010.03.18: Circle of fourths and their relative minor family of chords

C natural minor scale = C, D, Eb, F, G, Ab, Bb, C. Same notes as E flat major. Root is based off sixth scale degree of E flat major (C).

C natural family of chords = i Cm, iio D dim, III Eb, iv Fm, v Gm, VI Ab, VII Bb, i Cm.

Also memorize each family of chords as we go for each scale. Later transpose to all keys.

Also write down all ideas on Grand Staff.

To learn to read bass clef go to:

http://www.youtube.com/watch?v=JBbBkTGWbeg

Now using this same progression create three melody variations of your own.

Then transpose above examples and your own examples to each position

(register) of your instrument (octave). Once your

comfortable in one key transpose to all 15 keys.

All materials for personal use only.

Vince Lauria Sun and Earth Music

Creating Melody With Common Chord Progressions

Wed, 14 Sep 2011 17:22:05 -0800

In this next series of lessons I will demonstrate some of the most common techniques

of combining melody with common chord progressions.

The first example is using the C Major Scale.

I use a simple two note melody in C major.

Notice the chords are parallel movement with the root and fifth (power chord).

The chord progression is:

I, iii, IV, V, iii, vi, ii, V, I.

The chords are from the C Major Family of Chords created from the C major scale. See:

2008.08.11: Family Of Chords - Song Writing 101

To learn to read bass clef go to:

http://www.youtube.com/watch?v=JBbBkTGWbeg

Now using this same progression create three melody variations of your own.

Then transpose above examples and your own examples to each position

(register) of your instrument (octave). Once your

comfortable in one key transpose to all 15 keys.

Also write out you ideas on the musical staff.

All materials for personal use only.

Vince Lauria Sun and Earth Music

Variations on a Melody Part XXXVII

Tue, 12 Jul 2011 16:00:16 -0800

Also called exploiting a Motive, Theme, Line, Riff or Cantus firmus. Original melody:

Epilogue. The final example in "Variations on a Melody.

Reading vertically from left to right here are the created chords: (based upon the original melody Example 1)

C major - second inversion, A minor seventh no third - second inversion, G major five suspended fourth in bass resolving to third in bass, (bar 2) D minor no fifth - second inversion descending scale wise to D minor add nine - suspended fourth in bass descending scale wise to F major sixth, C major - first inversion moving to C major sixth in bass, (bar 3) C major suspended fourth - first inversion (in treble clef) add fifth, C major seventh - suspended fourth (in bass clef) add nine, E flat minor add nine, to root, E flat minor major seven add sharp eleventh - third inversion, (bar 4) B flat major seventh - first inversion to B flat major sixth, B flat major sixth augmented, A dominant seventh, D major seven suspended fourth add flat nine - second inversion, sixteenth note arpeggio = A dominant seventh (treble clef) against F major sixth sharp five - bass clef = polytonality, A flat major, A flat major seventh - third inversion (bar 5) E minor seventh, A sharp major, ascending chromatic scale, B major seventh, ascending chromatic scale resolves B five, (bar 6) C major, sixteenth note arpeggio = C6, C6, C, Csus4, C/9, C/#9, C, C/9, C, C/G, C/D, C, C/D, C/D#, C/E, C, bass clef = C major, C first inversion, C augmented, C augmented suspended fourth, C major - second inversion, C unison.

Now in Roman Numerals:

I, vi, V, V, (bar 2) ii, ii/9, IV6, I, I, (bar3) Isus4, Imaj7/9, biii/9, biii, biiimaj7/#11, (bar 4) bVIImaj7, bVII6, bVII6+, VI7, IImaj7sus4/b9, arpeggio TC = VI7, arpeggio BC = IV6, (bar 5) iii7, #VI, D cs to B note, (bar 6) I. cs= chromatic scale TC= treble clef BC= bass clef

Notice in bar three the C major suspended fourth starts in the treble clef resolves then switch's to the bass clef, this mimics what was done in the first measure with the G suspended fourth except it remained in the bass clef. In bar three the E flat minor gives a nice temporary key change (tonicization). In bar four the B flat major sixth augmented to the A dominant seventh temporary goes in to D harmonic minor (partial diatonic see:2010.01.23: Harmonic function of chords - How do we use chords and scales in songs? Part I part 3).

By resolving to the D major (instead of the D minor or D harmonic minor) this is a Picardy third. (see blog: 2010.01.24: Harmonic function of chords - How do we use chords and scales in songs? Part II) In bar six notice how the counterpoint melodies work to create a final resolve.

Transpose above examples to each position (register) of your instrument, then once your comfortable in one key transpose to all 15 keys. Then do same idea using all scales/modes (same) covered so far. Also create three of your own melodies and apply this technique.

As always transpose to all fifteen keys.

Remember to write out you ideas on the musical staff.

If you do not read or write music consider getting a book and learning how to.

All materials for personal use only.

Vince Lauria Sun and Earth Music

Variations on a Melody Part XXXVI

Sat, 18 Jun 2011 23:50:55 -0800

Also called exploiting a Motive, Theme, Line, Riff or Cantus firmus. Original melody:

Melody with Horror Feel.

Now analyze the chords in relation to the melody so you can use these techniques for your own compositions. It is essential to not only learn the example but absorb the ideas and create your own examples utilizing these technique.
Transpose above examples to each position (register) of your instrument, then once your comfortable in one key transpose to all 15 keys. Then do same idea using all scales/modes (same) covered so far. Also create three of your own melodies and apply this technique.
As always transpose to all fifteen keys.
Remember to write out you ideas on the musical staff.
If you do not read or write music consider getting a book and learning how to.

All materials for personal use only.
Vince Lauria Sun and Earth Music
Copyright © 2011

Variations on a Melody Part XXXV

Wed, 08 Jun 2011 22:25:34 -0800

Also called exploiting a Motive, Theme, Line, Riff or Cantus firmus. Original melody:

Melody with Dramatic Feel.

As always analyze chords, note values and overall construction. Now analyze the chords in relation to the melody so you can use these techniques for your own compositions. It is essential to not only learn the example but absorb the ideas and create your own examples utilizing these technique. Also write Roman Numerals for each chord.

In the first measure see how the octaves add new life to the original melody. In the third measure notice the use of half and dotted half notes against the the high register melody. In the fourth measure notice the counter point in relation to the chords and melodies. In the last measure the melody is in the bass clef and the treble clef holds the chord.

Transpose above examples to each position (register) of your instrument, then once your comfortable in one key transpose to all 15 keys. Then do same idea using all scales/modes (same) covered so far. Also create three of your own melodies and apply this technique.
As always transpose to all fifteen keys.
Remember to write out you ideas on the musical staff.
If you do not read or write music consider getting a book and learning how to.

All materials for personal use only.
Vince Lauria Sun and Earth Music
Copyright © 2011