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Category Archives: harmonic structures
Colors of the Wind – Guide Tone Lines Revealed, Part I
Because all the harmonic structures of this piece are closely related, finding the guide tone lines for Alan Mencken’s Colors of the Wind is a simple matter. But before going further, it will be helpful to review what is meant … Continue reading
Posted in alan menken, algonquian, cadence, changes, chord progression, common tones, disney musicals, film scores, guide tone lines, guitar shortcuts, harmonic structures, Hollywood Scores, john smith, music theory, Orchestration, pentatonic scale, pocahantas, powhatan indian, stephen schwarz, us history
Tagged changes, color tones, functional harmony, guide tone lines, guidetone lines blog, jazz, music, music theory guide tone lines, pop, shenkerian analysis
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Colors of The Wind (The Song)
Before I continue on from where I left off with 13th chords back on Friday the 13th of April, I’m going to respond to a request made by one of my readers and take a look at a modern pop … Continue reading
Posted in alan menken, algonquian, changes, chord extensions, chord progression, color tones, disney musicals, dissonance, dissonant intervals, film scores, guide tone lines, harmonic structures, Hollywood Scores, john smith, key change, modal scales, music theory, pentatonic scale, pocahantas, powhatan indian, stephen schwarz, us history
Tagged alan menken, chord extensions, chord progressions, color tones, colors of the wind, colors of the winds, disney, disney animated films, functional harmony, guide tone lines, guidetone lines blog, john smith, music, music theory, music theory guide tone lines, pocahantas, powhatan, stephen schwarz, us history
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Lucky Thirteenth
Today being Friday the 13th, I thought this might be an appropriate topic. However, if you suffer from triskedekaphobia (fear of the number 13), you may want to skip this one. On the other hand, if you’re looking to get … Continue reading
Posted in 12 bar blues, 13th chords, blues progression, changes, chord extensions, chord progression, color tones, common tones, film scores, flatted seventh, guide tone lines, guitar shortcuts, harmonic structures, Hollywood Scores, mathematics, thirteenth chords, truncated chords, truncated guitar chords, truncated harmonies, Uncategorized
Tagged 13th chord, algonquian, blues, blues progression, changes, cheyenne, chord extensions, chord progressions, color tones, crow, film score, friday the thirteenth, functional harmony, guide tone lines, guidetone lines blog, jazz theory, jazz theory guide tone lines, merrill jensen, music, music theory, music theory guide tone lines, thirteenth chord, windwalker
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The Shell and More
When it comes to extended harmonies, the most important tones are the third, seventh and ninth. So, in the key of C (major, dominant and minor), these are: Of course, this doesn’t make much sense in the ear until the … Continue reading
Posted in changes, chord extensions, chord progression, color tones, guide tone lines, guitar shortcuts, harmonic structures, modal scales, modes, music theory, truncated chords, truncated harmonies
Tagged augmented chords, changes, chord extensions, chord progressions, color tones, functional harmony, guide tone lines, guidetone lines blog, harmonic shell, jazz theory, jazz theory guide tone lines, lydian mode, music, music theory, music theory guide tone lines, truncated chords, truncated chords for guitar players, whole-tone harmonies
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You Don’t Have To Play Every Note
Seems that most of the people who are seriously reading this blog are guitar players, so I’m going to take another break from actual guide tone lines and address this one to any guitar player who has encountered a chord … Continue reading
Posted in changes, chord extensions, chord progression, color tones, common tone diminished, common tones, diminished chords, dissonance, dissonant intervals, harmonic structures, music theory, rhythm
Tagged changes, chord extensions, chord progressions, color tones, common tone diminished modulation, functional harmony, guidetone lines blog, jazz theory
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Finding The Guide Tone Lines: “All The Things You Are”
Now that we’ve picked this tune apart in terms of structure, it’s time to find the actual guide tone lines. Now, granted we could have done this from the get-go – our analysis of the piece was not completely necessary. … Continue reading
Posted in canon, chord progression, common tones, counterpoint, Great American Songbook, guide tone lines, harmonic structures, mathematics, music theory, nelson riddle, Orchestration, string section writing
Tagged big band orchestration, big band writing, changes, chord progressions, counterpoint, guide tone lines in jazz, jazz theory, Jerome Kern, music, music theory, music theory guide tone lines, Nelson Riddle, section writing, string section writing
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Part 3: Not Not-Quite-As-Amazing (But Still Useful) Augmented Chord
When we arrive at the “B” section of All The Things You Are, the piece returns to the key of G major, where it started in the verse. Harmonically, this part of the piece consists of nothing more than a … Continue reading
Posted in cadence, changes, changing keys, chord progression, common tone diminished, common tones, diminished chords, Great American Songbook, harmonic structures, Improvisation, key change, modulation, music theory, Orchestration
Tagged big band orchestration, chord extensions, chord progressions, functional harmony, jazz theory guide tone lines, Jerome Kern, modulation, music, music theory, music theory guide tone lines
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Going Fourth, Part 2
Before we continue with our analysis of the refrain of Jerome Kern’s All The Things You Are, you may wish to go back and review the recording – then review my last post. After you’ve done that, give this a listen: These … Continue reading
Posted in cadence, changes, changing keys, chord progression, common tone diminished, Great American Songbook, guide tone lines, harmonic structures, key change, modulation, music theory
Tagged Antonin Dvorak, chord progressions, chord substitutions, devil's chord, halfi-diminished chord, jazz theory, Jerome Kern, music, music theory, N6, neopolitan sixth, tritone
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Getting From Here To There – Go Fourth…
In the last post, we examined the verse of Jerome Kern’s All The Things You Are – which, while not especially memorable from a melodic standpoint when compared to what follows (Oscar Hammerstein’s lyrics here do set up the refrain … Continue reading
Posted in baroque composers, baroque era, cadence, changing keys, chord progression, common tone diminished, common tones, diminished chords, dissonance, dissonant intervals, Great American Songbook, guide tone lines, harmonic structures, Improvisation, key change, modal scales, modes, music theory, Orchestration, Shenkerian Analysis
Tagged big band writing, changes, changing keys, chord extensions, common tone diminished modulation, dminished chords, French Impressionism, functional harmony, Greek, greek music, hollywood, Jerome Kern, klezmer, middle eastern music, modal, music, music theory, music theory guide tone lines, musical modulation, phrygian mode, section writing, shenkerian analysis, spanish music, standards
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The Mathematics of It All
If you are anything like me, you struggled with math in school. Oh, I could write like Faulkner or Hemingway, play the saxophone like Jimmy Dorsey, draw like Rodin or Picasso….but when it came to numbers, I was lost. Eventually, … Continue reading
Posted in baroque composers, changes, chord progression, contrary motion, counterpoint, Great American Songbook, guide tone lines, harmonic structures, mathematics, music theory, Orchestration, percussion, rhythm, rudiments, Shenkerian Analysis
Tagged big band writing, changes, chord progressions, counterpoint, functional harmony, geometry, guide tone lines, guidetone lines blog, heinrich schenker, Jerome Kern, mathematics, music, music theory, patterns, percussion, rhythm, rudiments, sequence, shenkerian analysis, standards
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