Minimalist Piano Composition: The Contrary Motion Exercise for Beginners

Jazz harmony extends beyond basic triads to sophisticated extended chords. Chord extensions (9ths, 11ths, 13ths) add harmonic sophistication, with numbering reflecting that chords are built in thirds. The highest extension is the 13th because adding another third returns to the root. Chord tones (root, 3rd, 5th, 7th) establish the chord type, while extensions add color. To find extensions, always build off the major scale. Common altered extensions over dominant 7 chords include flat 9, sharp 9, sharp 11, and flat 13—found by first locating the natural extension and then altering it. For any chord, multiple scales can be used as long as chord tones match. The chord tone plus whole step principle determines appropriate scales: for Cmaj7, this yields C Lydian; for Cmin7, C Dorian; for C7, C Lydian dominant. Beyond the three main seventh chords, jazz employs specialized types: half-diminished (minor 7 flat 5), fully diminished seven (stack of minor thirds), minor chord with major 7, sixth chords (major 6 and minor 6), and dominant 7 variations (sharp 5, 13th, and altered).

The notes 9, 11, and 13 are extensions that add color to chords. The Ionian mode has extensions 9, 11, 13. The Dorian mode has b9, 11, b13. The Phrygian mode has b9, 11, b13. The Lydian mode has 9, #11, 11, 13. The Mixolydian mode has 9, 11, b13. The Aeolian mode has 9, 11, b13. Each mode has characteristic intervals that give it its unique sound. The three main minor scales are: natural minor (Aeolian), harmonic minor (with raised 7th), and melodic minor (with raised 6th and 7th when ascending). The harmonic minor has a distinctive augmented second interval. The melodic minor is commonly used in jazz and gypsy music. Understanding these scales enables musicians to compose, improvise, and arrange music more effectively.

A pentatonic scale is a five-note scale built from a stack of perfect fifths (C-G-D-A-E). For jazz improvisation, the choice of pentatonic scale depends on the chord type. For major 7 chords, the second scale degree pentatonic (D pentatonic over C major 7) is most colorful, producing a sharp 11th and Lydian mode. For minor 7 chords, the fourth scale degree pentatonic (B flat pentatonic over C minor 7) adds the 9th, 11th, and 13th while outlining the Dorian mode. For dominant 7 chords, the sharp four pentatonic (F sharp pentatonic over C dominant 7) outlines the altered scale, providing the most exotic sound. For 2-5-1 progressions, a simple approach uses the fifth scale degree pentatonic (G pentatonic), while a sophisticated approach uses different pentatonic scales for each chord. Extended harmony notes (9, 11, 13) are the colorful notes that should be prioritized in jazz improvisation.

Over minor chords, play the minor pentatonic scale of the minor seventh degree (e.g., G minor pentatonic over A minor) to create Phrygian sound with the flattened second. Over major chords, play the minor pentatonic scale of the major seventh degree (e.g., B minor pentatonic over C major) to create Lydian mode with the raised fourth. Over dominant chords (Mixolydian), play the minor pentatonic scale of the fifth degree (e.g., G minor pentatonic over C7) to get minor 7th, 9th, and 11th. Over half-diminished chords (Locrian), play the minor pentatonic scale of the minor third or seventh degree. Over altered chords (dominant with raised/lowered 5th or 9th), play the minor pentatonic scale of the minor third degree (e.g., G minor pentatonic over E altered).

Pentatonic scales are five-note scales that have emerged independently across different cultures worldwide, and they can be used in modal harmony by combining pentatonic melodies with modal harmonies; while they can be structurally derived from major scales by removing the fourth and seventh degrees, they should not be confused with major scales minus two notes, as they have their own distinct modal characteristics and gestural qualities. Four main pentatonic scales are commonly used: the major pentatonic (1-2-3-4-5), the Phrygian pentatonic (1-2-3-4-5 with a distinctive Phrygian flavor), the 'ira yo sí' pentatonic, and the 'como hoy' pentatonic, each with their own modes that can be explored for musical narrative while maintaining a consistent harmonic center.

