Advanced Music Theory & Composition - Grades 9-12

Course Introduction

"Sing unto Him a new song; play skillfully with a loud noise." - Psalm 33:3

This advanced course will equip you to:

Analyze complex music theoretically
Compose original pieces
Arrange music for various ensembles
Understand historical context and styles
Use your musical gifts to glorify Yahuah

Prerequisites: Basic music theory (scales, intervals, triads, rhythm, key signatures)

1Advanced Scales & Modes

The Church Modes

Modes are scales that use the same notes as major scales but start on different degrees, creating unique colors.

Mode	Pattern (from C)	Character	Use
Ionian (I)	C-D-E-F-G-A-B-C	Bright, happy	Standard major
Dorian (II)	D-E-F-G-A-B-C-D	Minor, jazzy	Jazz, folk
Phrygian (III)	E-F-G-A-B-C-D-E	Spanish, exotic	Flamenco
Lydian (IV)	F-G-A-B-C-D-E-F	Dreamy, bright	Film scores
Mixolydian (V)	G-A-B-C-D-E-F-G	Bluesy major	Rock, blues
Aeolian (VI)	A-B-C-D-E-F-G-A	Natural minor	Standard minor
Locrian (VII)	B-C-D-E-F-G-A-B	Dark, unstable	Rarely used

Identifying Modes

Each mode has a characteristic interval that defines its sound:

Dorian: Raised 6th (compared to natural minor)
Phrygian: Lowered 2nd
Lydian: Raised 4th
Mixolydian: Lowered 7th (compared to major)

Other Scales:

Pentatonic Major: 1-2-3-5-6 (no 4 or 7)
Pentatonic Minor: 1-b3-4-5-b7
Blues Scale: Pentatonic minor + b5
Whole Tone: All whole steps (dreamy, suspended)
Chromatic: All half steps

Practice: Write these modes starting on G

G Dorian: G-A------G

G Mixolydian: G-A------G

2Seventh Chords & Extensions

Building Seventh Chords

Add a seventh above the root to create richer harmony.

Type	Symbol	Construction	Example (C)
Major 7th	Cmaj7, CΔ7	Major + M7	C-E-G-B
Dominant 7th	C7	Major + m7	C-E-G-Bb
Minor 7th	Cm7, C-7	Minor + m7	C-Eb-G-Bb
Half-Diminished	Cø7, Cm7b5	Dim + m7	C-Eb-Gb-Bb
Fully Diminished	Cdim7, C°7	Dim + dim7	C-Eb-Gb-Bbb(A)
Minor-Major 7th	CmM7	Minor + M7	C-Eb-G-B

Seventh Chords in Major Keys:

In C: Cmaj7 - Dm7 - Em7 - Fmaj7 - G7 - Am7 - Bø7

Extensions (9ths, 11ths, 13ths):

Continue stacking thirds beyond the seventh:

9th: 1-3-5-7-9 (C9 = C-E-G-Bb-D)
11th: 1-3-5-7-9-11 (often omit 3rd)
13th: 1-3-5-7-9-11-13 (all notes of scale!)

Practice: Build These Chords

Gmaj7: G---
Am7: A---
D7: D---

3Chord Progressions & Analysis

Roman Numeral Analysis

Analyze chords by their function within a key:

Uppercase = Major (I, IV, V)
Lowercase = Minor (ii, iii, vi)
° = Diminished (vii°)
+ = Augmented

Common Progressions:

Progression	In C Major	Genre/Use
I - IV - V - I	C - F - G - C	Rock, folk, hymns
I - V - vi - IV	C - G - Am - F	Pop (the "4-chord song")
ii - V - I	Dm - G - C	Jazz standard
I - vi - IV - V	C - Am - F - G	50s rock, doo-wop
vi - IV - I - V	Am - F - C - G	Modern pop/worship
I - IV - vi - V	C - F - Am - G	Contemporary

Functional Harmony

Chords have functions:

Tonic (T): I, vi - Home, stable
Subdominant (S): IV, ii - Away from home
Dominant (D): V, vii° - Wants to return home

Typical motion: T → S → D → T

Secondary Dominants:

Any chord can be "tonicized" by placing its V chord before it:

V/V = D7 in C (makes G feel like temporary "home")

Common: V/V, V/ii, V/vi

Analyze This Progression in C:

C - Am - Dm - G7 - C

Roman numerals: - - - -

4Voice Leading

Voice leading is the art of moving individual notes (voices) smoothly from chord to chord.

Basic Rules:

Move by step when possible - Smooth motion sounds better
Keep common tones - If two chords share a note, keep it in the same voice
Contrary motion - When bass moves up, upper voices move down (and vice versa)
Avoid parallel fifths and octaves - Sounds hollow
Resolve tendency tones - Leading tone (7) → Tonic (1); Fa (4) → Mi (3)

SATB Writing

Four-part harmony uses four voices:

Soprano: Highest voice (C4-G5)
Alto: Second highest (G3-D5)
Tenor: Second lowest (C3-G4)
Bass: Lowest (E2-C4)

Keep adjacent voices within an octave (except bass-tenor can be wider).

Chord Inversions:

Root position: Root in bass (C/C)
First inversion: 3rd in bass (C/E)
Second inversion: 5th in bass (C/G)

Use inversions for smoother bass lines!

5Counterpoint Basics

Counterpoint is the art of combining independent melodic lines that work together harmonically.

