Recently I was asked about the hidden nature of music and how it effects the minds emotions and the like. The following drivel is what I told the inquirer. I hope he lives.
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Mark,
Music, not unlike any other langauge, is only esoteric to those who lack command, comprehension, and skill with it. It is both substance and form, the two of which abide in precisely the same mode of existence in the fundamental sense.
As to the natural meaning of specific arrangements of frequencies, I will answer as best I can.
In this discourse I will try as best possible to keep the metaphor as consistant with the langauge we both speak, English.
The scale of english is the alpha-numeric system. The same system exists in music but in strictest of sense it is far less complicated, in that it has fewer variables. Music being comprised alphabetically of letters A, B, C, D, E, F, and G are in 5 of the 7 cases subject to an abstraction one half tone/semi tone/half step down, or up. Thus creating an A/B note (a sharp or flat) for 5 of the 7 notes, giving us a total of 12 acceptable and recognizeable tones to work with.
Whole tones are considered the letter names A B C D E F and G in their unaltered form. Semi-tones are their diminished, augmented, major or minor properties. Music in it's dynamic nature can be one of the most confusing langauges because it lacks words in essence, but also bears the ability to facilitate a profound abstract image in ones mind.
The notes I've given you have a specific pattern in which the tones are spaced in terms of semitones. This spacing is called the Major scale, because out of all possible configureations each tone rings the truest (meaning its frequency is an even number, and not an odd one when viewed through an osciloscope). The mircaculous thing is that before such tools were invented one JS Bach was able to take someone elses appearently perfect ears and through several years of composing and careful abstract reasoning, arrived at the bulk of what is recognized today as "Music Theory".
The pattern for the major scale is as follows. It's often been asked why we think of music in the Key of C, and it's simply because on a piano keyboard - which is what Bach used to make this system - the formula I'll relate to you shortly was found to be played easiest along all of the white keys, and this pattern in turn, started on C. Coincidentally closest note to the middle of the keyboard is also C. Go figure.
So then from:
C to D - Wholestep
D to E - Wholestep
E to F - Halfstep
F to G - Wholestep
G to A - Wholestep
A to B - Wholestep
B to C - Halfstep
Thus the major scale spans 12 semitones using only the most prominant of tones. Upon repeating the transition from B to C one reaches the root or tonic of the scale - C. Because if you kept counting by number of notes in a scale, when you hit the higher/second C you would be on 8, from C to C is considered an Octave, even though there are twelve, very distinct notes between the octave points. So the primary numbers of the major scale are 7, 8 and 12.
To understand how mood is created it's important to understand the relation of each note to the root of the scale, which brings us to scale theory in the form of modular understanding, or as you mentioned, the modes.
The seven modes are, in their order of appearence in the major scale:
C - Ionian
D - Dorian
E - Phrygian
F - Lydian
G - MIxolydian
A - Aeolian
B - Locrian
Each of these points art considered intervals, and from these intervals their secondary forms are dirived, primarily as major, or minor, all of which is assessed by the placement of the mediant degree in each chord voicing. What is meant by meadient, is the 3rd degree of each mode. I will illistrate, but first you must understand the difference between major and minor. To understand this we will work with the Ionian mode first, and then apply the basic principle to each mode in turn.
From C to C the notes are as follows. C D E F G A B C.
To determain whether something is major or minor one simply looks at the keyboard. Between E and F and B and C there is only a half step, instead of a wholestep. If we had a whole step between eachone we would have microtonal music, and 14 equal steps per octave - which isn't uncommon in some parts of the world, but for those acclimated to western notation the soud of such a scale would undoubtably be jarring and unnerving.
So, counting from C, C is the first degree, D is the second, and E the third. What determains the major or minor property of a 3rd degree is the distance in total semitones it is from the root of the scale. So, E is 4 half steps away from C. 4 halfsteps is considered a major third, and 3 is considered a minor third, because it is diminished by one halfstep, thus minor in comparison to it's unaltered counterpart, the major form.
So what you're looking for in determaining whether a mode is a major or minor voicing is the 3rd degree of each mode. In that the Major Scale and the Ionian mode are both the same, I have found with most students it is best not to bring up the word scale, since a scale by itself is merely an instrument to measure, and a mode, the actual vessel of travel that music is to use. So from here on out we will use the Ionian mode in place of the term scale.
That said, the following rule applies with universal application. The 3rd degree of each MODE determains it's major or minor voicing, you simply count the half steps.
So, from C to E the voicing is major.
