Welcome to “Lesson 22) Breaking Boundaries: Advanced Music Theory and Composition” of Guitar Lab's Advanced Lesson Series! This lesson focuses on pushing the boundaries of traditional music theory and composition, helping you explore new and innovative ways to approach guitar playing. Whether you're a seasoned guitarist looking to expand your musical vocabulary or an advanced player eager to delve into complex theoretical concepts, this chapter will guide you through some of the most challenging and rewarding areas of music theory.
The structure and application of altered scales
How to use modes to create unique melodic and harmonic textures
Exercises for integrating these concepts into your playing
Altered scales are variations of traditional scales that include notes outside the standard major and minor scales, often used to add tension and color to your music. These scales are particularly effective in jazz, fusion, and progressive genres.
The most common altered scale is the Altered Dominant Scale, also known as the Super Locrian Scale. It is derived from the seventh mode of the melodic minor scale.
Formula: 1, b2, b3, b4, b5, b6, b7
Example(C Altered Scale): C, Db, Eb, Fb, Gb, Ab, Bb
This scale is typically used over dominant seventh chords with altered extensions(e.g., C7#9, C7b9, C7#5).
The Altered Dominant Scale creates a lot of tension, making it perfect for resolving back to the tonic in a ii-V-I progression. When playing over a G7 chord in a G7-Cmaj7 progression, you could use the G Altered Scale to emphasize the altered tones before resolving to C major.
Scale Practice: Practice playing the Altered Scale in different keys and positions on the fretboard. Focus on transitioning smoothly between positions.
Chord-Tone Emphasis: Play over a backing track with a dominant seventh chord, emphasizing the altered notes(b9, #9, b5, #5) from the scale.
Improvisation Exercise: Improvise over a ii-V-I progression using the Altered Scale over the V chord. Experiment with resolving the tension created by the altered notes.
Modes are scales derived from the major scale by starting on different degrees of the scale. Each mode has a unique flavor and can be used to create different moods and atmospheres in your playing.
Ionian(Major Scale): 1, 2, 3, 4, 5, 6, 7(Happy, bright sound)
Dorian: 1, 2, b3, 4, 5, 6, b7(Minor with a major sixth, jazzy feel)
Phrygian: 1, b2, b3, 4, 5, b6, b7(Minor with a flat second, Spanish/flamenco sound)
Lydian: 1, 2, 3, #4, 5, 6, 7(Major with a sharp fourth, dreamy and expansive)
Mixolydian: 1, 2, 3, 4, 5, 6, b7(Major with a flat seventh, bluesy, rock feel)
Aeolian(Natural Minor): 1, 2, b3, 4, 5, b6, b7(Sad, reflective sound)
Locrian: 1, b2, b3, 4, b5, b6, b7(Diminished, dark, tense)
Each mode can be used to create different harmonic and melodic textures:
Dorian Mode: Often used in jazz and funk. Try playing a Dorian mode over a minor seventh chord to add a jazzy, sophisticated sound.
Phrygian Mode: Works well in metal and flamenco. Use it over a minor chord progression to create an exotic, intense atmosphere.
Lydian Mode: Great for creating a sense of openness and space. Try using Lydian over a major chord for a dreamy, ethereal feel.
Modal Practice: Practice playing each mode in all positions on the fretboard. Start with C Ionian, then move to D Dorian, E Phrygian, and so on.
Modal Improvisation: Create a simple chord vamp(e.g., Am7 for Dorian, Em7 for Phrygian) and improvise using the corresponding mode. Focus on bringing out the characteristic notes of the mode.
Mode Switching: Practice switching between modes over a chord progression. For example, play C Ionian over a Cmaj7 chord, then switch to D Dorian over a Dm7 chord.
The concepts of polytonality and atonality
How to apply these concepts in your guitar compositions and improvisations
Exercises to develop your understanding and use of these advanced techniques
Polytonality involves the use of two or more different keys simultaneously. This technique creates a complex, layered sound and is often used in modern classical music, jazz, and avant-garde genres.
