1 The Language of Music

Institute of Worship Arts
Yonsei University
Fall Semester Class VII
Tom Brooks, Instructor
5)&-"/(6"(&0'.64*$
The
LANGUAGE
of MUSIC
5)&
-"/(6"(&
of
.64*$
Practical Music Theory
for the Worshiping Musician
by Tom Brooks
| The Institute of Worship Arts at Yonsei University
The Language of Music
Its all about...
Connections
*The Connection between you & God
*The Connection between you & your Band-Mates
*The Connection between you & your Congregation
==>You helping make the Connection
between your Congregation and God
Class Outline:
The Language of Music - The GRID [Pitch-Rhythm]
Music Theory in the 21st Century...
...its time to break a few Rules
Ear Training - yes, Yes,
YES!!!
Chord Construction - melody & harmony

Chord Relationships - The Journey - cadences
Transposition - Modulation - Improvisation
Language of Music JEOPARDY!
The
Language
of Music
...a quick review
of the Basics:
The Basics
MUSIC THEORY
(in 5 minutes or less)
The Major Scale

Triads - Personality - Upper Tonality Chords
1-2-3 / do-re-mi / A-B-C /...its all the same
The Basics
MUSIC THEORY
(QUICK! - TIMES running out!!!)

1-2-3
do-re-mi
Scale Degree
Key of C
do
Tonic
re
Super-Tonic
mi
Mediant
fa
Sub-Dominant
so
Dominant
la
Sub-Mediant
ti
Leading Tone
The Basics
MUSIC THEORY (4:30 left...)
C Major Scale
>Structure - half tone/whole tone
>Chromatic tones - other scales
STEP #3 - The Basics

MUSIC THEORY (4:00 talk fast...)
C Major Scale
>Structure - half tone/whole tone
>Chromatic tones - other scales
The Basics
MUSIC THEORY (3 minutes left!)
C Major Triad
>Structure - major 3rd/minor 3rd
>Other Triads - Minor/Augmented/Diminished
TRIAD TYPE INTERVALS KEY OF C

Major
Minor
Augmented
Diminished
minor 3rd
Major 3rd
Major 3rd
minor 3rd
Major 3rd
Major 3rd
minor 3rd
minor 3rd
C-E-G
C - Eb - G
C - E - G#
C - Eb - Gb
The Basics
MUSIC THEORY (hurry!!)
Triads on each scale degree

>Major Triads - 1 / 4 / 5 (Primary)
>Minor Triads - 2 / 3 / 6 (Secondary)
*Diminished Triad - 7 (no natural augmented)
CHAPTER 16: FAMILIAR CHORD PROGRESSIONS

Given the myriad of harmonic options that are possible, there are several
familiar Chord Progressions that are used often in popular music. We have
discussed the prevalence of the PRIMARY CHORDS - I, IV, V - in the Key
of
C Major: C, F, G. The I Chord pulls strongly to the IV Chord and the V
Chord pulls strongly back to the I Chord. Several of the song examples in
the previous chapters are built almost exclusively on the Primary Chords:
I IV V CHORD PROGRESSIONS:
Lord I Lift Your Name On High by Rick Founds
I IV V I IV V
Beautiful One by Tim Hughes
IV V IV V IV V I
Lord Reign in Me by Brenton Brown
I V IV V I V IV V I
Amazing Grace classic hymn
I IV I V I IV I V I
"TODAY IS THE DAY"

Rhythm
BPM = 120
INTRO
Rhythm
=FULL DRIVING ROCK GROOVE=
B7
? # # ..
>Tuck down under Verse...

9
R.S.
&
##
B7
? ##
13
R.S.
Lincoln Brewster
## 4 .
& 4 .
D B7
A
G
D B7
A
G
? # # 44 ..
## .
& .
VS 1 5
VS 2
R.S.
***2 Bars of
1 Drum build up>>>
Arranged by Tom Brooks

WorshipAlliance.com
&
##
B7
? ##
E7
B7
D/F # G
>Kick it up a bit...
B7
..
..
The Basics
MUSIC THEORY (2 minutes left)
Chord Quality - Major / Minor
Augmented / Diminished - Extended Chords
BORROWED Chords from other keys
The Personality of each Chord type...
on each degree of the scale
Lead the Journey emotional impact of each sonority
"REVELATION SONG"
Rhythm

WorshipAlliance.com
BPM = 61.8
# # # # 4[!K!E!Y!S! !O!NLY]
&
4
Kari Jobe
INTRO 1
Rhythm
E2
? # # # # 44 w
# # # # *VS. 1b = Add Band gently