C to C- Ionian Major
D to D- Dorian minor
E to E- Phrygian minor
F to F- Lydian major
G to G- MIxolydian major
A to A- Aeolian minor
B to B - Locrian minor (diminished)
The Locrian mode, while not the actual diminished scale is a minor voicing, but diminished in nature in the regard that the next element of mode based chord construction is now addressed.
The following intervals are considered to be "perfect" in that they have no major or minor properties. Octaves, fourths, and 5ths. Octaves, if added too by a halfstep become a minor 2nd and if subtracted from, become a major 7th - there is no space on either side that is unacounted for. Between the 4th and 5th degree however, there is one halfstep yet to be addressed. This is both the Augmented version of a 4rth degree (which is seldom used in that context) and the diminished 5th, or flated 5th (to which it is more often refered, especially among jazz musicians).
The rule of thumb for viewing this note as it pretains to a chord, the most basic form of which is called a triad, consiting of the root, a 3rd, and a 5th is this:
If the 3rd is major, then it's an Augmented chord, if the 3rd is minor, then it is a diminished chord. In the case of B Locrian, it begins in the diminished fasion, though in its entirety, is still a minor vocing of th ionian mode.
So then, to constuct the mode based triad chord, one simply takes the 1st, 3rd, and 5th degree of each mode, and this provides the correct triad as found naturally within each mode, and as you say, this understanding is somewhat esoteric in that only a privaleged few understand this method, and fewer still understand how to apply it's abilities within the context of music.
Thus ends the lecture of scales and modes. Now let us move on to intervals proper, and inturn to chords.
Intervals are not inextricable to scales. Scales are comprized of intervals. In truth there is but one scale, though many variations of this exist, namely the 7 you just learned, plus the many variations of pentatonic scales, and dminished scales which have 5 and 6 notes per scale respectively, as opposed to the traditional 7.
Intervals are best viewed in the chromatic sense, that is to say, with out key established by tonic of the Ionian mode.
To recap:
C - 1st Scale Degree
D - 2nd Scale Degree
E - 3rd Scale Degree
F - 4th Scale Degree
G - 5th Scale Degree
A - 6th Scale Degree
B - 7th Scale Degree
This outlines whole intervals. Now to further illistrate the major, minor, augmented, and diminished properties, we'll add in the semitones, which are also called accidentals, and this is where the term accidental comes into play. Accidentals come in three forms, sharps (which look like a number sign "#" - which I will use to illistrate as we continue) flats (which look like a lower case "b" - which I will use to illistrate as well as we continue) and naturals. (no equivalent on the keyboard exists so I will notate this as "<>" as we continue.)
You may view any accidental as either sharp or flat. When dealing with a key that contains a sharp or flat and you wish to make it a whole tone, the natural sign is used. So below, both sharps and flats have been notated simotanesouly to cement the concept.
C - 1st Scale Degree
C#/Db
D - 2nd Scale Degree
D#/Eb
E - 3rd Scale Degree
F - 4th Scale Degree
F#/Gb
G - 5th Scale Degree
G#/Ab
A - 6th Scale Degree
A#/Bb
B - 7th Scale Degree
Properly their interval names are as follows:
C - 1st Root/Octave/Tonic
C#/Db minor 2nd
D - Major 2nd
D#/Eb minor 3rd
E - Major 3rd
F - Perfect4th
F#/Gb Augmental 4th/Diminished 5th/Flated 5th
G - Perfect 5th
G#/Ab minor 6th
A - Major 6th
A#/Bb minor 7th
B - Major 7th
Again, between B and C and E and F there is only a halfstep, thus creating perfect intervals.
Now then as this pretains to chords, and chord voicings.
You know how to create a triad, and how to make them major or minor, diminished or augmented, the last classification that pretain to basic triad chords is that of suspension.
Suspension is the movement of the 3rd degree to either the 2nd or 4th degree of the mode in question. The suspension is notated as either sus2, a suspension to the 2nd degree, often felt as an uplifting sound when resolved back to the 3rd degree from the second - or a sus4, in which the suspension is taken to the 4th degree, and when resolved often has a sound of relief or elation - much hymn music is based upon suspension work in standard classical chord progressions.
Suspensions can resolve to either a major or minor 3rd, and in the case of a sus2 chord, the suspended note can also be minor, which has one of the more gut-wrenching sounds that music theory has to offer. Still, to some there lies beauty in what many would characterize as pain or agony.
The second lesson of basic chords is now complete and the 3rd and final lesson of chords, before the subject of composition comes into focus is that of extended, altered and inverted chords. In a word - Jazz.