In polytonality, each instrument or voice might be playing in a different key, or a single instrument(like the guitar) might imply multiple keys at once. For example, one guitar part might emphasize C major while another emphasizes G major.
Example:
Upper Strings(C Major): Play a C major chord or melody.
Lower Strings(G Major): Play a G major chord or bassline.
When combined, the notes from each key create a rich, dissonant harmony that can add depth and tension to your music.
One way to apply polytonality on guitar is to divide the fretboard into two tonal regions:
Bassline in One Key: Play a bassline on the lower strings(e.g., G major on the 6th and 5th strings).
Melody in Another Key: Play a melody on the higher strings in a different key(e.g., C major on the 2nd and 1st strings).
Dual Key Practice: Practice playing chords or melodies in two different keys simultaneously. Start with simple key combinations like C major and G major, then experiment with more dissonant combinations.
Polytonal Riff Exercise: Create a riff that incorporates elements from two different keys. For example, play a riff in A minor on the lower strings and layer a melody in E minor on the higher strings.
Improvisation Exercise: Improvise over a backing track that shifts between two keys. Try playing in one key while the backing track plays in another, focusing on how the two keys interact.
Atonality refers to music that lacks a clear tonal center or key. This approach to composition breaks away from traditional harmonic structures, creating music that is often dissonant and unpredictable.
Atonal music does not adhere to the traditional rules of harmony and tonality. Instead of being based on a specific key, atonal music treats all 12 notes of the chromatic scale as equally important.
Example:
Instead of playing within the C major scale, you might use all the notes available, without prioritizing C or any other note.
Atonality is common in 20th-century classical music and has been explored by avant-garde jazz and progressive rock musicians.
To experiment with atonality on guitar, try creating music that avoids traditional scales and chord progressions:
Freeform Chords: Create chords that do not belong to a particular key. For example, combine notes like C, F#, and Bb to create dissonant, ambiguous harmonies.
Chromatic Melodies: Write or improvise melodies that use the chromatic scale, avoiding the resolution to a tonal center.
Atonal Melody Exercise: Practice creating atonal melodies by playing random combinations of notes from the chromatic scale. Focus on avoiding resolution to any specific key.
Atonal Chord Exercise: Create atonal chord progressions by combining unrelated chords. For example, try moving from an E major chord to a Bb minor chord, then to a G# diminished chord.
Freeform Improvisation: Improvise freely without regard to key or harmony. Focus on the texture, dynamics, and rhythm of your playing rather than melody or harmony.
The principles of counterpoint and voice leading
How to apply these techniques to create intricate, harmonically rich guitar parts
Exercises to develop your skills in counterpoint and voice leading
Counterpoint is the art of combining independent melodic lines in a way that creates a harmonious, interwoven texture. This technique has been used for centuries in classical music and can add depth and complexity to your guitar compositions.
In counterpoint, each melodic line, or "voice," is independent but also harmonically connected to the other voices. The goal is to create a balance between independence and harmony.
Example:
First Voice(Melody): Play a melody in the higher register, such as on the 1st and 2nd strings.
Second Voice(Counterpoint): Play a contrasting melody in the lower register, such as on the 5th and 6th strings.
These two voices should interact in a way that is melodically interesting and harmonically pleasing.
To apply counterpoint on guitar, you can create two independent melodic lines that work together:
Voice 1(Higher Strings): Play a melody on the 1st and 2nd strings.
Voice 2(Lower Strings): Play a contrasting melody on the 4th and 5th strings.
Focus on ensuring that the melodies are rhythmically and harmonically complementary.
Two-Voice Counterpoint Exercise: Create two independent melodies on different strings(e.g., one on the 1st string, one on the 3rd string) and practice playing them together. Focus on maintaining independence while ensuring the voices harmonize.
