Professor Booker giving piano instruction to one his Norfolk State University piano majors. This video excerpt demonstrates a crafty way of using voice leading in the key of B-flat. It goes into some interesting chords to finish the passage, just to add flavor and a few calculated harmonic surprises.
Hey guys this is Mr. David Booker, university music instructor. I believe that many student who are taking music theory just don’t get it. Don’ t feel like you are alone. I was the same way in undergrad. As a former music student, I understand your plight.
Any questions that you have concerning music theory, harmony, keyboard, jazz improv, scales, arpeggios, I CAN HELP YOU. Submit a Post and I will try to answer your question as soon as possible. I look forward to help all of you. If you’ve got friends taking music classes at other schools, they can ask questions too. Instructors, you can post questions as well with challenging issues such as HOW TO READ A LEADSHEET, or the imfamous HOW TO PLAY BY EAR.
I read music and play by ear, so i can instruct a person who would like to do either or both.
For the gospel players, here’s a video clip me playing on a Motif 8 during my Wedding rehearsal in June of 06.
For the past three class periods we’ve been analyzing random songs on the radio, our iPods, and from iTunes to determine the figured bass notation. Using the circle of fifths and the Diatonic chord patterns, WE CAN WRITE AND PLAY ON PIANO EVERY SONG THAT EXISTS. With exception to remedial hiphop and twelve tone row, the rest of western music is build on the major/minor scale system; with basic triadic harmony.
I ii iii IV V VI vii i
Examples from Class: Encore 2004 – Jasmine Sullivan- A major chord walks down scalewise to a minor chord. ( that’s IV to iii) In the preceding measure the iii chord is follow by a chord whose bass note is a perfect 4th up from the iii chord. (That’s a iii to vi progression)
We discussed the natural progression of each roman numeral. -the I chord likes to go to IVchord, so the chord that sounds like I6 [the iii chord] likes to go to the IV chord as well. the ii chord likes to go to Vchord, so the chord that sounds like ii6 [the IV chord] likes to go to the IV chord as well the iii chord likes to go to vi chord, so the chord that sounds like iii6 [V] likes to go to the vi chord as well. This is where we get our deceptive cadence from. the V chord likes to go to I chord, so the chord that sounds like V6/5 [vii] likes to go to the I chord as well. V to I is where the authentic cadence comes from. the vi chord likes to go to ii chord, so the chord that sounds like I6 [iii] likes to go to the IV chord as well vii to I is a weak progression to replace V to I. IV to V is a weak progression to replace ii to V. iii to IV is a weak progression to replace I to IV. V to vi is a weak progression to replace Progression as listed above are used to strengthen the tonality; to clearly allow the listener to be able to hear and discern what key is the home key. When you reverse the changes, you weaken the tonalty of the music. IV to I (the plagal cadence) is a weaker more calm “Amen” than if you were to play V7 – I as your “Amen”.
#2 – Sweet Escape in Db Major
verse section: Bb — Db — Eb — Gb is interpreted as vi–I–*II–IV
chorus section: Db — Ab/C — Bb — Fm — Ebm — Ebm — Ab —
*this is in front of the ii chord because the two chord is normally minor, and in this song a major two chord is borrowed from the Bb Major scale. We covered some other songs, but they are escaping me at the moment. Perhaps those in attendance will remind me in their response post.
Im sure this question comes as a result of being in a theory class where the modes are taught in the key of C to make them easier to understand. I can only assume that that the class didn’t perform any MODE examples on the blackboard.
Explanation of Modes for non-music majors: Modes are simply the Major scale (which has seven unique pitches) being named by the seven unique pitches.
Modes: explained using the note C
C Ionian means – play a C Major scale from C to C.
C Dorian means – play a Bb Major scale from C to C.
C Phygian means – play a Ab Major scale from C to C.
C Lydian means – play a G Major scale from C to C.
C Mixolydian means – play a F Major scale from C to C.
C Aeolian means – play a Eb Major scale from C to C.
C Locrian mean – play a Db Major scale from C to C.
My MUS 121b Student Chancellor asked, ” Mr. B, what do you think about when trying to develop new ideas on the piano?
One approach:
I Take Something that is very familiar like nursery rhyme “this old man” and play different changes to the rhythm of that nursery rhyme to see what I can come up with.
Another approach:
I sing one note, and sustain it over a random succession of chord changes to get new voicings and sounds in my ear. Honestly sometimes it sounds good; sometimes it sounds like crap. But I can usually get one really tasty sounding harmony idea from it that I will exploit later when I playing live for someone.
3rd approach:
I don’t ever want to get bored with music, so whenever I feel like I’m playing the same old stuff, I just change it up. I’ve got a lot of sheet music from varied styles and time periods. I like to pull a two phrase from something written – analyze the changes or it’s harmonic texture – and then try to play it in the other twelve keys.
Anything you learn in all twelve keys can easily become a part of your playing style.
Hello everyone. I’m David Booker. I’ve been playing piano, the drums and singing since I was four years old. Maybe around 15 years ago, I started to really sound like something. I attended Norfolk State University for music. I’ve been a music teacher at NSU for the last 10 years. I love helping other people learn about music. How it works…Why it works…the truth. So if learning the answers to these type of questions, feel free to Ask questions or post comments.
how 2 play gospel - music training site of Professor David Booker 