10 Achieving Continuity: Melodic Sequences S&I

Harmonic sequences, melodic sequences, partial sequences; improvising on Pachelbel Cannon, What Child is This? Angels We Have Heard on High. Demonstrations & exercises.

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15 Creating Drones/Pedals – Simplifying TBk2

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Pedals/drones occur frequently in worship music/bands today (ala U2 band).  The guitars hangs onto one chord (D5–open fifth) while the bass moves. Or, the bass remains stationary while the guitars move. Simple, effective, easy to play. Discussion, examples, assignments.

14 Finding the Right Key TBk2

High-profile, worship leaders today are tenors with spectacular upper ranges. Their CDs pitch songs in high keys suited to their voices, not the congregation’s. Let’s find the congregation’s key.  What keys are best for guitarists?  Are there potential problems with any of these guitar-preferred keys?

To download, see download sign, bottom-left corner.

Updated 2014. 7 pages, 14 examples.

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22 KImprovBk2 – Modulation III

Now we will explore ways to extend modulations, create moods, use motives, sequences, and to fashion more artistic, sophisticated, worshipful segues.  At the end of the chapter, the iii – vi – ii – V – I chain of fifths will be employed.

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19 KImprovBk1 – Gospel/Latin

The blues scale is used in both slow and fast Gospel. We can deepen the soulfulness of a melody through the altered scale degrees drawn from the blues style. The third, the fifth and the seventh of the major scale are frequently lowered (flatted) or inflected.

The forward and reverse clave is basic to much Latin music as are Montuo patterns.

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16 KImprovBk1 – Dominants & Secondary Dominants

In this chapter we mainly concentrate on two “dominant” progressions: (1) progressions down a fourth; and (2) secondary (or applied) dominants.  From your music theory, you may have learned about V of V chords (an example of a secondary dominant). Secondary dominants  usually introduce chromaticism, and often propel the music forward strongly.

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10 KImprovBk1 – Sus Chords I

Sus chords (eg., from bottom to top, C – F -G) omit the third of the chord and substitute a fourth.  They  have a broad application to both contemporary and traditional worship styles. They provide a colorful alternative to the standard dominant seventh which occurs frequently in hymn and chorus cadences. They are valuable in creating segues and in effecting modulations in the free-flowing praise format. They are eminently playable on both guitars and keyboards. We’ll look at how the sus4, sus7, and sus9 chords function.

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21 KImprovBk1 – Smoothing the Transition – Modulation II

In the previous chapter we centered on V7 and V9sus chords to effect short, basic modulations. Now our range of options enlarges: any kind of ii chord can precede the V chord. The ii – V – I progression can be used to produce smooth modulations for any key.

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