Bach-style Counterpoint Exercise: Study and practice pieces by J.S. Bach, such as his "Two-Part Inventions," and try to apply similar techniques to your guitar compositions.
Improvisation Exercise: Improvise two-voice counterpoint in real-time. Start with simple, short phrases and gradually increase the complexity.
Voice leading refers to the smooth movement of individual notes or voices within a chord progression. Good voice leading ensures that each note moves to the next with minimal motion, creating smooth, connected harmonies.
In a well-voiced chord progression, each note(or "voice") moves to the closest possible note in the next chord. This minimizes jumps and creates a smoother, more coherent sound.
Example:
Chord Progression: Cmaj7 - Fmaj7 - G7 - Cmaj7
Voice Leading: Move each note of the Cmaj7 chord to the nearest note in Fmaj7, then to G7, and finally back to Cmaj7.
To apply voice leading on guitar, focus on the smooth movement of each note in a chord progression:
Choose a Progression: Start with a simple chord progression, such as Cmaj7 - Am7 - Dm7 - G7.
Focus on the Top Voice: Ensure that the top note of each chord(often the melody note) moves smoothly from one chord to the next.
Minimize Movement: Keep the movement between notes as small as possible, often within a single fret.
Chord Progression Exercise: Practice playing a chord progression(e.g., I-IV-V-I) with smooth voice leading. Focus on the movement of the top note in each chord.
Chord Inversion Exercise: Use chord inversions to improve voice leading. Practice moving between different inversions of the same chord to create smoother transitions.
Voice Leading in Solos: Apply voice leading principles to your solos. Focus on moving smoothly from one note to the next, especially when changing chords.
How to write and play in uncommon time signatures
Techniques for creating complex, rhythmically interesting compositions
Exercises to develop your understanding and fluency in uncommon rhythms
Uncommon time signatures refer to any time signature outside of the standard 4/4 or 3/4. Examples include 5/4, 7/8, 9/8, and 11/8. These time signatures add rhythmic variety and complexity to your music, often creating a sense of tension and unpredictability.
Uncommon time signatures can be broken down into smaller groupings of beats, making them easier to understand and play. For example:
5/4 Time: Can be felt as 3 + 2 or 2 + 3
7/8 Time: Can be grouped as 2 + 2 + 3, 3 + 2 + 2, or 4 + 3
Each grouping creates a different rhythmic feel, allowing for a wide range of expressive possibilities.
To write and play in uncommon time signatures, start by feeling the beat and understanding the groupings:
Choose a Time Signature: Start with a less common time signature, such as 7/8.
Break It Down: Divide the time signature into smaller, more manageable groups(e.g., 2 + 2 + 3).
Create a Riff: Write a riff or melody that emphasizes the natural accents within the time signature.
Clapping Exercise: Clap out the rhythm of an uncommon time signature, focusing on the accents and groupings. Start with 5/4, then move to 7/8, 9/8, and beyond.
Riff Writing Exercise: Write a riff in an uncommon time signature. Focus on emphasizing the natural groupings of beats to create a strong, cohesive rhythm.
Improvisation Exercise: Improvise in an uncommon time signature over a backing track. Start with simple phrases and gradually increase the complexity of your rhythms.
Complex rhythms involve the use of syncopation, cross-rhythms, and polyrhythms to create intricate, rhythmically challenging compositions. These rhythms are often found in progressive rock, jazz, and experimental music.
Complex rhythms often involve shifting the emphasis away from the downbeat or combining multiple rhythms simultaneously:
Syncopation: Shifting the emphasis to the off-beats or weaker beats.
Cross-Rhythms: Playing one rhythm against another, such as 3/4 against 4/4.
Polyrhythms: Combining different time signatures or rhythmic patterns, such as 2 against 3.
To incorporate complex rhythms into your guitar playing, start by practicing simple syncopation and gradually work your way up to more advanced techniques:
Start with Syncopation: Practice shifting the emphasis of a simple riff or chord progression to the off-beats.