.
&
P E2
B7
#
? # # # .. w
w
VS 1a 3
VS 1b
R.S.
R.S.
&
*VS 1a = Piano only w/ pads
####
E2
#
? ## # w
CH 1 11
R.S.
&
####
E2
? ####
B7
B7
D2
nw
D2
nw
D2
A2
A2
A2
..
..
The Basics
MUSIC THEORY (1 minute to go)
The 12 Major Keys - Circle of Fifths
Key Signatures - Time Signatures
Major and Minor Keys
Inversion / Transposition / Modulation
DESERT SONG
Minor Key
CCLI TOP 25
October
Rank
Song Title
Author/s
CCLI #
How Great Is Our God
Tomlin, Chris \ Reeves,

Jesse \ Cash, Ed
4348399
Here I Am To Worship
Hughes, Tim
3266032
Blessed Be Your Name
Redman, Beth \ Redman,

Matt
3798438
Open The Eyes Of My

Heart
Baloche, Paul
2298355
Forever
Tomlin, Chris
3148428
Come Now Is The Time

To Worship
Doerksen, Brian
2430948
Holy Is The Lord
Tomlin, Chris \ Giglio, Louie
4158039
You Are My King
Foote, Billy
2456623
Shout To The Lord
Zschech, Darlene
1406918
10
Lord I Lift Your Name

On High
Founds, Rick
117947
11
God Of Wonders
Byrd, Marc \ Hindalong,

Steve
3118757
12
We Fall Down
Tomlin, Chris
2437367
13
You Are My All In All
Jernigan, Dennis
825356
14
You're Worthy Of My
Praise
Ruis, David
487976
The One Minute

Music Manager

Lets start with...
3 Minutes of mind-bending insanity

(3 min. max! ...then we get practical)
*God is Incredible beyond our wildest imagination
*The Language of Music is truly a Universal Language
*YOU are Gods Voice - Helper / Healer / Teacher / Physicist...
The GRID
2 Grids (...well really 1 HUGE Grid)
The HARMONY GRID - Pitch
The GROOVE GRID - Rhythm
The Electro-Magnectic Spectrum
To Quantize or not to Quantize...
Drum Machines, Sequencers, and Equal Temperament
The Pitch GRID

From 20 - 20K Hz
Fundamentals versus Harmonics
Fundamentals = (roughly) 25 - 1,000 Hz
Math is Totally Cool! Frequency ratios
The Ear-Brain Calculator - Harmony
Bass Gtr low E - Male Vox low G - A-440 - Female Vox hi A
The Pitch GRID

Fundamentals = (roughly) 25 - 1,000 Hz
KEEP GOING! Within that range...
Roughly 5 Octaves (2:1 ratios)
Within each octave are 12 divisions
...Equal Temperament - 12 Half Steps
Of those 12, 8 (really 7) are Close Family
The GRID
Now we will leave the 20-20,000 Hz range
and head for the 1-3Hz range...
Moving from Pitch to Rhythm ==>
The GROOVE GRID

The FANTASTIC 4
4 divisions
per beat
4 beats
per bar
4 bars
4 phrases
per phrase per section
Analyze the examples below:
This Chorus has 4 Phrases, each 4 measures long

The Melody in Phrases 1 and 3 are virtually identical
The Melody in Phrases 2 and 4 start the same, but end differently
The first bar of ALL 4 Phrases are identical
4 beats per bar, 4 bars per Phrase, 4 Phrases in the Chorus
CCLI TOP 25
October
Rank Song Title
Author/s
CCLI#
1 How Great Is Our God
Tomlin, Chris \ Reeves, Jesse \ Cash, Ed
4348399
2 Here I Am To Worship
Hughes, Tim
3266032
3 Blessed Be Your Name
Redman, Beth \ Redman, Matt
3798438
4 Open The Eyes Of My Heart
Baloche, Paul
2298355
5 Forever
Tomlin, Chris
3148428
6 You Are My King
Foote, Billy
2456623
Doerksen, Brian
2430948
Zschech, Darlene
1406918
Come Now Is The Time To

Worship
8 Shout To The Lord

9
Lord I Lift Your Name On

High
Founds, Rick
117947
10 Holy Is The Lord
Tomlin, Chris \ Giglio, Louie
4158039
11 Everlasting God
Brown, Brenton \ Riley, Ken
4556538
Tomlin, Chris \ Giglio, Louie \ Excell, Edwin Othello \ Rees,

