Vince Lauria | Free Music Theory Instruction




                    Advanced
              Harmonic Function of Chords:
 ...
Vince Lauria | Free Music Theory Instruction

 Vince Lauria | Bio
 Vince Lauria has collaborated with notable artists such...
Vince Lauria | Free Music Theory Instruction
 Harmonic Function of Chords:
 How do we use chords and scales in songs? Part...
Vince Lauria | Free Music Theory Instruction

 Assignment 2.

 Record the following chord progressions and practice tempor...
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Free Music Theory Instruction: Harmonic Function of Chords, Part 1 - Advanced (Vince Lauria)

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Free Music Theory Instruction: Harmonic Function of Chords: How do we use chords and scales in songs? Part 1 - Advanced Level (by Vince Lauria)

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Free Music Theory Instruction: Harmonic Function of Chords, Part 1 - Advanced (Vince Lauria)

  1. 1. Vince Lauria | Free Music Theory Instruction Advanced Harmonic Function of Chords: How Do We Use Chords and Scales in Songs? Part 1 Vince Lauria Studios Las Vegas, Nevada (702) 262 7862 vince@vincelauria.com www.vincelauria.com
  2. 2. Vince Lauria | Free Music Theory Instruction Vince Lauria | Bio Vince Lauria has collaborated with notable artists such as Denny Laine (The Moody Blues, Wings), Hall of Fame recording artist Dave Marks (The Beach Boys), Duncan Faure (Rabbitt, Trevor Rabin, Madonna), film composer and Academy Award nominee John Debney (Sin City, The Passion of the Christ), award-winning film composer Jeffrey Gold (Pigweed Vince Lauria Studios Philosopher), TV/film composer Dan Ferguson (Toto, Steely Dan, Cher), Las Vegas, Nevada Emmy award winner Jimmy Danelli (Winnie the Pooh, Disney), actor Mark McClure (Apollo 13, Superman, Back to the Future), Academy Award (702) 262 7862 winner Timothy Hutton (The Falcon and The Snowman, Ordinary People), vince@vincelauria.com Jazz great Richie Cole, Donnie Vie (Enuff Z’nuff), Jake E. Lee (Badlands, Ozzy Osbourne, Sarah Thiele), and Vinnie Castaldo (Phil Collins, The www.vincelauria.com Killers). In film and television he has composed and performed the Clio Award- winning melody for the “Made In The Shade” jeans commercial working with Len Kovner at Davlen Sound Studios (1978-1982). He recently scored music for director and producer Don Barnhart (Saved by the Bell, Benson) on a TV pilot starring Daniel Baldwin and Terasa Livingstone. Vince Lauria is Winner of the Gold Medal for Best Impact of Music in a Documentary (Audience Favorite) at the 2008 Park City Film Music Festival (PCFMF) for the feature-length documentary, Man of a Thousand Faces, executive produced by actor James Hong (Chinatown, Blade Runner). Vince Lauria also won the Director’s Choice Gold Medal for Excellence at the 2009 Park City Film Music Festival (PCFMF) for his original score of the awards- winning feature documentary, Pigweed Philosopher: The Untethered Zen of Kimball Johnson, directed by documentary filmmaker Gabriel Lakey. He is currently working on the independent feature musical, Nowhere Fast: The Forgotten Story of Approach Control, directed by Ryan Williams (Abby Singer). As a guitar virtuoso, Vince Lauria has served as an instructor at the Dick Grove School of Music, and as a technical adviser to Guitar World Magazine. Vince Lauria also has numerous instructional textbooks to his name, including “Learn to Burn on Rock Guitar” (Mel Bay), “Heavy Metal Solos for Guitar” (Mel Bay), “Teach Yourself Rock Guitar” (Mel Bay), and “The Rock Riff Dictionary for Lead Guitar” (ADG Productions) which can be found on Amazon, Barnes & Noble, Borders, and other leading international booksellers. www.vincelauria.com
  3. 3. Vince Lauria | Free Music Theory Instruction Harmonic Function of Chords: How do we use chords and scales in songs? Part 1 This next series of lessons will deal with the techniques that are used in creating chord progressions from scales and harmonic principles. The most common technique for creating chord progressions: 1. Diatonic scale and chord progressions. This means by just using one scale at a time to create it’s family of chords and all its diatonic substitutions. Example D minor, G seventh and C major are the II, V, I of C major. So you would create melody or solo ideas using the C major scale. This applies to all the twenty eight modes are ready covered. 2. Another way to view a minor chord is the following: When you see a minor or minor seventh chord it usually can be thought of as: A minor it is the sixth chord of C major, the two chord of G major and the three chord of F major. So we could use these three scales to solo of this one chord! This is sometimes called multiplicity. Assignment 1. Record the A minor chord (useing quarter note strums) for ten minutes and then practice playing each of these scales over the chord. As always use quarter then eight notes with a metronome to play indicated major scales. (also if you do not own a metronome use metronome on line.com) Notice how each scale brings out a different feel (mode). 3. The next technique is when the root note of a chord is within the family of chords but the rest is not. Example in key of C major: Regular diatonic chord progression - Dm7 //// G7 //// C //// Am7 //// Diatonic root non diatonic chord - Dm7 //// G7 //// C //// A7 //// The A note is the sixth degree of C major but the A dominant seventh is not within the C major scale. This is sometimes called a partial diatonic chord. A dominant seventh is the V of D major. This is also called a secondary dominant. This means we temporarily go in the key of D major. This is done to add flavor and a brief lift to a regular diatonic chord progressions. The Beatles used this technique many time in there writing. Vince Lauria Studios Las Vegas, Nevada Continued on next page (702) 262 7862 vince@vincelauria.com All materials (c) 2010. For personal use only. Vince Lauria & Sun and Earth Music. www.vincelauria.com Advanced Lesson
  4. 4. Vince Lauria | Free Music Theory Instruction Assignment 2. Record the following chord progressions and practice temporally going into the new major scale key. Am7 //// E7 //// F //// G7 //// (on the E seventh you would play the A major scale for one bar) C //// F //// C //// F7 //// (on the F seventh you would play the B flat major scale for one bar) Em //// Am //// B7 //// Em //// (on the B seventh you would play the E major scale for one bar) F //// A7 //// Dm //// Bb //// (on the A7 play D major, on the Bb play F major this makes the D minor aeolian). This works because D minor is the sixth of F major and the two of C major - multiplicity. Remember to transpose to all keys one new key a week. All the best, Vince Lauria Vince Lauria Studios Las Vegas, Nevada (702) 262 7862 vince@vincelauria.com All materials (c) 2010. For personal use only. Vince Lauria & Sun and Earth Music. www.vincelauria.com Advanced Lesson
  5. 5. Subscribe to the Blog: From the Composer’s Chair Music Tips from a Professional Musician in Las Vegas www.vincelauria.com/blog

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