D F m out here on the flip side D you know i took the F m long way around D F cause all i really am is G F m a home-made elevator D F m blinded by your sunshine D F m put you on a plane to old Paris D F i laid cards down G on the table ooh ooh ooh ooh ah ah ah ah ooh ooh ooh ooh ah ah ah ah Chorus 2: F can't find a reason G for these feelings clouding up above me F cause god he told me G he said he's gonna send me something lovely F but even still i sit G at times i wonder what you're thinking of me F you're probably sure G i lost my mind oh mind F Hold oh mind oh mind oh mind Chorus 3: No comment yet: Need help, a tip to share, or simply want to talk about this song?
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Ukulele Tuner Easy online uke tuning. A Very Simple Song. C Major Modulating to A Minor. Interactive Circle of Fifths. Music Theory For Dummies.
Welcome to the first Mobile Studio Podcast. My parents have sung in choirs all their married life, so I was exposed to music and harmony even before I was born. They insisted that my brother, sister and I received a musical education so for many years we each attended weekly piano lessons and were very involved with the various choirs and orchestras at school. One day when I was about 8, my Dad made the mistake of showing me that if I plugged the headphones of our stereo system into the microphone socket, then I had my very own microphone and amplifier.
This simple little discovery inspired me to branch out into a whole new direction, one that complimented my love of music: Like so much of life, music and recording are 2 very wide subjects. The internet is a great place for this, as, apart from the huge amount of information available, it allows communication with people like you who can come along with me on my journey of discovery and together we can help each other to learn more.
This way I hope to be able to help you improve your songs and recordings and give you new and interesting ideas. We will look at how you can use them to color your arrangement and make it more interesting, how chords can influence emotion in your audience and how you can use them to create harmony lines. I have purposely structured this podcast in order of increasing technicality. Some of you listening may find the first part of the podcast too basic, if so, simply skip to one of the later sections. Alternatively, others may find some of the material a little complicated. If so, you may want to stop, and come back the podcast later on.
So for this first podcast and also occasionally in future ones, I will expand on some of the topics discussed and cover additional topics in a podcast extra which you can download for free by subscribing. Simply head over the podcast homepage at. You will then receive an E-Mail explaining how you can download the supplementary material.
For the uninitiated, a chord is any set of three or more notes played together which have a harmonic interval between them. So for example the notes, C, E and G are the triad of notes which make up a chord, the chord of C major. A triad is simply the 3 notes that make up the basic chord. There are many different types of chords in many different keys and it is the combination of these chords and the way we play them that can transform our song from a rather basic melody into a full blown arrangement.
Chords and harmonies can make a monotonic section of a song into something quite special. Because several chords can fit around one note, you can color that note with the different chords so that even if that note lasts for say 4 bars, you can use a different chord for each bar and make the note sound more interesting.
The song finishes on the note A, but that note lasts for 5 bars. Around that note play 3 chords, F major, D minor, and finally resolving to A major. From the moment of your first chord, you are adding interest to your music. You are adding an interpretation to the melody. Like coloring in between the lines of a black and white drawing.
We can develop this idea of using chords to help interpret our music further and use the chords to trigger an emotional response in your audience. This is true not only for a melody. Music is often used to influence our emotional state when played over speech in films and plays, we call it incidental music.
We may not always notice it, but the music is often there secretly influencing the way we feel at any given moment in the story. In order to be incidental, the music playing while the actors are speaking must be subtle, otherwise it may take away from the action being presented on the screen. Music is there to underline what is going on, not to drown it out. Therefore, rather than composing an actual melody, the composer of the incidental music may well make use of chords to set the emotional tone of what is being presented.
To demonstrate, you are about to hear a short paragraph about a guy called Tom who is walking through a forest. Tom walked through the thick forest, the slowly setting sun casting strange, dancing shadows through the canopy of leaves up above. Shafts of light struck the ground at sharp angles, their path made visible by the dust in the air. Birds circled up above. All around him, he could hear the faint rustle of movement in the undergrowth. Night was falling and Tom found himself thinking of the hot steaming mug of tea, the fire and his nice comfortable armchair waiting for him at home.
He had been walking most of the day and was beginning to tire. However, simply by changing the types of chords used, we can suggest quite the opposite. You may want to stop here, take a break and listen to the Podcast Extra which will help you to identify the different types of chords and how to play them. Choosing the chords will also help you to add yet another layer of interest to your song, harmony lines.