John P. \ Newton, John
4768151
13 We Fall Down
Tomlin, Chris
2437367
14 God Of Wonders
Byrd, Marc \ Hindalong, Steve
3118757
15 In Christ Alone
Townend, Stuart \ Getty, Keith
3350395
16 The Heart Of Worship
Redman, Matt
2296522
17 Trading My Sorrows
Evans, Darrell
2574653
18 You Are My All In All
Jernigan, Dennis
19 Breathe
Barnett, Marie
1874117
20 Beautiful One
Hughes, Tim
3915912
21 You're Worthy Of My Praise
Ruis, David
487976
22 Above All
LeBlanc, Lenny \ Baloche, Paul
2672885
23 Mighty To Save
Fielding, Ben \ Morgan, Reuben
4591782
24 The Wonderful Cross
Reeves, Jesse \ Tomlin, Chris \ Walt, J. D. \ Watts, Isaac \

Mason, Lowell
3148435
25 Days Of Elijah
Mark, Robin
1537904
12
Amazing Grace (My Chains

Are Gone)
825356
The GROOVE GRID

Impact of the Amazing number 4
Exceptions to the Rule are striking (Anticipation)
MASSIVE improvement in Chart Communication
The GPS of Music - Never-Lost
Leave a Bread-Crumb Trail
4 divisions
per beat
4 beats
per bar
4 bars
4 phrases
per phrase per section
"We Have Overcome", page 2.

CH 1 21
R.S.
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D
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=FULL DRIVING ROCK GROOVE=
25
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33
R.S.
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R.S.
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A\
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"ALL TO YOU"
Rhythm

WorshipAlliance.com
BPM = 107 *Driving Rock

INTRO
-REINTRO
Rhythm
R.S.
Ac. Gtr:
# # # 4*Aggressive
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Band way down / Kick: notes

11
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***
[***1st time = Drum Fill on 4***]

[***2nd time = Rest on 4 for GTR SFX***]
!B!A!N!D IN"==>
F #
A E

F #
F #
F #
!B!A!N!D IN"=DRIVING ROCK GROOVE=
VS 1 7
VS 2
Lincoln Brewster
F #
Band CRANK!
A E

D
Your 120 BPM Reference

Your Relative Pitch Reference
Leave a Bread-Crumb Trail
Chart everything in s!
5)&-"/(6"(&0'.64*$
Tricks of
the Trade
5)&
-"/(6"(&
of
.64*$
by Tom Brooks
The One Minute

Music Manager
Chord Construction
*The Basic Building Blocks of Music
CHORD CONSTRUCTION
4 Types of Triads - Built on C
Major
Minor
Augmented
Diminished
"CHORD PERMUTATIONS 1"

Rhythm
Rhythm
R.S.
Cmajor
Cminor
4
& 4 www
1
R.S.
ORCHESTRATION BY TOM BROOKS
Cmajor
Cminor
& www
& b ww
w
b www
Caugmented
# www
Cdiminished
b b www
CHORD CONSTRUCTION
PERSONALITY OF EACH TRIAD
1 - Tonic - Home Base
The 1 - 4 - 5 Family (Primary - Major)
The 2 - 3 - 6 Family (Secondary - Minor)
Relationships / Progression / Retrogression
Primary Triads: 1-4-5

Here I Am To Worship
CHORD CONSTRUCTION
PERSONALITY OF EACH TRIAD
1 - Tonic - Home Base
The 1 - 4 - 5 Family (Primary - Major)
The 2 - 3 - 6 Family (Secondary - Minor)

Relationships / Progression / Retrogression
TRIADS - 7ths
on each scale degree
Scale Degree
1
2
3
4
5
6
7
Triad
Major
minor
minor
Major
Major
minor
diminished
7th
Major
minor
minor
Major
minor
minor
minor
"CHORD SPELL 1"

Keyboard
Tom Brooks
***Spell the notes in each Chord and write them in the Treble Staff:
4
&4
1
Rhythm
A m in
E m in
_________
_________
_________
_________
? 44
&
R.S.
Dm 7
FJ
G7
C2
_________
_________
_________
_________
"CHORD SPELL 1"

Keyboard
Tom Brooks
4
& 4 www
C
Rhythm
A m in
F, A, C
_________
A, C, E
_________
www
E m in
? 44
C, E, G
_________
& wwww
5
R.S.
www
www
Dm 7
www
w
FJ
www
w
G7
E, G, B
_________
wwww
C2
?
D, F, A, C
_________
F, A, C, E
_________
G, B, D, F
_________
C, D, E, G
_________
Music Theory in the

21st Century
Music Theory in the

21st Century
TRIADS
Voice Chords in 2nds & 4ths
instead of 3rds & 6ths
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Music Theory in the 21st Century

The Sweet Collision

Half-tone crash between
7-8 & 3-4
'Friend Of God'
- Houghton/Gungor
#m7
F #m7
E
# # # # c . C

