Let’s use Available Tension!


Let’s use Available Tension!


Last time, I talked about ” Available Tensions ” in music theory, so I would like to talk about how to think about ” Available Tensions ” in “Composition / Arrangement”.

First of all, please listen to the sound source below.(Caution for volume)

This time, I made it only with the piano so that I can understand the sound of the chords.

First of all, I tried to make a chord progression with a triad chord, and from here let’s think about the constituent notes including the tension of the chord.

We will consider each measure one by one, so let’s change the measure of “C chord” to C △ 7 first!

Now, I’m going to add tension from here, but my right hand is already playing four notes, and I can’t afford the fingers of my right hand, so I’m going to omit one note to make voicing a little more freely. First, the first note that can be omitted at that time is the ” 5th ” note, the “no five” that I talked about earlier. And there is another sound that can be omitted, the “do” sound on the right hand. Since you are already playing the “do” sound with your left hand, you can omit the “do” with your right hand.

This time, the sound is produced on the piano, but the same can be said for the guitar and bass, for example. Since the bass plays the root sound, it is possible to omit the root sound on the guitar as well. Choose with or without the “root” and ” 5th ” sounds to your liking.

Click here for a detailed article on voicing

Voicing / No5th

Now listen to and compare the three same chords.(Caution for volume)

The sound source is 4 chords in the 1st bar, 3 chords in the 2nd bar with no five, and 2 chords in the 3rd bar without the root.

This time, I want to try various tensions and voicing, so I will try using “C △ 7” in the third measure. Since my right hand has only two notes, let’s try adding multiple tensions! from hereI’d like to change the chord to include “Available Tensions”, so first remember Available Tensions .

[Major chords AVAILABLE TENSIONS ]

Ionian = Ⅰ △ 7 = [ 9.13 ]

Lydian = Ⅳ △ 7 = [9. # 11.13 ]

Mixolydian = V7 = [ 9.13 ]

[ AVAILABLE TENSIONS of minor chords ]

Dorian = Ⅱm7 = [ 9.11.13 ]

Phrygian = Ⅲm7 = [ 11 ]

Aeolian = VIm7 = [ 9.11 ]

[ AVAILABLE TENSIONS of diminished chords ]

Locrian = Ⅶф = [ 11. ♭ 13 ]

If you are not familiar with Available Tensions, please read the following explanation.

AVAILABLE TENSIONS

Then, since the first measure is I △ 7 , the available tensions that can be used are ” 9th and 13th “.

Try ” C △ 9 ” and ” C △ 13 ” in the first bar!

Please listen to the chord first.(Caution for volume)

The first and second measures are ” C △ 9 “, which is an octave difference in the sound of “re ( 9th )”.

The 3rd and 4th measures are ” C △ 13 “, which is “C 13″ with the sound of “La ( 13th )” added to the 2 patterns of ” C △ 9 “.

Try to choose a chord while adding tension and thinking about voicing like this.

Let’s use ” C △ 9 ” in the second measure this time!

And the following sound source was made by considering other measures with the same feeling.(Caution for volume)

The atmosphere of the song has changed a little because of the tension!

When composing or arranging, I think that the image of the song is created to some extent, so try to create the atmosphere of the song by using tension so that you can get as close as possible to that image.

Also, when choosing the tension and voicing of chords, it is important to think about making the movement of the sound as smooth as possible when the chords change, and this time there was no melody, so there were no particular restrictions. However, if there is a melody, it is also important to choose the tension so that it does not interfere with the melody.

I’m thinking of writing such a story from now on, so please look forward to it.

Well, today is around here …

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2020-4-18

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