music notes

_notes/Music composition.md

@@ -0,0 +1,159 @@
+---
+title: Music Composition
+---
+
+<status>Status: 🌱 </status>
+
+<details>
+<summary>Table of contents</summary>
+	<ul>
+		<li><a href="#motivesphrases" class="internal-link">Motives and Phrases</a>
+		</li>
+		<li><a href="#harmonicfunction" class="internal-link">Harmonic Function</a>
+		</li>
+		<li><a href="#sentenceperiod" class="internal-link">Sentence and Period</a>
+		</li>
+		<li><a href="#harmonicrhythmseq" class="internal-link">Harmonic Rhythm and Sequence</a>
+		</li>
+		<li><a href="#secondarydominants" class="internal-link">Secondary Dominants</a>
+		</li>
+	</ul>
+</details>
+
+
+### Motives and Phrases {#motivesphrases}
+
+##### Motives
+
+- "smallest musical idea"
+- usually 2-7 notes[^1]
+- motive is a seed/DNA of things to come
+- motives are developed
+
+2 parts of a good motive: 
+
+1. distinct interval/shape[^2]
+2. distinct rhythm
+
+[^1]: rule of thumb - can be more, but difficult to pull off. Same with 1 note, very exceptional cases.
+
+[^2]: distinct doesn't necessarily mean never heard before - just something that is recognisable in a piece
+
+
+#### Phrases
+
+- "complete expression of that idea[^3]"
+- consists of motives
+- standard phrase is 2 bars long
+
+3 parts of a good phrase:
+
+1. motive - no more than 3 motives
+2. peak - the most something; can be lowest/highest, loudest, most disonant, etc[^4]
+3. punctuation - as in writing, simplest is rest or hold a note[^5]. Important to give listener a pause
+
+[^3]: idea = motive
+
+[^4]: it needs to stand out and it's best to hit it only once
+
+[^5]: good idea is to visualise someone singing and needing to take a breath
+
+
+### Harmonic Function {#harmonicfunction}
+
+Each chord in a key has a function. 
+
+For major key
+
+| Tonic | Subdominant | Dominant        |
+| ----- | ----------- | --------------- |
+| I     | ii          | V               |
+| ii    | IV          | vii[^6]<br><br> |
+| vi    |             |                 |
+
+C Dm Em F G Am Bdim can change to
+Cmaj7 Dm7 Em7 Fmaj7 G7 Am7 Bm7(b5)
+
+in minor key
+Am Bdim C Dm Em F G
+Am7 Bm7(b5)[^7] Cmaj7 Dm Em7[^8] Fmaj7 G7[^8]
+
+[^6]: very spicy in major, beginner should avoid
+
+[^7]: dimished here is more useful in minor, as it can be seen as "spicy subdominant chord to v"
+
+[^8]: can be changed to E/E7 and G#dim/G#dim7 to give more pull into tonic
+
+### Period and sentence forms {#sentenceperiod}
+
+#### Period
+
+- 8 bar phrase
+- **basic idea**[^9] - 2 bars
+- **antecedent** = basic idea, ends with half cadence[^10] - 4 bars
+- **consequent** - basic idea[^11], ends with authentic cadence - 4 bars
+- period = antecedent + consequent. It's bit like question and answer, or saying basic idea, "not sure where to go", repeat basic idea and lead somewhere satisfying.
+
+Period is a very balanced form. ABAC is good representation of it.
+
+#### Sentence
+
+- also 8 bar form
+- more forward directed than period
+- 4 first bars -> basic idea x2[^11]
+- bars 5&6 -> **continuation** -> there's "more something"[^12]
+- bars 7&8 -> any cadence
+
+because of open end easy to move on, but more difficult to use repetition to extent beyond 8 bars due to repetitive nature of beginning. AABC is good representation of it
+
+[^9]: pretty harmonically stable
+
+[^10]: contrasting idea
+
+[^11]: can be copypaste, can introduce variation, but familiar melody **needs** to be repeated
+
+[^12]: no matter what more, but more. Bit like with peak. Can be more chords in a bar. Can be idea expressed in 1 bar instead of 2. Can be more notes.
+
+
+### Harmonic Rhythm and Sequence {#harmonicrhythmseq}
+
+#### Harmonic rhythm
+
+`how many chords per bar` [^13]
+
+#### Sequence (in melody)
+
+Take a small pattern and shift in N steps, for example
+
+`def efg fga`[^14]
+
+#### Harmonic Sequence
+
+`tl;dr the same but for chords`
+
+Examples:
+
+- chords going down by 3rds: `C Am F Dm`
+- ii V I that goes forever: `Dm7 G7 Cmaj7 Cm7 F7 Bbmaj7 Bbm7 Eb7 Abmaj7...`
+
+very useful in continuation of sentence form
+
+
+[^13]: use similar chord functions to increate chord count
+
+[^14]: even if we shift diatonically, not exactly by the same amount, so it fits the scale, if overall shape is the same - it still counts as a sequence
+
+
+### Secondary Dominants {#secondarydominants}
+
+`tl;dr borrowing V chords from other keys that tonics are present in our key`
+
+example:
+
+1. in key of C we have Dm chord
+2. in key of Dm we have A(A7) as dominant chord
+3. we can "borrow" that A7 and lead into Dm even in a context of C
+
+Basically, we can create a "pull" into any chord[^15] and add some extra color (C# in A in example above)
+
+[^15]: except vii° 

_notes/learning.md

@@ -7,4 +7,5 @@ title: Learning
 Here is a list of my notes done during learning various things
 
 [[Korean]]
-[[Making a game with C++ and Raylib]]
+[[Making a game with C++ and Raylib]]
+[[Music composition]]