These harmony lines can then be sung or played by other instruments in your arrangement. Chords will generally begin on the first beat of the bar and last sometimes a whole bar, although often only half a bar. Occasionally a chords will only last for one beat. Which chord you choose can be quite an artistic decision as several different chords may fit one note. However, the basic rule is that the melody note to which you are fitting the chords should usually exist within that chord. I say usually as music is an art form and sometimes great art is made by breaking the rules.
The first line is made up of notes that could all be covered by the one chord, that of C major. But that would be boring and prevent the song from going anywhere. Much better to vary the chords a little so that they lead into the second line. In my little song there are 4 beats in each bar so if we adhere to the rule of one or two chords per bar, we want to be changing chords every 2 beats or so.
But what to I change the chords to?
That is, the bass note of each chord descends by one note each time we change a chord. So if we start on C, the next chord will start on B then A and so on. But will this trick fit my song and if so, what chords should I be choosing. Well, just in the same way as 2 points can describe a straight line, often 2 notes can give you a pretty good clue as to the chord.
We already have our first chord of C major. The next chord we want to start on the bass note of B. The melody note for this chord is G. OK so our chord has to fit B and G. So now we have C, Em… What about our third chord? Using our descending bass rule, the bass note of that chord is A and our melody note is C, so we have C and A.
Again 2 possible chords are available. F and Am. Each key contains only certain chords. I want the D of my next line to be the tonic the bass note of the next chord. In my song, I want to lead into this Dm minor chord which is why I have been choosing minor chords in the previous line. Going back to my 2 chords a bar rule, I need to find the first and third beats of each bar in the next line of the song. Therefore the next chord will have a C in it, C being one note below D. The melody note for that chord is A so a nice chord that fits C and A is F.
A good chord to use for this job is the dominant seventh chord. In the key of C, the dominant seventh is G7. Therefore we can put in a G chord in before the G7 which keeps in nicely with our 2 chords per bar rule. If it is a vocal harmony, then it is a nice idea to try and make it a melody in itself so that a singer will find it easier to remember. Here is it:. The melody line has already given me the middle note of the chord so all that remains is for me to choose the highest note of the chord for the tenor line. The key of C may not be suitable for your singers or the specific instruments you are arranging the song for.
You may even want to change to a different key in the middle of your song, allowing you to reuse a piece of melody, but present it in a different way or introduce a new movement in your song and make it sound very different to what came before it. In order to help you do this, we are now going to delve deep into musical theory and talk about a roadmap that can help you find your way around the different keys and the chords they contain. This is the most technical section of the podcast, so again you may want to stop, take a break or listen to some of the complimentary material in the Podcast Extra and come back later.
Imagine if we could find a way to visually represent the all the different keys and how they are related to each other. We could find which keys were similar, which keys were further away from each other and find out which sharps and flats were in each key. We could even use this representation as a map to find our route between different keys.
Luckily for us, someone has already done just that. The Greek philosopher Pythagoras, in fact, he of the triangle fame.
Maybe if Pythagoras was around today, rather than calling him a philosopher, we might call him a mathematician. You may ask what mathematics has got to do with music? Well the answer is: Quite a lot actually! Sound is a very mathematical phenomenon. A violin string vibrates as it is bowed. As it vibrates, the string generates pressure changes in the air which our ears pick up and interpret as sound.
If the violinist were to play the note A above middle C, the string would vibrate at times per second. If he were to play the A an octave above that, the string vibrates times per second, precisely twice the number of vibrations per second it did before. Another octave above that and the string vibrates at vibrations per second, again twice the number of vibrations per second as it did on the previous A and so on.
Therefore it is not surprising that someone with a mathematical mind like Pythagoras might think of turning his hand to music as well. Having had such success with triangles, when Pythagoras turned his hand to music, he decided that a circle might be the best shape to use. This circle became known as the circle of 5 ths. What Pythagoras did was to lay these twelve notes around the circle like a clock in a special order. He worked with numbers. What we now call C he called 0 and divided his circle into 1, pieces or cents. Therefore, each of the 12 positions on his circle is cents further round the circle from the previous.
This division into semi-tones and the creation of the circle of 5 ths lies at the very foundation of western music theory. Because the circle of 5 ths acts as a sort of roadmap for western music, it is incredibly useful to refer to when trying to work out things like, what key you are in.
If you are in a major key it helps you find the relative minor key and visa versa. It tells you which chords are available in which key. It helps you to transpose your music into a different key and move between keys within a song.
The reason it is called the circle of 5 ths is because of the way it is laid out.