Know Your Chord Vocabulary

        Photo Credit: FreeDigital Photos

I wrote an article awhile back called, "How To Play The Piano Without Music."

Looking for tips on how to memorize music? Playing without sheet music is possible. Here are my own challenges and triumphs.

A group of us musicians were asked to play for an outdoor event at an amphitheater right by the ocean. The morning began with a huge downpour and we were frantically drying wet music scores with a hair dryer. Needless to say, it was quite challenging. What did I personally learn from the experience? Memorize your music! Yes, you can insert sheet music in plastic sleeves and that would be one way to succeed. However, it's fun just to go to Guitar Center and play a few memorized tunes in front of anyone who will listen. Try playing Happy Birthday for someone at the piano by memory.

1. So, why memorize music?

Playing without sheet music is very liberating.

Of course there's no need to memorize music if you don't want to. As a musician, I choose to memorize to avoid uncomfortable situations like music blowing off my stand when playing outdoors. Especially performing a night gig and the light bulb goes out on your music stand, surrounded by total darkness in the orchestra pit.

If you have been doing your homework during your practice sessions and you are familiar with the set of music, then you're not locked in to reading just the music notes with having to turn pages as well.

You will soon discover new ways of music flowing since you're eager to play without music.

2. Steps to help you memorize music.

If you're playing boogie blues or rock and roll, learn the various left hand patterns in the 12 bar blues form. Notice a couple of phrases and see if the second phrase answers the first.

When I'm reviewing a song, let's say it's a ballad, I first determine the keynote and play around and find the melody in that particular key.

If you're given a lead sheet, remembering chord progressions is the key to memorizing the song that is built on recalling the theory that you understand. Analyze the structure of the piece.

Now memorizing note for note is another ball game. Honestly, it can be more difficult for others than a youngster playing a memorized piece at a recital. In my opinion, the key to memorizing sheet music is through repetition. Also, try to remember if your hands are going in opposite directions or playing separately. Note tricky fingering as well.

I suggest taking small sections of music and repeatedly going over a few lines. We call this chunking and chaining. Please be patient. You may find recording or using flash cards to quiz yourself helps boost confidence in playing licks to a certain measure.

Laying down a rhythm pattern, programming drums, jamming in garage band or just using a metronome for a classical piece can keep you on track with skills to remember a song. Listening to a phrase of music indeed works the brain for short-term memory. Keep at it daily. In the beginning, I would open my music, then close it and try to play what I pictured.

3. Why these steps will help.

Practice, repetition and patience, a win-win formula, but truly there is no magic pill to take in memorizing music. Playing with other musicians for years and having that experience helps in knowing how to play certain songs well without sheet music. I'm thinking the biggest factor of all is choosing to memorize a song that you know and love will make it much easier for you to learn. You're on your way!

Article Source: http://EzineArticles.com/5861178

 Duane Shinn talks about using Fake Books like so many musicians do. They know their chord vocabulary. They add chords to the melody line. Here's a good one that I recommend that has tons of pop songs,  The Ultimate Fake Book for C Instruments

You've just got to know chords. So, I'm talking about:

 Root of the Chord

In chord symbols, the root tells us what note is the root of the chord. In an E7 chord, the E is the root.

Quality of the Chord

Quality tells me if the chord is major (maj), minor (min), diminished (dim), or augmented (aug). In a Emaj7, the maj ells me that the E chord is major (happy sound.) To continue, Em means the chord is a E minor chord (sad or mysterious sound). Eaug (E+) means that the chord is an E augmented chord. (sounds like a train.)

Chord Extensions

The extension is written after the quality of the chord, showing if the chord differs from a triad, like an 6th, 7th, 9th, 11th or 13th. So a C9 is the C chord including the 9th note above C, which is D. A C6 chord is the C chord including the 6th scale note above C, which is A. This part of chord symbols is not always shown; if there is no indication of an extension, the musician is to assume that the chord is a triad.

Alteration 

Sometimes the alteration is usually but not always expressed. This is the "notes" section in chord symbols; it gives the musician any specific (and sometimes irregular) instructions for playing the chord and is always written in parentheses after the extension (or the quality, if no extension exists). For instance, (no fifth) would tell the musician that the chord is to be played with the fifth tone left out. Sus – (suspension), means to play the 4th scale note instead of the 3rd. A minus sign means to lower (flat) a chord tone, such as C-9 which means to flat the 9th of the chord. Now a plus sign means to raise (sharp) a particular chord tone. 