Obviously with 7 notes in a scale if one so desired, he could hold down all 7 creating a frightful noise, which perhaps to some may be musical. In taking a more selective approach in our choice we move onto chords which are refered to as 6ths, 7ths and 9ths - the most common of extended chords.
A 6th chord is a triad with the 6th degree of the scale added, all of the same rules apply. To have a major 6th, the 3rd and 6th degrees must be major, to have a minor chord, the 3rd and 6th degree's must be minor.
A 7th chord omits the 6th degree, but the same rule applies to it's major and minor properties.
A 9th chord omits the 6th degree, but includes the 7th. This is where the rules of chord theory become somewhat subjective and detatched because now you're working across two octaves, as the 9th scale degree is acctually the 2nd degree, but one octave higher. In effect this produces 6 options for a chord:
A strictly minor, almost diminished chord,
a strictly major, but by deffinition, suspended chord, due to the 2nd degree of the mode being involved, albeit an octave out of place,
and then you have the gray area that Jazz musicians are so fond of. What happens when you don't major or minor -all- of the involved degrees? the 3rd, 7th and 9th degrees? The answer is unofficial, Bach died far before any such non-sense(ical notion) was proposed by the bored classical musician - the jazz musician.
Altered chords come into play when you omit any given degree in a chord yeilding what is called a "broken" chord, meaning it lacks classical structure.
Chord voicing has to do with what is called chord inversion. Essentially chord inversion is a function of triads, and not extended chords, because the extended chord ultimately posesses two, and sometimes three indentifiable triads within themselves - giving way to a variety of key change, and chord progression options, which we will discuss soon.
Chord inversion is simple. Inversion of the 1st degree places the tonic of the chord an octave higher than it's original location. Thus Cmajor would be written as EGC and not CEG. Inversion in the 2nd degree is similar, but now the E rests on top in the expressed form of GCE.
Now that you have all of your chords the rest of it as they say is "art". This is where Bach proposed a classical form, and relation, of each mode degree to it's tonic. Again using C as our example we continue with the following classifications for each note in the major scale, or ionian mode.
C - Tonic
D - Super Tonic
E - Mediant
F - Subdominant
G - Dominant
A - Submediant or Natural Minor
B - Leading or Seventh
And now a breif discourse on the meaning of each word and it's attachment to it's scale degree:
Tonic - The root of each mode or scale. This is always the 1st degree, or octave point of any scale or mode.
Supertonic - This is meant that it is above the tonic, both in tonality and expression. The sus2 form triad clearly exemplifies the meaning of supertonic, play the chord on the piano and shift the 2nd from a major 2nd to a major 3rd and you will understand in no uncertain terms.
Mediant - This is the spine of any chord, thus it is in the middle, and mediates the abilities and properies of any triad, - this is where all of your wiggle room in chord construction comes from.
Subdomninant - This is where most tension is mounted in chord form, when released to a major 3rd the feeling is that of releif. When released to a minor 3rd the feeling can be somewhat stoic and forlorne. When augmented it is given a further sense of purpose, most of which to my own mind appears somewhat ethereal in impression, it is what I would consider to be as nuetral a sound in music as I can think of - the scope of this nutrality is in my experience depentant upon the 5th degree, or dominant, or whether the chord in its nature is extended, altered, or voiced/inverted - it is very much a relative feeling, but nuetral none the less.
Dominant - Because a scale is comprized of 7 notes there is a clear middle point, the 4th degree or Subdominant. The reason the 5th degree is considered to be the dominant chord is because it in effect stresses the completetion of the scales natural course, thus decidedly glass-half-full in nature, if not 5/7ths full to be more precise. When diminished the same rule of nutrality applies as it would with the 4th degree or subdominant, save for this fact: If the 4th degree is already in play, from the suspened point of view this can, much like the minor second have an incredibly jarring sound, the sound of which to my ears sounds some what spiteful, but not necesscarily evil. The minor 6th on the other hand is quite the evil devil, especially in a broken chord that facilitates the minor 2nd.
Submediant - This is the flipside of the 3rd degree, the 6th degree. It's an unassuming, slightly anxious sound. It's often characterized as a indecisve voicing because it feeds so easily from a nuetral mediant. This can be thought of as the upstairs to the downstairs. If the mediant was the wiggle room in the living room, this would be the wiggle room in the attic. Further more in the metaphor of a house, this is also what is called the natural minor scale, or Aeolian mode. What this means is that when played A to A it forms the most perfect diatonic, or melodic paralell to the path of the major scale, C to C. Every single interval from A natrual Minor to C major is either a major or minor third, thus making the Mediant of E reduced to it's submediant A in the same degree, 3rds. A crystal clear understanding of this concept is imparitave when we begin to lay melody over a chord structure, or attempt to frame in an existing melody with chords or supporting harmony lines.