.
&
FOR INTRO: Vamp 1st 8 Bars
A E
{VERSE}
# # # # E C#m7 F#m7 D .
.
KIK 2nd X:
etc...
# # # . C#m7 F#m7 E .
.
.
#B E
####
C
{CHORUS}
C #m7
F #m7

{VERSE}
# # # # E C#m7 F#m7 D
####
# # # . C#m7 F#m7 E .
.
.
#D E
{CHORUS}

The Sweet Collision

Half-tone crash between
7-8 & 3-4
Major 7th Chord built on 1 and 4
"HOW GREAT IS OUR GOD"

Rhythm

WorshipAlliance.com
73 BPM
ACOUSTIC GUITAR ONLY:
& 44
INTRO 1
Rhythm
Chris Tomlin
? 44
VS 1
5
VS 2
R.S.
& ..
Am 7
FJ
? ..

=MEDIUM GROOVE=
11
R.S.
&
Am 7
FJ

SuspensionResolution
(Fahgetaboutit!!!)
Half-tone crash during a 4-3

suspension built on 5 Chord
"MIGHTY TO SAVE"
WorshipAlliance.com
Rhythm
BPM = 73
*Rock Ballade
HOOK:
*GTR continue simili >>>
# # # *GTR
4
&
4
P Pads / SFX fade up...
? # # # 44
!
!
!
!
INTRO
Rhythm
Reuben Morgan &

Ben Fielding
!B!A!N!D IN">>>
!B!A!N!D OUT"
Drum Groove / Ac. Gtr. / Wah-Wah OD Gtr.

# # # *ADD:
.
.
&
F
DK
A2
F #7
? # # # ..
R.S.
*ADD BASS on repeat
VS 1
R.S.
# # #*Gtr Hook / Drum Groove ONLY:
&
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DK
? ###
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13
R.S.
&
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? ###
DK
A2

A2
F #7

F #7
. ..
E4-3
..
E4-3
E4-3

End on Tonic
Use the IV or V Chord to
end a song rather than I

Music is complex
CLEAR & SIMPLE
is always the Best Choice
The One Minute

Music Manager
Ear Training!!
The Basics
MUSIC THEORY

1-2-3
do-re-mi
Scale Degree
Key of C
do
Tonic
re
Super-Tonic
mi
Mediant
fa
Sub-Dominant
so
Dominant
la
Sub-Mediant
ti
Leading Tone
Use these familiar songs

to identify INTERVALS
Scale
Intervals and Common Tunes
(Remember, you can always sing a scale to get to your Target Note!!)
Interval
Key of C
Tune
Major 2nd
C - D - (e)
Do a (Deer)
Major 3rd
C - E - (g)
Hey Jude (Chorus)
Perfect 4th
C-F
Louie, Louie
Perfect 5th
C-G
Star Wars
Major 6th
C - (e - g) - A
Anchors Away
Major 7th
C - (e - g) - B
PBS / Bali Hai
Octave
C-C
Somewhere Over the Rainbow
Ear Training
Pop Quiz!!
Melody:
1-2-3-1-3-4-5
6-7-8-1-5-4-3
Bass Line:
1-5-6-4-1-5-4
1-6-2-5-1-flat 7-4
CHORD CONSTRUCTION II
EVERY CHORD THERE IS - Built on C
Major Triad - with Major 7th / minor 7th
minor Triad - with Major 7th / minor 7th
Personality / function of each

Rhythm
& 44 www
C Major Triad
R.S.
Cminor
& b www
CJ
Cmajor
Rhythm
C minor Triad
www
w
C Major Triad
+ Major 7th
CminorJ
w
b www
C minor Triad
+ Major 7th
C7
b www
w
C Major Triad
+ minor 7th
Cm 7
b
w
b www
C minor Triad
+ minor 7th
"CHORD SPELL 2"

Keyboard
Tom Brooks
bb 4
b
&
4
1
Rhythm
E b2
Cm 7
A bK
A b/B b
_________
_________
_________
_________
? b b 44
b
bb
b
&
5
R.S.
G\
G7#5
C m 11
F9#11
_________
_________
_________
_________
? bb
b
"CHORD SPELL 2"

