TheVideoGamer explores the legendary record label Motown as we continue our quest into drum beats.

TheVideoGamer will be exploring different time signatures within the Shuffle Groove, as we continue our drum series.

TheVideoGamer continues his drum series, by looking at what is called Double Time Rock:

TheVideoGamer is back with his drum series, this time exploring the rhythms of Reggae:

So. I didn't make a video, but I have a set of information (https://www.youtube.com/watch?v=7IdttvJSedg , https://www.youtube.com/watch?v=JtRvGL-fJmY , http://www.thejazzpianosite.com/jazz-piano-lessons/jazz-chords/borrowed-chords/ ) and the following homework exercise proposition for next week: 

 

Write 4 short segments (60s at most) going through 3 different chord progression with borrowed chords: 

 

One progression should be built on the C Major Scaled borrowing from the C Melodic Minor or C Harmonic Minor scale 

 

One progression should be from a common one (https://en.wikipedia.org/wiki/Chord_progression#Common_progressions) pick a common progression, find the root and the mode, borrow from any other you wish 

 

One progression should be Pachelbel's Canon inspired (https://en.wikipedia.org/wiki/Pachelbel%27s_Canon#Influence_on_popular_music) pick any of the progressions presented, find the root and the mode; borrow from any other as you wish 

 

A final progression can be built freely 

BUT 

I would ask you to take a look at your own music, look at how you have been writing progressions, and come up with a progression with borrowed chords that sounds like something you would write. It's quite easy to borrow chords from anywhere and end up sounding like a generic fusion metal jazz band. Preserver your identity as an artist when doing this last progression.

Continuing on our series on drums, TheVideoGamer explores the 8th note/16th note pattern

This week TheVideoGamer begins a series on drums, and drum manipulation starting with the 4 on the floor pattern.

This week we explore the first species counterpoint with atmosfaere:

First Species Counterpoint

Counterpoint is the art of combining multiple melodic lines.
The goal of this exercise is simply to write two melodies that sound good on their own but still sound good and independent when played at the same time.

Assignment:
Write two different sections of counterpoint using only half notes (Each note of both melodies starts and ends at the same time for first species counterpoint). Do the second section in a different mode (major, minor, lydian, etc..).

Guidelines:
There are many rules that are followed to ensure that the lines maintain their independence. You don’t need to know or follow all of them for this exercise (at least try to make sure they sound independent by ear), but I will go over the most important ones below.

Parallel motion:
The more that the two lines move in the same direction, the less they sound like separate parts. Do not move from two notes that are separated by a fifth or an octave to two new notes that are also a fifth or an octave apart, this destroys the independence of the parts.

Voice crossing:
Have one line be higher and the other lower. Having the lower line go above the higher line is not good for independence of the voices. Do it sparingly for this exercise. (I don’t think it is much of a problem when the voices have different timbres but it is something to keep in mind)

Repetition:
Try to avoid repeating notes. It will make one of your lines melodically subordinate to the other. It weakens the melody of that line.
Unison: Don’t use the same note at the same time in both lines except at the beginning or the end.

Tips:
Have the melodies reach their peak at different times.
Have the lines end on the fundamental note of the scale (can be separated by an octave) to give the melodies a strong resolution and unity. Occasionally one line can end on the fifth, but try to avoid this.
Often the beginning notes belong to the root position triad (fundamental, third, and fifth). I imagine this helps set the key and gives unity to the melodies. The lower line should probably be the fundamental note at the beginning. Have the relationship between the starting notes be unison, octave or fifth.
Don’t have harmonies of fourths in first species counterpoint. Apparently it is unstable, but I will have to experiment with it to try to understand.
Consonant “harmonies” between notes are 3rds, 5ths, and 6ths. This refers to the interval between two notes being played at the same time, not the interval of the notes in relation to the fundamental.
Dissonant “harmonies” are 2nds, 4ths, and 7ths. It is possible to use these if you can resolve them effectively.

Resources:

Composing First Species Counterpoint
Composing a Cantus Firmus (well formed musical line)
Rules of First Species Counterpoint
More info with notated examples
Concise Rules
First Species with modes
Melodic writing and counterpoint

Examples:
All Five Species

This week we explore vocal chops with Panda:

This week we explore the Mixolydian mode:

This week we explore the Lydian mode: