「p. 1 : IV iii vi ii V I」 introduction to common east asian (korean / japanese) chord progressions
Uploaded on Sep 10, 2019
decided to bring this from my noteflight acc. per request, and because i'm much more comfortable w musescore syntax now :) hope you can find this to be informative
I've noticed that while many people can easily lay down tutorials on the western 4 chord progression, not many sites really hone down on what makes east asian music particular in its sound.
So I thought I'd share that in "musically-light" terms for anyone who was interested . :)
I realized at the end, though, that I didn't get to cover as much as I had hoped; I wanted to cover the differences between the ways Japanese music utilize the progression I've listed in the beginning and the ways Korean music do.
But I also think I highlighted a very important derivative of that main progression, which is its latter half, and so I hope you guys can find this info useful.
Also, I wrote this in kind of a rush so please excuse the lousy grammar. If I've made a big mistake like incorrect chord symbols, please let me know.
I'm going to split the doc into two scores: one talking about the latter half of the progression (IV iii vi ii V I) and the other talking about the former half, so that it's easier to navigate.
Last note: I've focused on a very narrow application of the e.a. chord p. There are so many more factors that cause east asian music to sound the way the way that it is (for example, simple melodies revolving around the tonic with complex background harmonies) that I have not touched upon on here. I hope this document does not come off as an oversimplification of their musical styles.
If you'd like to see more, or would like clarification / more examples, let me know! Thanks!
Arrangement of pieces utilized under Fair Use for educational purposes.
|Part names||Piano, Bass(2), Percussion|
|Privacy||Everyone can see this score|
|License||None (All rights reserved)|