Keyboard
Tom Brooks
bb 4 w
b
&
4 www
1
Rhythm
ww
ww
E b2
www
w
A bK
Cm 7
A b/B b
? b b 44
b
Eb, F, G, Bb
_________
w
b
w
& b b ww
5
R.S.
ww
www
G\
C, Eb, G, Bb
_________
w
#
n www
G7#5
Ab,
C, Eb, G, Bb
_________
www
www
C m 11
Bb - Ab, C, Eb
_________
n www
n www
F9#11
? bb
b
G, C, D, F
_________
G, B, D#, F
_________
C,_________
Eb, G, Bb, D, F
F,_________
A, C, Eb, G, B
CHORD CONSTRUCTION II
UPPER TONALITY CHORDS
7ths - 9ths - 11ths - 13ths
Major - Minor; diatonic - borrowed
Add Spice, but rarely change function
GLORIOUS
Martha Munizzi
Israel Houghton
"GLORIOUS"
Rhythm
BPM = 100

WorshipAlliance.com
*Salsa Caliente
### 4 !
&
4
*Brass pickups:

#
? # # 44
"
1
INTRO
Rhythm
R.S.
###
&
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4
!B!A!N!D I!N !U!NISON"

7
R.S.
&
###
=FULL GROOVE=
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.
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3
. 3 3

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.
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#
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#
Dan & Martha Munizzi

Israel Houghton
F #7
D #
n # >
DK
C #
. >
VS 1 10
VS 2
R.S.
F #7
C #
? # # # .. .
C # F #7
F #7 C #
FILL=
C # F #7
F #2
A#
Rhythm
"
###
&
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4
R.S.
? # # # 44

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R.S.
&
###
=FULL GROOVE=
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.
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3
. 3 3

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.
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VS 1 10
VS 2
R.S.
F #7
C #
? # # # .. .
Bring it down under vocal:

14
R.S.
###
C # F #7
F #7 C #
C # F #7
Kick it up a bit...
F #2
A#
! !
>> > >
#
F
>
B7 F #9
C # F #9 # B7 F #9
#D #D #
? # # # . . A . C> >>C!>!>C
&
FILL=
> >
C #
> >
'Friend Of God'
- Houghton/Gungor
#m7
F #m7
E
# # # # c . C

.
&
FOR INTRO: Vamp 1st 8 Bars
A E
{VERSE}
# # # # E C#m7 F#m7 D .
.
KIK 2nd X:
etc...
# # # . C#m7 F#m7 E .
.
.
#B E
####
C
{CHORUS}
C #m7
F #m7

{VERSE}
# # # # E C#m7 F#m7 D
####
# # # . C#m7 F#m7 E .
.
.
#D E
{CHORUS}
"CHORD SPELL 3"

Keyboard
Tom Brooks
***Write in the Chord Symbol Chord and write the Notes in the Treble Staff:
4
&4
1
Rhythm
? 44
Roman Numeral Symbols: I
IV maj7
vi min7
V add 2
&
R.S.
?
ii min7
bVII add 2
IV add 2
I add 2
"CHORD SPELL 3"

Keyboard
Tom Brooks
Rhythm
&
R.S.
Am 7
FJ
wwww
G2
? 44
www
w
www
w
& 44 ww
w
1
www
w
Dm 7
vi min7
IV maj7
www
bw
B b2
wwww
F2
V add 2
wwww
C2
?
ii min7
bVII add 2
IV add 2
I add 2
CHORD CONSTRUCTION III

Major Triad - with Major 7th Family
9 - #11 - 13

Rhythm
CJ
CK
& 44 www
w
1
Rhythm
www
ww
C Major Triad
+ Major 7th
R.S.
CK#11,13
w
# ww
& wwww
4
C Major Triad
+ Major 7th
+ Major 9th
+ #11 + 13
C Major Triad
+ Major 7th
+ Major 9th
D/C
w
# ww
www
Same with 9th omitted
CK#11
# www
ww
w
C Major Triad
+ Major 7th
+ Major 9th
+ #11
D/C
# ww
wwww
Same with inversion
CHORD CONSTRUCTION
Major Triad - with minor 7th Family
9 + *11* - 13 // + #11 - 13
Flat 9 (borrowed from minor scale) + 11

Rhythm
C7
C9
4
& 4 b wwww
1
Rhythm
b wwww
w
C Major Triad
+ minor 7th
R.S.
C7
& b wwww
C Major Triad
+ minor 7th
C Major Triad
+ minor 7th
+ Major 9th
C9
b wwww
w
C Major Triad
+ minor 7th
+ Major 9th
C 11
w
b www
w
C Major Triad
+ minor 7th
+ Major 9th
+ 11 (omit 3rd)
#
w
b wwww
w
C Major Triad
+ minor 7th
+ Major 9th
+ #11
C11,13
w
w
b www
w
C Major Triad
+ minor 7th
+ Major 9th
+ 11, 13 (omit 3rd)
C
w
#
w
b wwww
w
C Major Triad
+ minor 7th
+ Major 9th
+ #11 + 13
"CHORD SPELL 4"