I hope you enjoyed these tips and I want to recommend a product that I have purchased myself from Jermaine Griggs. The audio CD course, Chords 101 and 102 will help you create bigger, sounding chords... the best inversions to choose and so much more. You'll be playing dozens of seventh chord voicings and learning about what chords strongly pull together. Learn the power of tonic chords and and other scale tone degrees.

*affiliate links in post* 

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 "The beautiful thing about learning is that no one can take it away from you." B.B.King

Related articles

• Mailbag Monday: What Are Chord Inversions?
• Learn a Jazz Tune in Three Steps
• How To Play The Piano Without Music

How to Add Tritones

So, we've been looking at reharmonization for awhile. Let's continue.



Because the tritone occurs only in the dominant chord, its presence defines a dominant chord. A tritone is a very unstable interval. It sounds as if it wants to go someplace, which is why V chords want very much to resolve (often to a I chord). If you play just the two notes of the tritone, they sound like a V chord, incomplete though the chord may be. What's so unusual about a tritone is that it's the 3rd and 7th of not just one, but two dominant 7th chords.

Example:

G/ BF
Db/ CbF


B and F, the 3rd and the 7th of G7, are the same notes as F and Cb, the 3rd and 7th of Db7. (B and Cb are enharmonic-the same notes, just spelled differently.) Because the tritone (the 3rd and 7th) of both G7 and Db7 is the same, G7 and Db7 can substitute for one another.


Quite often this tritone substitute V chord is preceded by its II chord, creating a II-V progression. 


Here's the II-V-I in C


D/CF
G//BF
C/BE


Here's the same II-V-I, but with Db7, the tritone substitute, replacing G7.


D/CF
Db/CbF
C/BE


Here's Ab-7 preceding Db7


D/CF
Ab/CbGb
Db/CF
C/BE


With Ab-7, Db7, the tritone substitute II-V, replacing D-7, G7:


Ab/CcGb
Db/CbF
C/BE


The 3rd and 7th of a V chord always form the interval of a tritone, no matter which note is on top. Why? Because a tritone is exactly half an octave and if you invert it (put the top note on the bottom, or vice versa) it is still a tritone. The roots of the G7 and Db7 chords are also a tritone apart.


Another reason to play a tritone substitution is that it often makes the melody note more interesting.  There are two reasons for playing tritone substitution on the melody of a tune:


* To create a chromatic bass line
* To make the melody note more interesting


I learned to play tritone substitution in blues. Hoping to cover this in the next post.



I have read the following quote many times and have heard this explanation on Jamal Hartwell's Tritone Xtravaganza  and also you'll find the reference here:
The Tritone

"The Devil’s Interval, they called it when it was banned by the Church in times long past. Then someone realized it’s a really cool interval, and lifted the ban. Or something like that. Six semitones from the root, C-to-F#, this interval is found in a lot of heavier music.
The ascending tritone, otherwise known as the flat fifth (a name that just doesn’t have the same dramatic flair), can be associated with The Simpsons (The Simpsons – I’ve italicized the syllable where the tritone is sung) or Black Sabbath’s Black Sabbath.
Descending, the tritone can be associated with Jimi Hendrix’s Purple Haze or YYZ by Rush (if you can listen without getting distracted by their odd rhythm and timings)."

Right now Jermaine Griggs is having a sale with free shipping on the 300 pg. course book (that I have been talking about. You know, the theory book) and giving away for free Gospel Keys 101 (great Dvd for harmonizing the melody). You pay $52.00 Click here for more info Sale!


All the best,
LadyD
"The beautiful thing about learning is that no one can take it away from you." B.B.King

Learn Altering Chords

Image via Wikipedia Learning Altered Chords

The main purpose of altering chords is to increase the effectiveness in a progression.



A dominant seventh is more effective than a dominant triad in 2-5-1 and other chord progressions. Also, learn dominant resolution, playing in all keys with the Circle of Fourths.