Species Counterpoint (After Fux):

First Species: Note against note (1:1)
Second Species: Two notes against one (2:1)
Third Species: Four notes against one (4:1)
Fourth Species: Syncopation, suspensions
Fifth Species: Florid - combines all

First Species Rules

Begin and end on perfect consonance (unison, 5th, octave)
Use mostly imperfect consonances (3rds, 6ths)
Avoid parallel 5ths and octaves
Move by step primarily; leaps should be followed by step in opposite direction
Create contrary motion when possible

Imitation:

One voice "imitates" another at a delay:

Canon: Strict imitation throughout
Fugue: Imitative entries with development
Round: Simple canon at the unison

6Form & Analysis

Larger Forms:

Form	Structure	Description
Sonata Form	Exposition - Development - Recapitulation	Classical symphonies, sonatas
Theme & Variations	A - A' - A'' - A''' etc.	Theme transformed
Rondo	A-B-A-C-A or A-B-A-C-A-B-A	Refrain returns
Fugue	Exposition - Episodes - Stretto	Imitative polyphony
Through-composed	A-B-C-D...	No repetition

Sonata Form in Detail

Exposition:

First theme in tonic key
Transition (modulates)
Second theme in new key (usually V or relative major)
Closing theme

Development: Themes fragmented, developed, modulations

Recapitulation: Both themes return in tonic key

Song Form Analysis:

Modern songs typically use:

Intro → Verse → Pre-Chorus → Chorus → Verse → Chorus → Bridge → Chorus → Outro

7Modulation

Modulation is changing from one key to another within a piece.

Types of Modulation:

1. Pivot Chord (Common Chord)

Find a chord that exists in BOTH keys:

C major → G major: The chord Em is iii in C and vi in G

C - Am - Em - D - G

Em functions as the pivot.

2. Direct (Phrase) Modulation

Simply start the new key at a phrase boundary - no transition.

3. Sequential Modulation

A pattern repeats at different pitch levels, landing in a new key.

Closely Related Keys:

Keys that differ by one accidental are closely related:

Parallel major/minor (C ↔ Cm)
Relative major/minor (C ↔ Am)
One sharp more (C → G)
One flat more (C → F)

8Composition Techniques

"Sing unto Yahuah a NEW song!" - Psalm 96:1

The Composition Process:

Inspiration: Prayer, Scripture, life experience
Sketch: Melody idea, chord progression, rhythm
Develop: Extend, vary, harmonize
Structure: Organize into form
Refine: Edit, improve, polish
Notate: Write it down clearly

Melody Writing Tips

Use mostly stepwise motion with occasional leaps
After a leap, move by step in opposite direction
Create a clear high point (climax)
Use repetition and variation
Make phrases breathable (singable)
End phrases on stable tones (1, 3, 5)

Harmonic Rhythm

How often chords change affects energy:

Slow harmonic rhythm = calm, stable
Fast harmonic rhythm = energetic, driving
Vary harmonic rhythm for interest

Motific Development:

A motif is a short musical idea. Develop it by:

Repetition (exact)
Sequence (same pattern, different pitch)
Inversion (flip upside down)
Retrograde (backwards)
Augmentation (longer note values)
Diminution (shorter note values)
Fragmentation (use part of motif)

Composition Project

Write a 16-bar melody using these guidelines:

Key: G major
Time: 4/4
Form: A (4 bars) - A' (4 bars) - B (4 bars) - A (4 bars)
Include at least one leap and resolve it
End on the tonic

9Arranging & Orchestration

Arranging is adapting music for specific instruments or voices.

Considerations:

Range: Each instrument/voice has limits
Texture: Melody + accompaniment, polyphonic, homophonic
Voicing: How to distribute chord tones
Doubling: Which notes to reinforce
Register: High, middle, or low - affects color

Worship Band Arrangement:

Typical Roles

Drums: Rhythm foundation, energy
Bass: Root motion, low end
Piano/Keys: Harmony, rhythm, fills
Acoustic Guitar: Rhythm, texture
Electric Guitar: Pads, leads, texture
Vocals: Melody, harmony parts

Arranging Tips:

Start simple, add layers
Don't have everyone play all the time
Create dynamics by adding/removing instruments
Let the melody be clear
Build to the climax, then release

10Music & Worship

"Let the word of Messiah dwell in you richly in all wisdom; teaching and admonishing one another in psalms and hymns and spiritual songs, singing with grace in your hearts to Yahuah." - Colossians 3:16

Purposes of Worship Music:

Praise: Declaring Yahuah's attributes
Teaching: Doctrine put to music
Testimony: Sharing what He has done
Prayer: Musical conversation with Yahuah
Warfare: Advancing against the enemy
Unity: Bringing believers together

Qualities of Good Worship Music

Theologically sound: Words must be true
Singable: Congregation can participate
Excellent: Skillfully crafted and performed
Accessible: Not too complex
Spirit-led: Anointed, not just talented

Leading Worship:

Prepare thoroughly, then depend on the Spirit
Know the songs deeply
Watch and respond to the congregation
Point to Yahuah, not yourself
Create flow between songs
Be ready to change plans

Final Project: Write a Worship Song

Create an original worship song including:

At least 2 verses and a chorus
Scripture-based lyrics
Chord chart with Roman numeral analysis
Melody notation
Basic arrangement notes

"I will sing unto Yahuah as long as I live: I will sing praise to my Elohim while I have my being." - Psalm 104:33

Answer Key (Selected)

Unit 1:

G Dorian: G-A-Bb-C-D-E-F-G

G Mixolydian: G-A-B-C-D-E-F-G

Unit 2:

Gmaj7: G-B-D-F# | Am7: A-C-E-G | D7: D-F#-A-C

Unit 3:

C - Am - Dm - G7 - C = I - vi - ii - V7 - I

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