Introduce Cross-Rhythms: Try playing a 3/4 rhythm against a 4/4 rhythm. This could involve playing triplets in one hand while the other hand plays straight quarter notes.
Explore Polyrhythms: Experiment with polyrhythms by playing two different rhythms simultaneously, either by using both hands independently or by layering rhythms in a composition.
Syncopation Exercise: Take a simple riff and shift the emphasis to the off-beats. Practice this with a metronome to ensure accuracy.
Cross-Rhythm Exercise: Play a simple 3/4 rhythm with your foot while playing a 4/4 rhythm on the guitar. Focus on maintaining both rhythms independently.
Polyrhythm Exercise: Experiment with playing two different rhythms simultaneously. Start with simple combinations like 2 against 3, and gradually increase the complexity.
The principles of serialism and twelve-tone technique
How to apply these techniques to guitar composition and improvisation
Exercises to develop your understanding and use of twelve-tone methods
Serialism is a method of composition that uses a series of pitches, rhythms, dynamics, or other elements as the basis for a piece of music. This technique was developed in the early 20th century by composers like Arnold Schoenberg as a way to move beyond traditional tonal music.
In serialism, a series(or "row") of elements is created, and this series is used to generate the material for the composition. The most common form of serialism is twelve-tone serialism, which involves a series of the twelve notes of the chromatic scale.
Example of a Twelve-Tone Series:
C, C#, D, Eb, E, F, F#, G, G#, A, Bb, B
This series can be used in its original form, inverted, retrograded(played backward), or transposed to generate melodies, harmonies, and rhythms.
To apply serialism to guitar, start by creating a twelve-tone row and then use this row to generate your musical material:
Create a Row: Start by selecting the twelve notes of the chromatic scale in any order. This will be your twelve-tone row.
Use the Row: Compose a melody or riff using the notes of the row in sequence. Avoid repeating any note until all twelve have been used.
Explore Variations: Experiment with inverting the row(flipping the intervals), retrograding it(playing it backward), or transposing it to different starting notes.
Row Creation Exercise: Create a twelve-tone row by choosing the twelve notes of the chromatic scale in a specific order. Write out the row and practice playing it on the guitar.
Melody Writing Exercise: Write a melody using your twelve-tone row. Focus on using the row in its original form before exploring inversions and retrogrades.
Variation Exercise: Experiment with creating variations of your row by inverting or retrograding it. Practice playing these variations on the guitar and incorporating them into a composition.
Twelve-tone technique is a specific form of serialism where a composer uses all twelve notes of the chromatic scale in a particular sequence(the twelve-tone row) without repeating any note until all twelve have been used. This technique creates a sense of equality among all pitches, avoiding a traditional tonal center.
In twelve-tone music, the twelve-tone row serves as the basis for the entire composition. The row can be manipulated through various transformations:
Prime Form: The original sequence of notes.
Inversion: Flipping the intervals of the row.
Retrograde: Playing the row backward.
Retrograde Inversion: Flipping the intervals and playing the row backward.
To apply twelve-tone technique to guitar, follow these steps:
Create a Twelve-Tone Row: Choose a specific sequence of twelve different pitches.
Compose with the Row: Write a melody, chord progression, or riff using the notes of the row in sequence. Use transformations(inversion, retrograde) to develop the material further.
Avoid Repetition: Ensure that no pitch is repeated within a row until all twelve notes have been used.
Row Practice: Create and memorize a twelve-tone row. Practice playing it on the guitar in different positions and octaves.
Composition Exercise: Write a short piece or section of music using your twelve-tone row. Focus on maintaining the sequence of notes while creating a coherent musical idea.
Improvisation Exercise: Improvise using the twelve-tone row. Start by improvising in sequence and then explore using inversions and retrogrades.
