Tag Archives: changes

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 , , , , , , , , , | Comments Off on Colors of the Wind – Guide Tone Lines Revealed, Part I

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 , , , , , , , , , , , , , , , , , , , , , , | Comments Off on Lucky Thirteenth

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 , , , , , , , , , , , , , , , , , | 1 Comment

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 , , , , , , , | 1 Comment

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 , , , , , , , , , , , , , | Comments Off on Finding The Guide Tone Lines: “All The Things You Are”

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 , , , , , , , , , , , , , , , , , , , , , , , | 3 Comments

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 , , , , , , , , , , , , , , , , , , , | 3 Comments

They Do – Except When They Don’t

“The verse was nothing – but the Chorus was Art – And its Music was enough to tear you apart…” – Joseph Moncure March, The Wild Party (1926) In my very first post to this blog, I said “…the harmonic … Continue reading

Posted in changes, chord progression, european pop songs, Great American Songbook, guide tone lines, harmonic structures, Hollywood Scores, Latin Music, laws of physics, music theory, physics | Tagged , , , , , , , , , , , , , , , , , , , , , , , | 5 Comments

The Incredible and Amazing Diminished Seventh Chord

I have to give one of my former instructors credit for this one. Dr. Peter Gries, who until his recent retirement was the music department chairman at my old alma mater, spent quite a bit of time on this in … Continue reading

Posted in cadence, central washington university, changes, chord progression, common tone diminished, common tones, diminished chords, guide tone lines, harmonic structures, Improvisation, modulation, music theory, neighbor tones, Orchestration, Shenkerian Analysis | Tagged , , , , , , , , , , , , | 11 Comments

A Tale of Two Ditties

Actually, it’s two versions of the same ditty – in this case, the Harry Warren example we’ve been working with so far. You’ll remember the first version in which we simply used the guide tone lines. Here’s what it looks … Continue reading

Posted in chord progression, common tones, contrary motion, counterpoint, Great American Songbook, guide tone lines, harmonic structures, neighbor tones, Orchestration | Tagged , , , , , , , , , , , , , , | 2 Comments