Leading or Seventh - As the name implies this is the true nuetral point in that while it can be major or minor it's inherent function is diminished and thus builds tention not only in it's mode based chords 3rd degree, the minor third, but also in it's 5th degree, the diminished or flatted fith, making for quite a sad, forelorne chord. But, this tension, no unlike that of a spring, is very easily resolved by the movent of either the 3rd or 5th degree in either direction.
This is the majority of the knowledge I belive you saught, the scale knowledge was cited simply for reference, and the chord knowledge reviewed to give you a fresher view of how best to build tension from chord to chord.
Chord progressions themselves are outside the realm of theory and in the ever relative and subjective scape of "composition" in which ones own temprament seasons to taste.
To answer the latter of your citations such as key signatures, key changes and chord progressions let me elaborate further.
Key signatures simply bear the halmark of where on the audible playing feild your composition resides. Each, much like the position one takes on a mountain have their own view of the relative surroundings. Key changes thusly, maintain the same essential and fundamental theoretical structure as outlined in some detail above. Chord progressions in turn define movement within that theoretical structure. Should a desired movement not exist in movement within a given key when all chord structures have been exhausted, as often can be the case, one may shift keys, or borrow from another key that best suits the temprament of the chord progression, and in doing so one shifts key, either accidentally, with a sharp, flat or natrual, or intentionally, with a key signature change.
As for the esoteric nature of music, again I maintain that there is no such thing, it is a langauge, and therefore able to be understood by anyone who can learn, which is everyone. However it's nature is esoteric in that many of the properties revealed here are indeed not as obvious as one would hope, and in view of that observation may appear to be quite secret or hidden which indeed may be construed as esoteric.
As for moods. This is the most absolute relative of questions. Does a dog have a buddha nature? Mu. It is with out, or so said Zen Master Joshu. I imagine Joshu would have been quite the jazz man. But as Joshu would also point out, any mood preceived is a result of reaction to cause, and thus, is the effect. So how to create the effect should be the question.
The stalwart answer is ofcourse experience. There is no substitue for this the most esstial of tools for both zen buddhists, and musicians alike. Experimentation and adaptation create the "mood" the effect that mood has on the listener or creator has to do with two elements of cognition, one of which you mentioned - when. Or as you put it rhythm.
This again is highly relative and any jazz drummer will tell you that what ever comes naturally is best. Arrangement of theory - when somehting happens, is a function of rhythm, in which a tempo is assigned, and music measured in factional form, most commonly 4 beats per measure, and a quarter note giving one beat. The most common tempo for this time signature is 120 beats per minute. With a quarter note as one beat one may split it into smaller pieces, normally in halves, to create 8th notes, 16ths, 32nds, 64ths, and so on. Rhythm has never been my strong point and I tend to wander in my own music to some degree with out strictly adhearing to the established beat of the music, simply because I perfer a more open approach to the "when". For more information on the mood of rhthm, find a jazz drummer, they will know how best to explain it's properties and are better qualified that I.
The other issue is "how". This is a matter of skill and in a word, musicianship. Often among guitarists, a players "feel" or "soul" is refered to. Most guitarists develope their own particular methodology for employing the theoretical concepts of music theory, or breaking them, by means of perhaps 10 or so recognized techniques, some of which have further subclassifications, or in the more extreme and perhaps notable occasions, self discovered techniques - most of which are dirrived out of necessity, or sheer boredom (as best I can express in my own experience atleast).
The culmination of mental accuity, coordination, understanding of music, rhythm and a sixth sense of "to what degree/extent" to do something a players style is dirived and thus it is said "this is how I get my groove on". Often times one sees one musician say to another when one is in this zone of concentrated effort "get down with your bad self" or something similar. This is both a recognition of anothers ability and concentration, as well as a compliment to one who appears to have grasped, in part or in full, their own personality and channelled it into their playing.
When I get down with my bad self and people ask how I simply say "It's a zen thing". That perhaps is the esoteric property of music - that is is only understood by the composer. The rest of it is appreciation and speculation.
And thus ends the discourse on the esoteric nature of music. I hope you find this lecture to be informatve and helpful if not enlightening. The best of luck to you in your pursuit if any, with music.
Best Regards,
Will Gray
Zen Guitar Guy
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I suspect that could choke even the mighty rhino if viewed in a whole sitting. Happy trails Mark, you'll be on this road for a while I imagine.
