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CLICK
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SEE
WHAT’S
IN
CHAPTERS
7
THROUGH 12
Chapter 7
How Beat, Pulse, Meter, Tempo, and Rhythm REALLY Work
Chapter 8
How Phrase and Form REALLY Work
Chapter 9
How Melody and Melody-harmony Integration REALLY Work
Chapter 10
How Lyrics REALLY Work
Chapter 11
How Repertoire,
Signature, and Performance REALLY Work
Chapter
12
How the Music Business and Music Entrepreneurship REALLY Work
Appendix 1
Roedy Black’s Chord Progression Chart
Appendix
2
Useful Websites and Resources
Appendix 3
Winners of the Moose-Nobel Prize in Music, 1901 - 2006
Chapter
Notes
(FREE)
References
(FREE)
Index
(FREE)
CHAPTER 7:
How Beat, Pulse, Meter, Tempo,
and Rhythm REALLY Work
7.1
EVOLUTION,
THE BRAIN,
AND RHYTHM
-
Where Rhythm Comes From: the
Time-keeper in Your Brain
-
Evolutionary Perspectives on the Auditory System, Sense of
Balance (Vestibular System), Bipedalism, and Locomotion in Humans
7.2
YOUR
BRAIN’S EVOLVED
MEMORY
FUNCTIONS
-
Music and Memory Limitations
-
Short-term and Working Memory
The Phonological Loop
Working Memory
-
“Chunking” to the Rescue (More
or Less)
-
Long-term Declarative
(Explicit) Memory
Episodic Memory
Semantic Memory
-
Long-term Procedural
(Implicit) Memory
-
Repetition and Memory in Music
7.3
BEAT VS
PULSE
-
How Unmeasured Music Differs
from Measured Music
-
How Your Brain “Predicts” the
Beat in Measured Music
-
How Beat Differs from Pulse
Beat
Pulse
How Habituation Works
7.4
TYPES OF
PULSE
7.5
METER AND
TIME
SIGNATURE
-
What Meter Is and How it Works
Pulse Chunking
-
How Beat, Pulse, and Meter
Relate to Each Other
-
How Time Signature Works: Merely a Silent Notational
Convenience
7.6
VARIETIES OF
METER
-
Types of Simple Meter
-
Types of Compound Meter
-
Types of Combined Meter
Important Note on Time
Signature and Combined
Meter
How Double Skipple Pulse Works
in Hip-hop
Irregular Meter
Pink Floyd’s “Money”: How and
Why it Works Brilliantly
Relative Popularity of the
Four Types of Meter
Combined
Quadruple: Not the Most Common, but the
Coolest Meter
7.7
TEMPO
-
What Tempo Is and How it Works
-
How Tempo Affects Meter
-
Four Tempo Ranges in Terms of Human Locomotion
-
How to Make Slow Tempo Seem
Fast (And Vice-versa)
-
Emotional Effects of Tempo
7.8
RHYTHM, THE
SOUL OF
MELODY
-
How to Tell Meter from Rhythm
-
How Simple Ratios Work in Marking the Flow of Time: The
Law of Simple Multiples or Fractions of the Underlying Beat
-
How Accents “Automatically” Communicate Beat, Pulse, and
Meter
-
Understanding Ostinato, Your Close Personal Friend
-
Superimposed Ostinatos in
Hip-hop and Dance/Electronica
-
Keep Your Bass Player and Fire Your Drummer (If You
Have To Choose)
-
Emotional Effects of Various Kinds of Rhythm and
Articulation
7.9
METER AND
RHYTHM IN
POPULAR VS
“CLASSICAL”
MUSIC
-
One Big Difference: Big Beat
-
Other Big Differences: Improvisation, Syncopation, and
Polyrhythm
Cross Rhythm
-
Polyrhythm: Breaking the Law of Simple Multiples or
Fractions of the Underlying Beat
7.10
METER,
TEMPO, AND
RHYTHM:
UNITY AND
VARIETY
-
Optimizing Unity and Variety in Meter, Tempo, and Rhythm
-
The Wundt Curve of Unity and
Variety
CHAPTER 8:
How Phrase and Form REALLY
Work
8.1
DISTINGUISHING
BETWEEN
VM
(VOCAL-MELODIC)
PHRASES AND
STRUCTURAL
PHRASES
8.2
WHY
BINARY
STRUCTURE
IS THE
SOUL OF
GREAT
POPULAR
SONG
FORM
-
Binary Structure at Every Level
-
Chunking and “Repetition of Repetition of Repetition”:
Coping with the Limits of Short-term/Working Memory
-
Techniques of Variation Within Binary Structure
-
Chunking and Structural Unit
Size
-
Relationships Between VM Phrase Beginnings and Structural
Phrase Beginnings
1.
Beginning the VM Phrase Before Beat One of Bar One
(Anacrusis, the
Default)
2. Beginning the VM Phrase
On Beat One of Bar One
3. Beginning the VM Phrase After Beat One of Bar One
-
Metrical Position vs Pitch in Melody and Speech: The
Accent-matching Law
8.3
OTHER
MATTERS OF
PHRASE AND
FORM
-
VM Phrase Limitations That Do Not Apply to
Instrumentally-played Melodic Phrases
-
AABA and All That
Returning vs Continuing Form
“Standard” vs “Classic”
-
Main Forms in “Serious” Western Music of the Common
Practice Period (1600 - 1900)
8.4
FORM:
UNITY,
VARIETY,
AND
EMOTIONAL
IMPACT
CHAPTER 9:
How Melody and
Melody-harmony Integration
REALLY Work
9.1
EVOLUTION,
MUSIC,
AND
EMOTIONAL
AROUSAL
Emotional Reactions as Responses to Surprise or Change
Avoiding
Habituation
Everybody’s on Drugs: Natural, Brain-manufactured Drugs
9.2
MELODY,
MEMORY,
AND
MEMES
-
How Songs Function as Powerful Memes, Replicating
and Mutating Like Genes
-
Why Most of the World’s Brilliant Tunes Have Not Yet Been
Composed
9.3
MELODIC
UNITY AND
COHERENCE
-
Establishing Tonality with Melody
Modulation
in “Street Fighting Man”
-
Melodic Coherence and Intelligibility
-
Importance of a Practical
Vocal Range
9.4 TUNE AND
CHORD
PROGRESSION
-
Melodic vs Harmonic Force of
Intervals
-
Relative Speed of Melody Against Harmony: Emotional Effects
1. Harmony Moves Slower than Melody (“Normal” or
Default)
2. Harmony Moves Faster than Melody
3. Harmony and Melody Move at the Same Speed
-
Cadence in Its Melodic Context
Cadence,
Continuation, and Conclusiveness
Masculine vs Feminine Cadence
9.5
VM PHRASES
WITHIN
STRUCTURAL
PHRASES: FROM
WEILL AND
BRECHT TO
BOWIE AND
BECK
9.6
10 TECHNIQUES FOR
CREATING
EMOTIONALLY
POWERFUL
TUNES
(#1): DON’T
LET
YOUR
COMFORT
ZONE
SELECT
CERTAIN
SONG
ELEMENTS
-
Why Pre-selecting Some Elements Works Better than Letting
Your Comfort Zone Select Them
-
The Four Pre-selections
1. Pre-select Meter
2. Pre-select Tempo
3. Pre-select VM Phrase Start Point with Respect to the
First
Structural Phrase
4. Pre-select Mode or Scale Type
-
Aim for Variety in Your
Pre-selection Combinations
-
Sketch Your Four Pre-selections on Paper
9.7
10 TECHNIQUES FOR
CREATING
EMOTIONALLY
POWERFUL
TUNES
(#2): RECOGNIZE THE
PRIMACY OF
RHYTHM
PATTERNS
9.8
10 TECHNIQUES FOR
CREATING
EMOTIONALLY
POWERFUL
TUNES
(#3): USE
SEQUENCES
9.9
10 TECHNIQUES FOR
CREATING
EMOTIONALLY
POWERFUL
TUNES
(#4): USE
THE SAME
RHYTHM
PATTERN
WITH MULTIPLE
MELODIES
9.10
10 TECHNIQUES FOR
CREATING
EMOTIONALLY
POWERFUL
TUNES
(#5): MIX
UP
STEPS,
LEAPS,
AND REPEATS
-
Stepwise (Conjunct) Motion
-
Leapwise (Disjunct) Motion
-
Repeated Tone Motion
When to
Make a Point of Using Repeated Tones
-
Mixing Melodic Motion
9.11
10 TECHNIQUES FOR
CREATING
EMOTIONALLY
POWERFUL
TUNES
(#6): MIX
UP
NOTE
VALUES
9.12
10 TECHNIQUES FOR
CREATING
EMOTIONALLY
POWERFUL
TUNES
(#7): USE
MODULATION
9.13
10 TECHNIQUES FOR
CREATING
EMOTIONALLY
POWERFUL
TUNES
(#8): USE
NON-CHORD
(NON-HARMONIC)
TONES
ON ACCENTED
BEATS
-
Why Non-chord (Non-harmonic) Tones on Accented Beats Light
up a Tune
-
Types
of Non-chord Tones
Unaccented
Neighboring Tone—Auxiliary (Weak)
Accented
Neighboring Tone—Appoggiatura (Strong)
Passing Tone (Weak)
Suspension (Strong)
Anticipation (Weak)
9.14
10 TECHNIQUES FOR
CREATING
EMOTIONALLY
POWERFUL
TUNES
(#9): USE
MODAL
SCALES
WITH DIATONIC
CHORDS
9.15
10 TECHNIQUES FOR
CREATING
EMOTIONALLY
POWERFUL
TUNES
(#10): INCORPORATE
A (REPEATING)
MELODIC
CLIMAX
-
Melodic Contour and Character
-
Melodic Climax: It’s Not Like in the Movies
-
No Need to Obsess About Where
to Position the Climax
-
Saturation Tones Dissipate Melodic Tension
-
Melismas May Dissipate Melodic
Tension, Too
-
Emotional Effects of Melodic Contour
9.16
PUTTING
IT
ALL
TOGETHER:
A
SUGGESTED
APPROACH TO
COMPOSING
TUNES
-
If the Net’s Down, There’s No Structure, No Comprehension
... and No Emotional
Connection
-
Where to Begin? With
Pre-selections
-
Next: Original Rhythm Patterns
-
Next: Original Melodic
Phrases—No Lyrics (Yet)
-
Next: Original VM Phrases (Words and Music)
Pre-selections and Set-up
Rapping and Accent-matching
Adding Melody and Harmony
9.17
MELODY:
UNITY,
VARIETY,
AND
EMOTIONAL
IMPACT
CHAPTER 10:
How Lyrics REALLY Work
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