Phase shifting creates exactly 10 distinct interpretations from identical patterns through precise mathematical relationships. As layers shift, dissonances serve as structural glue while consonances reinforce each other, causing lower layers to influence upper layer phrasing dynamically. The technique produces emergent phenomena including phantom melodies, polyrhythms, polymeters, and binary oppositions (dissonance/consonance, different rhythmic groupings) without changing notation. Double notes appear as auditory illusions when notes align. Patterns eventually overlap completely then diverge, creating structural landmarks. Effective composition requires breaking patterns into constituent 'atoms'—rhythmic and melodic elements—and understanding which will emerge under specific conditions. This analytical approach transforms chance-like processes into intentional design, demonstrating how minimalism requires sophisticated manipulation of fundamental musical properties despite its apparent simplicity.

Phasing is a technique from minimalist music (influenced by Steve Reich and Philip Glass) where motifs in different rhythmic cycles (like 5 and 7) gradually drift out of alignment and then realign. When playing with 5 and 7 measures, alignment occurs every 35 measures (7 measures of 5, or 5 measures of 7). This creates a hypnotic, evolving sound.

The phasing technique represents Reich's most distinctive contribution to minimalist composition. It involves two identical musical phrases played simultaneously, with one performer gradually increasing tempo while the other maintains constant speed. This creates rhythmic offsets that evolve dramatically over time, producing complex interlocking patterns. In Piano Phase, Reich demonstrates this with interlocking marimba parts where the second performer progressively speeds up, creating increasingly dramatic visual and auditory effects. The technique produces strong stereophonic effects and has been adapted across various instruments including clapping, drums, electronic counterpoint, and woodwinds, establishing a fundamental procedure for generating musical complexity through controlled temporal displacement.

This video presents a minimalist musical composition by Amyr Cantusio Jr for two keyboards, inspired by Steve Reich's 'Phase' technique, where two pianos play the same melody at slightly different tempos, creating a rhythmic interplay and evolving harmonic patterns that gradually shift over time.

Advanced minimalist composition employs sophisticated techniques to create complex textures. Phase shifting introduces patterns at different time points, progressively thickening the musical texture. A cycle of fifths (c-f-bb-eb-af-db-f#-b) can be used as a rhythmic cycle in dotted crotchet rhythm, creating cross rhythm against other patterns. Root notes in one hand combined with corresponding chords in the other hand create harmonic depth. Cluster chords add angular, dissonant elements. These techniques demonstrate how simple patterns can evolve into rich, complex musical experiences.

The composer explains the global form of the piece: there is a rhythmic regularity throughout, and the composer constructs relatively long phrases that go from one point to another (where the black dotted notes appear). Each time these phrases occur, elements are repeated but with fewer elements each time. The first repetition includes dynamics, nuances, and register changes.

Cerha's small three-minute songs have similarities to his large sound mask compositions. There are developments in small dimensions that use sound textures like mallets, which are also heard in big pieces. Developments can happen in three minutes in a bigger dimension in structure - something growing, going from high interval jumps to small interval jumps, or from low to high. This can happen over many bars or just a few bars, but the context of structural developments changes in an orchestra piece versus a three-minute song.

Form organizes musical ideas into larger structures. Development manipulates any aspect (melody, harmony, rhythm, texture) to create shape and journey. Cadences (like the 5-1 progression G to C) can be developed through different keys. Some composers develop a single idea progressively; others combine multiple ideas. The goal is giving the piece a sense of direction and destination.

Musical composition develops layer by layer, like bricks in a building. As the structure rises, speed increases and the look and feel change. This gradual development allows artists to assess whether everything is progressing correctly as the piece takes shape.

Professional composition develops from small to large scale: starting with motif development, progressing to constructing complete melodic phrases, then building larger musical forms. This systematic approach allows composers to transform initial ideas into fully realized works. Understanding one's compositional identity helps determine appropriate tools and approaches for each project.