“Music Theory and Composition 4” was another course that I took during my fifth term with Berklee Online. This was the final class of a four-semester curriculum. As was the case with each of the other MTC classes, this was super challenging and packed with a ton of information. We covered a _lot_ of ground in just twelve weeks.

Just as with the previous MTC classes we started off with a review of previously covered concepts. Things like Polychord Voicings, Non-Chord Tones (Passing Tone, Neighbor Tone, Anticipation, Suspension, Retardation Suspension, Double Neighbor, Appoggiatura, Escape Tone & Free Tone), Approach Tones (Passing, Neighbor, Unprepared Approach Tones, Indirect Resolution Tones and Double Chromatic Passing Tones), Classical & Contemporary Harmonic Analysis Techniques and a review of different rhythmic grooves from Indian, African and Latin Music.

The second week was mainly about music written in minor modes (Aeolian, Dorian, Hypodorian, Phygian, Hypophrgian) culminating with us writing a composition in either Phrygian or Dorian. Key concepts for modal melodies: reference the tonic frequently; sparingly use the characteristic tone as an embellishment; use strong melodic cadences. Characteristic tones for these modes are: Aeolian = b6th, Dorian = 6 and Phyrgian = b2. Essentials for modal chord progressions: alternate the tonic chord with modal cadence chords (IV-/bVI/bVII for Aeolian, II-/IV7/bVIIma7 for Dorian and bII/bVII-7 for Phrygian); modal cadence chords contain the characteristic note; only use the relative tonic as an approach chord on a weak metrical stress; and use other diatonic chords as approach chords to the cadence chords. We also learned about nested tuplets.

In week three we went over writing in major modes (Lydian and Mixolydian), proper notation of sixteenth notes and the Fibonacci Series applied to music. For the assignment we needed to come up with a piece that utilized either the Lydian or Mixolydian modes. As with the Minor Modes the key concepts for writing in Major Modes: reference the tonic frequently; sparingly use the characteristic tone as an embellishment; use strong melodic cadences. Characteristic tones were: Ionian = 4th, Lydian = #4 and Mixolydian = b7. Main points for major modal chord progressions: alternate the tonic chord with modal cadence chords (V-/bVII for Mixolydian and II/VII-7 for Lydian), modal cadence chords contain the characteristic note, only use the relative tonic as an approach chord on a weak metrical stress and use other diatonic chords as approach chords to the cadence chords.

During the fourth week we focused on various types of exotic scales. These included Lydian Augmented, the Acoustic Scale (aka Lydian b7), Spanish Phrygian, Whole-tone and the Octotonic scales. We also went over using Metric Modulation as a compositional technique. For the assignment we needed to come up with a piece that used at least three of the different exotic scales we learned about this week.

For week five we went over Deceptive Resolutions using Secondary and Substitute Dominant chords and how to use them for extending phrases. We also covered Chromatic Mediants and Symmetrical Divisions of the Octave. Additionally, we looked at some advanced level drum grooves, with a particular emphasis on the Cascara pattern. For this week’s assignment we needed to write and record a piece for a movie clip based on Chromatic 3rds.

Week six focused on different types of harmonization using Quartal (in fourths) and Quintal (in fifths) chord voicings, Layered Ostinatos, modal interchange within compositions and using Hemiolas in compositions.

Over seven we covered Hybrid Chord Voicings, Polytonal Harmony and Phase Music. For the assignment we wrote a piece for a video clip that utilized Hybrid Harmony.

For the eighth week it was all about Reharmonization, taking a given melody and finding new chords to use with it. I really enjoyed this topic as it showed how one can create a completely different and unique sounding piece by introducing new harmonization to an existing melody. You can use Diatonic Harmony, Modal Interchange chords, Secondary Dominants and related II chords, Substitute Dominant chords, Extended Tertian Harmony with Chord Tensions, Qunital/Quartal harmony, or even chords created from the Octatonic or Whole-tone scales for reharmonization. In major keys the Tonic family includes the I, II- and VI- chords, the Subdominant family has the II- and IV chords while the Dominant family has the V chord. The VII-7b5 chord can be in either the Dominant or as part of a Secondary Dominant as the related II chord of the V7/VI. We also did further work with advanced drum grooves using odd time signatures.

Week nine’s focus was on Parallelism in chord progressions. We learned how some progressions have chords that don’t function as secondary dominants or modal interchange chords while other progressions utilized Contiguous Motion and Constant Structure. We also went over analysis of parallel structures Debussy used in some of his music and learned about Jhalas (drone notes used in Indian Ragas). For the assignment we needed to write a piece for a video clip that used parallel harmony in the way of constant structure.

For week ten we learned about Serial Techniques. This was a really interesting and challenging week as there are very specific rules to Serial music that need to be followed. First you need to come up with a 12 tone row of non-repeating pitches created from the chromatic scale. Then assign rhythmic values to the notes. From there you can only play a pitch once until the entire row has been played. Notes can be in any octave but leaping from a note to the same note an octave higher or lower is not allowed. Now the order of the row doesn’t need to always go from left to right (Prime), it can also go from right to left (Retrograde). Another option is to invert the sequence by going the same number of intervallic steps in the opposite direction (Inversion). This inverted sequence can also be reversed (Retrograde Inversion). All of this can be extended out by having each sequence start on each of the twelve pitches. This is best displayed through the use of a 12×12 matrix. Things get quite interesting when you start combining different types of rows with one another, and/or from different starting points in a row, to create harmony and melody. Much of the serial music I listened to or came up with was quite dissonant and unusual to me, yet I found there was a power and beauty to the organized chaos.

During week eleven we went deeper into Modal Interchange, found out how Dominant 7th chords can function as tonic or subdominant or modal cadence chords and got our first exposure to minimalism and additive rhythms. This was also the week we started our final assignment.

We wrapped things up in week twelve by doing a survey of music from different parts of Asia (Indonesia, China, Japan and Thailand) and completing our final projects.

Even though this blog post is rather long it in no way accurately reflects the breadth and depth of the material covered in this course. I highly recommend the MTC classes for anyone interested in getting a full dose of music theory. The entire series is really well designed and thought out. But be forewarned, it is a lot of work.

Special thanks to Professor Kari Juusela. He was my teacher for MTC4 as well as the author of the entire series. He’s a fantastic and inspiring teacher who really knows this stuff inside and out. I feel very fortunate to have been able to study with him. Plus, I have the upmost respect for his ability to put the entire MTC series together. It is a massive achievement. Thanks Professor Juusela and Berklee!

Here are some of the pieces I put together for various assignments and exercises during the term.