Keyboard
Tom Brooks
[Same progression, transposed to F Major]
4
&b 4
1
Rhythm
? b 44
IV maj7
vi min7
V add 2
&b
R.S.
?b
ii min7
bVII add 2
IV add 2
I add 2
"CHORD SPELL 4"

Keyboard
Tom Brooks
4
& b 4 www
1
Rhythm
B bJ
&b
R.S.
www
w
Dm 7
C2
? b 44

5
ww
ww
ww
ww
www
w
Gm 7
vi min7
IV maj7
www
bw
E b2
wwww
B b2
V add 2
wwww
F2
?b
ii min7
bVII add 2
IV add 2
I add 2
Chord Relationships
The JOURNEY
Cadences
2 > 5 > 1
5)&-"/(6"(&0'.64*$
The
LANGUAGE
of MUSIC
5)&
-"/(6"(&
of
.64*$
by Tom Brooks
CHAPTER 16: FAMILIAR CHORD PROGRESSIONS

Given the myriad of harmonic options that are possible, there are several
familiar Chord Progressions that are used often in popular music. We have
discussed the prevalence of the PRIMARY CHORDS - I, IV, V - in the Key
of
C Major: C, F, G. The I Chord pulls strongly to the IV Chord and the V
Chord pulls strongly back to the I Chord. Several of the song examples in
the previous chapters are built almost exclusively on the Primary Chords:
I IV V CHORD PROGRESSIONS:
Lord I Lift Your Name On High by Rick Founds
I IV V I IV V
Beautiful One by Tim Hughes
IV V IV V IV V I
Lord Reign in Me by Brenton Brown
I V IV V I V IV V I
Amazing Grace classic hymn
I IV I V I IV I V I
Really Cool Stuff

Major Triad Ratio...
4:5:6
Minor Triad Ratio...
10:12:15
(in JUST tuning, not
Equal Temperment)
Moving Upward-by-a-Fourth
The strongest tendency for most chords is to move to the chord a fourth
above as explained earlier, this is spelled out clearly as you move
counter-clockwise around the Circle of Fifths chart in Chapter 7.
Here are the 4 most common Traditional Cadences:

AUTHENTIC CADENCE:
V!I
DOMINANT ! TONIC
Also known as Complete Cadence or Full Cadence
The most widely used cadence. A Perfect Authentic Cadence has both
chords in Root position with the Melody resolving to the Tonic.
PLAGAL CADENCE:
IV ! I
SUB-DOMINANT ! TONIC
Also known as the Church Cadence or Amen Cadence
The Chords of the traditional AMEN at the end of most classic hymns
HALF CADENCE:
II ! V
(SEC. DOMINANT) !
DOMINANT
Also known as an Imperfect Cadence or Half Close Cadence
Common at the midway point of a Verse or Chorus
DECEPTIVE CADENCE:
V ! vi
DOMINANT ! SUB-MEDIANT
Also known as False Cadence or Interrupted Cadence
Transposition
Modulation
Improvisation
5)&-"/(6"(&0'.64*$
The
LANGUAGE
of MUSIC
5)&
-"/(6"(&
of
.64*$
by Tom Brooks
CHAPTER 28: TRANSPOSITION

Every song, every chord, every melody, and every piece of music can be played
in any of the 12 Keys. When you take a song or any element of music and
move it from its original key to a new Key Center, you are Transposing.
nuggets of knowledge
Changing a song to a different Key is called TRANSPOSITION.
When you Transpose a piece, the relationship of the notes to one another
remains identical, only the Key Center changes. Once you set the Interval of
the Transposition (for instance, Transpose up 1 Half Step or Transpose up a
minor 3rd), every aspect of the music, every pitch, every chord symbol, etc, is
shifted by that interval. Another way to describe a Transposition is to specify
the new Key Center, e.g. Transpose from C Major to F Major.
Why do you need to transpose? There are many reasons
>You are preparing a song and the range of the melody in the original key
does not match well with the range of the soloist or group.
>You are transitioning from another song and you need to change the key
in order to make a smooth segue.
>You are using a different instrumentation than the original and you want to
place the song in the best key for your Band
example E versus Eb for guitar or F versus F# for Brass, etc.
Look at this example of a Nashville Number Chart for Shout to the Lord
VERSE: 1 5 ( 6 5 ) 4 ( 1/3 4 ) ( 1/5 6 ) b7 (5sus 5)
Compare the Nashville Number Chart to the Chord Chart below:
CHAPTER 29: MODULATION