How to create complex chord progressions
The use of extended harmonies and chord substitutions
Exercises to develop your skills in harmonic composition and improvisation
Complex chord progressions move beyond the standard I-IV-V progressions by incorporating secondary dominants, borrowed chords, modulations, and extended chords. These progressions add richness and variety to your compositions.
To create complex chord progressions, you can use techniques such as:
Secondary Dominants: These are dominant chords that resolve to a chord other than the tonic. For example, in the key of C major, a secondary dominant could be D7(the V7 of G).
Borrowed Chords: Borrow chords from parallel keys. For example, borrow an F minor chord from C minor while in the key of C major.
Modulation: Change keys within a progression, creating a sense of movement and development.
Example Progression:
In C Major: Cmaj7 - A7 - Dm7 - G7 - Cmaj7
With Borrowed Chords: Cmaj7 - Fm7 - Bb7 - Ebmaj7 - Abmaj7
To create complex chord progressions on guitar, start by experimenting with different types of chords and their relationships:
Start with a Basic Progression: Begin with a simple I-IV-V progression, such as Cmaj7 - Fmaj7 - G7.
Add Secondary Dominants: Introduce secondary dominants, like A7 before Dm7, to add tension and resolution.
Incorporate Borrowed Chords: Use chords from parallel keys to add unexpected twists, such as Fm7 in a C major progression.
Chord Substitution Exercise: Take a simple progression and substitute one or more chords with a secondary dominant or borrowed chord. Practice playing the new progression smoothly.
Progression Writing Exercise: Write a chord progression that modulates between two keys. Focus on creating a smooth transition between the keys.
Improvisation Exercise: Improvise over a complex chord progression, focusing on outlining the changes with your soloing. Pay attention to the tension and resolution created by the progression.
Extended harmonies involve adding notes beyond the basic triad, such as 7ths, 9ths, 11ths, and 13ths. These chords add richness and color to your music, often creating a more sophisticated or jazz-influenced sound.
Extended chords are built by stacking additional thirds on top of a basic triad:
7th Chords: Add a 7th above the root(e.g., Cmaj7: C-E-G-B).
9th Chords: Add a 9th above the root(e.g., Cmaj9: C-E-G-B-D).
11th Chords: Add an 11th above the root(e.g., Cmaj11: C-E-G-B-D-F).
13th Chords: Add a 13th above the root(e.g., Cmaj13: C-E-G-B-D-F-A).
These chords can be altered(e.g., C7#9) to create even more tension and color.
To incorporate extended harmonies into your playing, experiment with different chord voicings and substitutions:
Start with 7th Chords: Replace basic triads with 7th chords in your progressions. For example, play Cmaj7 instead of C major.
Add Extensions: Introduce 9ths, 11ths, and 13ths to your chords. For example, replace Cmaj7 with Cmaj9 or Cmaj13.
Explore Voicings: Experiment with different voicings for extended chords, focusing on the placement of each note on the fretboard.
7th Chord Exercise: Practice playing 7th chords in all positions on the fretboard. Focus on smooth transitions between chords.
9th and 11th Chord Exercise: Incorporate 9th and 11th chords into your progressions. Experiment with different voicings and inversions.
Extended Chord Progression Exercise: Write a chord progression that uses extended harmonies throughout. Practice playing the progression smoothly and improvising over it.
Lesson 22: Breaking Boundaries: Advanced Music Theory and Composition has guided you through some of the most challenging and innovative areas of music theory. By exploring altered scales, polytonality, counterpoint, uncommon time signatures, serialism, and extended harmonies, you've expanded your understanding of music and your ability to express yourself on the guitar.
These techniques will not only enhance your technical abilities but also open up new creative possibilities in your composition and improvisation. Keep experimenting with these ideas, and don't be afraid to break the rules as you continue to develop your unique voice as a guitarist.
Stay tuned for more lessons in Guitar Lab's Advanced Lesson Series, where we'll continue to explore the boundaries of guitar playing and music theory.