The term MODULATION has several different definitions, even inside the
realm of music. The most common use in contemporary music refers to a
Transposition within a piece of music a point in the song where you change
the Key and continue the song in a new Key (usually a higher key) e.g. Lets MODULATE up to D Major for the last chorus or
Lets MODULATE down a 4th as we transition to the next song in the medley.
nuggets of knowledge
MODULATION means changing from one Key Center to another.
The most common place to hear a Modulation in pop music would be leading
into the last chorus of a song, but they can happen anywhere. Sometimes an
arrangement may modulate a particular section for a soloist (a verse for a low
alto for instance) and then modulate back when the other singers join.
There are two basic types:
>PHRASE MODULATION
>PIVOT CHORD MODULATION
CHAPTER 33: THE MODES

If you are one of the many musicians who finds the Modes a daunting subject
TAKE HEART! This topic is easier than you think.
*You are actually already familiar with several of the Modes.
*A MODE is simply a variation of the basic Major and Minor Scales.
*The Names of the Modes may be new to you, but you already know the sound.
The term MODE (as it is commonly used in contemporary music) is just another
word for scale. There are 7 MODES, each one named after an ancient Greek
city-state [see Sidebar below]. Here is an easy way to identity them:
>Look at the 7 white keys on the keyboard, C D E F G A B
>Play a 7 note scale starting on each of these notes using only the white keys
***You have just played the 7 Modes.
Here is a quick synopsis of the 7 MODES:
! IONIAN MODE
"White Keys starting on C
***Identical to the Major Scale
! DORIAN MODE
"White Keys starting on D
***Just like Natural Minor Scale with a RAISED 6th
! PHRYGIAN MODE
"White Keys starting on E
***Just like Natural Minor Scale with a LOWERED 2nd
! LYDIAN MODE
"White Keys starting on F
***Just like the Major Scale with a RAISED 4th
! MIXOLYDIAN MODE "White Keys starting on G
***Just like the Major Scale with a LOWERED 7th
! AEOLIAN MODE
"White Keys starting on A
***Identical to the Natural Minor Scale
! LOCRIAN MODE
"White Keys starting on B
***Just like Natural Minor Scale with a LOWERED 2nd and 5th
The One Minute

Music Manager
The Language
of Music
*90% of Communication is
non-verbal
*Engage your Heart - Emotions
*Engage your Soul - Body
Language of Music
JEOPARDY
To Ring In and answer:

>Raise your Right Hand High!
>Slap thigh with your Left Hand
>Make a BUZZER sound
(Really, REALLY LOUD!!!)
Language of Music
JEOPARDY!!!
He holds
the KEYS
Home
on the
RANGE
Lend me
Your
EARS
Musical
Spelling
Bee
WORD
MATCH
**He Holds the KEYS**
ROUND #1
Answer these Theory questions

with the correct KEY!!
(Ring in First!!!)
Which Key
has
4 sharps?
E Major
What is the
Relative Minor
of
A Flat Major?
F Minor!
What notes form

the Key Signature
of B Major?
(in correct order)
5 Sharps:
F#, C#, G#, D#,
A#
Is this the cutest girl youve ever seen?!?!?
The correct answer is... YES!!!
**Home On The Range**
ROUND #2
Answer these questions about

the RANGE of each song
(Ring in First!!!)
Home on the RANGE
What is the RANGE
of Amazing Grace
in F Major?
Home on the RANGE
1 octave;
from C to C
Home on the RANGE
What is the RANGE
of this melody in E
Major?
Home on the RANGE
Major 6th;
E to C#
Home on the RANGE

List these vocal ranges
from Highest to Lowest:
Alto / Baritone /
Mezzo-Soprano /
Bass / Tenor / Soprano
Home on the RANGE

Soprano
Mezzo-Soprano
Alto
Tenor
Baritone
Bass
Home on the RANGE

What instrument has the
largest RANGE of all?
Home on the RANGE
Grand Piano!
(and some Pipe Organs)
Is this girl a Princess or What?!?!?

...the correct
answer is...
YES!!!
**Lend Me Your EARS**
ROUND #3
Listen to each Music Excerpt

Use your Ear Training and analyze what you hear
Ring In !!!
You have to SING to win!
Lend Me Your EARS!

Sing the LETTER NAMES of
this melody in the Key of C Major
Lend Me Your EARS!

E - F - G, B - C - D,
C-C-C-B-G-E-A
Lend Me Your EARS!

Sing the Scale Degree NUMBERS
of the following melody:
Lend Me Your EARS!

3-3-4-2
2-3-4-4-3-2-1
3-3-4-2-2-3-1
Lend Me Your EARS!

Sing the SOLFEGE syllables
(do - re - mi) of this melody:
Lend Me Your EARS!

do-re-mi
mi-so-fa-mi
re-mi-fa-mi
*Musical Spelling Bee*
ROUND #4
Spell out the notes in these

Chords and Scales.
(Ring in First!!!)
Musical Spelling Bee!
Spell out the notes in a

C# Minor 11th Chord

C# Minor 9 is spelled
C# - E - G# - B - D# - F#
(...as in Friend of God)
Spell out the notes in an

E Pentatonic Scale

E Pentatonic Scale is
E - F# - G# - B - C#
(...the melody of Open the Eyes of my Heart)
Spell out the notes in a

G (#5, #9) Chord

G (#5, #9) is spelled
G - B - D# - F - A#
(as in Israels Come In From the Outside)
Wheel of MIS-fortune
.
.
E
.
E
.
A
I
E
A
O
I
E
A
U A
O
U
E
A N
U A
O
U
E
A N
U A
O
U
I C
T
.
E
A N
U A
O
U
I C
T
.
E
A N
O
M U
U A
I C
T
.
L
O
M
H E
A N G U A G E
F
U S I C
Resource Page:
You can download these Music Examples
from our iMix on iTunes entitled,
THE LANGUAGE OF MUSIC
You can download this presentation from our
website - WorshipAlliance.com
You can study in more detail using our
Workbook - THE LANGUAGE OF MUSIC
You can email me with questions at...
TomBrooks@WorshipAlliance.com
5)&-"/(6"(&0'.
5)&
-"/(6"(&
of
.64*$
by Tom Brooks
I have made music with Tom Brooks for many years - I believe God planted the seed for this
book in Toms heart to inspire musicians everywhere to learn the TRUTH about music; this
wonderful heavenly Language, so they can be better equipped to serve Jesus with this precious
Gift. I recommend it wholeheartedly - it conveys
Toms
immense
not only at the
| The
Institute
of Worship knowledge
Arts at Yonsei University
Theory level; but at the practical and Spiritual level as well.
Yours truly,
Abraham Laboriel
WorshipAlliance.com
5)&-"/(6"(&0'.64
5)&
-"/(6"(&
of
.64*$
by Tom Brooks
WorshipAlliance.com

1 The Language of Music

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1 The Language of Music

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Institute of Worship Arts

| The Institute of Worship Arts at Yonsei University

The Language of Music

Its all about...

...its time to break a few Rules

Ear Training - yes, Yes,

Chord Construction - melody & harmony

The Major Scale

(QUICK! - TIMES running out!!!)

1-2-3 / do-re-mi / A-B-C /...its all the same

STEP #3 - The Basics

TRIAD TYPE INTERVALS KEY OF C

Triads on each scale degree

CHAPTER 16: FAMILIAR CHORD PROGRESSIONS

Beautiful One by Tim Hughes

Lord Reign in Me by Brenton Brown

"TODAY IS THE DAY"

=FULL DRIVING ROCK GROOVE=

>Tuck down under Verse...

Arranged by Tom Brooks

Arranged by Tom Brooks

# # # # *VS. 1b = Add Band gently

*VS 1a = Piano only w/ pads

How Great Is Our God

Tomlin, Chris \ Reeves,

Blessed Be Your Name

Redman, Beth \ Redman,

Open The Eyes Of My

Come Now Is The Time

Holy Is The Lord

Tomlin, Chris \ Giglio, Louie

You Are My King

Shout To The Lord

Lord I Lift Your Name

Byrd, Marc \ Hindalong,

You Are My All In All

The One Minute

The Language of Music

3 Minutes of mind-bending insanity

Drum Machines, Sequencers, and Equal Temperament

The Pitch GRID

Bass Gtr low E - Male Vox low G - A-440 - Female Vox hi A

The Pitch GRID

The GROOVE GRID

Analyze the examples below:

This Chorus has 4 Phrases, each 4 measures long

4 beats per bar, 4 bars per Phrase, 4 Phrases in the Chorus

Rank Song Title

1 How Great Is Our God

Tomlin, Chris \ Reeves, Jesse \ Cash, Ed

3 Blessed Be Your Name

Redman, Beth \ Redman, Matt

4 Open The Eyes Of My Heart

6 You Are My King

Come Now Is The Time To

8 Shout To The Lord

Lord I Lift Your Name On

10 Holy Is The Lord

Tomlin, Chris \ Giglio, Louie

Brown, Brenton \ Riley, Ken

Tomlin, Chris \ Giglio, Louie \ Excell, Edwin Othello \ Rees,

Byrd, Marc \ Hindalong, Steve

Townend, Stuart \ Getty, Keith

[1st time = Drum Fill on 4]