The following chart shows various combinations of altered chords:

Maj7 (+5) = A major seventh chord with an added raised fifth tone.


7 (-9) A dominant seventh chord with an added lowered ninth tone.

7 (+9)  A dominant seventh chord with an added raised ninth tone.

7 (-5)  A dominant seventh chord with an added lowered one-half step.


9 (+5)  A dominant ninth chord with an added raised fifth tone.


9 (+11) A dominant ninth chord with an added raised eleventh tone.


11 (-9) A dominant eleventh chord with an added lowered ninth tone.


13 (-9) A dominant thirteenth chord with the ninth tone lowered one-half step.


13 (-9 -5) A dominant thirteenth chord with both the ninth and fifth tones lowered one-half step.


13 (+11)   A dominant thirteenth chord with the eleventh tone raised one-half step.


(-9) Add lowered ninth tone.


(-9+5) Add lowered ninth and raised fifth tones.


(-9 -5) Add lowered ninth and fifth tones.


+5 Add raised fifth tone.


+9 Add raised ninth tone.

+11 Add raised eleventh tone.


 If you're looking for a study on chords, I recommend Chords 101 and 102



Using Altered Chords in the 2-5-1 Progression 


It is common to use altered chords  to change the feel of a chord progression. The 2-5-1 progression can be played with minor and major triads, seventh, ninth, eleventh and thirteenth chords.  The 2-5-1 progression can also be played with altered seventh chords.

Here is the 2-5-1 chord progression with major, minor, and dominant seventh chords:

D/ DFAC (Dmin7)
G/ GBDF (G7)
C/ CEGB (Cmaj7)

Here is the 2-5-1 chord progression with just dominant and major seventh chords:

D/ DF#AC (D7-root)
G/ DFGB (G7-2nd)
C/ CEGB  (Cmaj7-root)

What types of chords do you prefer playing with in a ii-V-I chord progression?

If you're looking for more information on altered chords, using the 7-3-6-2-5-1, you might want to invest in this study course book, 300pg Course Book-Techniques and Fundamentals

Learn the secrets to playing piano by ear! 
-- LadyD 
"The beautiful thing about learning is that no one can take it away from you." B.B.King

How To Play Common Progressions In Gospel Music

Image via Wikipedia

There's common progressions in gospel music that correspond with the numeric scale/chord degrees. For example:

7_3_6
5_1_4
3_6_2
2_5_1

Longer progressions are a mix between the above shorter progressions. To play these contemporary chords, you must know what they are. The rule of thumb is, what you can play for the 1, you can also play for the 4. Here's a list of chords and they are all C chords:

CG/CEG
CG/CEGB
CG/CEGBb
CG/CEbGB
CG/Bb
CG/Eb
CG/G
CG/Em
CG/Am
CA/G
CBb/A
CBb/DGC
CBb/EbM7
EBb/D
CBb/Ab

So depending on the inversion, you can come up with some interesting sounds in your music. You can add altered chords at "key" points in the music:

GD/FM7 There
CG/Em7 Is
DA/C A Name I
EB/DM7 Love To
AE/Dbm7 Hear

Depending on the type of songs you play, you can take progressions and use different voicings:

Common Progressions:
2_5_1
7_3_6
5_1_4
7_3_6_2_5_1
1_6_2_5_1
5_6_2_5_1
3_6-2_5_1

Scale Degrees and Chords Associated with them:

Major=1
Minor=2
Minor=3
Major=4
Major=5
Minor=6
Diminished=7
Major=8

Use Chart Above and Create Voicings with Above Progressions:

2_5_1 Key of C (normal)

2= DC/Gbdim7
5= GD/F6
1= CG/C7

2_5_1 Key of C (altered)

2= DC/E
5=GD/Eb
1=CG/Em7

C Chords/ Substitutions:

CG/Em7
CG/Am7
CG/Eb
CG/Bb
CG/G
CA/G
CBb/A
EBb/E
CBb/E
CBb/EAD
CEG/BDG
CEbG/BDG
CEbG/Bb
CEbG/Eb

If you use any of these for the I chord, you can use the equivalent of that chord for the IV chord. Depending on how you look at the board, these altered chords offer color to your music. If you want a more mellow or aggressive tone to your music, it's all about voicings:

1_4_5 (normal)

CG/C
FC/F
GD/G

1_4_5 (7th voicing)

CBb/C7
FEb/F7
GF/G7

1_4_5 (9th voicing)

CG/G
FC/C
GD/D

1_4_5 (11th voicing)

CG/Bb
FC/Eb
GD/F

1_4_5 (13th voicing)

CA/G
FD/C
GE/D

Hearing the differences in the sounds, mix them up, play around with them and practice in every key... have fun! If you're looking for a music theory book, I recommend:

Learn to Play Altered Chords

All the best,
~ LadyD







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Finding Thirteenth Chords On The Keyboard

Image via Wikipedia

Of all the common chords, thirteenths are the biggest - and the hardest to visualize on the keyboard. Any given type of thirteenth, for example, makes twelve different visual patterns of black and white keys, one for each root along the chromatic scale. Each pattern, of course, can be individually memorized. But such learning by rote is tedious. Here's an easier way to learn thirteenth chord patterns, a way that requires only the recognition of Major and minor thirds or the recognition of Major and minor triads.

* Major and Minor Third Recognition

White key Major thirds always enclose two black keys; white key minor thirds enclose only one. Example: Major 3rds F to A, C to E, G to B and Minor 3rds: B to D, A to C, E to G, D to F

Black key Major thirds always enclose another black key; black key minor thirds do not.
M 3rd: Gb to Bb and mi 3rd: Eb to Gb and Bb to Gb

Black and white key Major thirds always enclose two white keys; black and white key minor thirds enclose only one. M 3rds (white over black): Db to F, Ab to C, Eb to G, Bb to D. Then we have M 3rds (black over white): D to F#, A to D#, E to G#, B to D#

mi 3rds (black over white) F to Ab, C to Eb, G to Bb and (white over black) Gb to A, Db to E, Ab to B

* Thirteenth Chord Structures

Alternate letters along the musical alphabet specify chord components above the root. As the next example shows, thirteenth chords contain all seven:
1 3 5 7 9 11 13
C E G B D F A

Here's an easier way to learn thirteenth chord patterns. Just spot the Major and minor triads.

* The Model Thirteenth Chord Types

Among all the types of thirteenth chords, three predominate. The first type, the Major thirteenth (#11), alternates Major and minor thirds upward:
CM 13(11#) = C to E (M3), E to G (m3), G to B (M3), B to D (m3), D to F# (M3), F# to A (m3)

The second type, the minor thirteenth, alternates minor and Major thirds upward, just the reverse of the first, Cm13:
C to Eb (m3), Eb to G (M3), G to Bb (m3), Bb to D (M3), D to F (m3) and F to A (M3)

The third type, the Dominant thirteenth(#11), groups its inner thirds in orderly pairs. It encloses two successive minors then two successive Majors between its bottom Major and its top minor: Major, minor-minor, Major-Major, minor. C13 (11#):
C to e (M3), E to G (m3), G to BB (m3), Bb to D (M3), Gb to A (m3)

So the three types also look like stacked triads: Major-Major-Major, minor-minor-minor and Major-minor-Major. Altered notes produce additional types. and there's a way to find all the possible thirteenth chords types. Either position of the third (Major or minor) combines with any position of the fifth (Perfect, augmented, or diminished) to yield six types. Then, mixing in various positions of the seventh, ninth, eleventh, and thirteenth multiplies the number of possible types to more than two hundred! lol

I highly recommend the 300 page course book to you. Jermaine Griggs of HearandPlay.com
has a great theory instructional book for you that you will want to have and refer to it often.
Music Theory book

All the best,
~ LadyD

How To Play a Blues Scale

Image via Wikipedia

Surfing around the web this week, I was thinking a lot about blues scales and I found an interesting article that talked about how to play a blues scale on the piano. It was rather informative and made me realize that blues scales are important. I've pasted this article below for you to check out yourself. It's a great way to begin moving your right hand with blues scales and playing chords with the left hand.

How to play a blues scale on the piano
By SuzDoyleMusic

http://www.ehow.com/how_4455659_play-blues-scale-piano.html

* PLAY THE REGULAR C Major SCALE.
On the keyboard, play notes 1 through 8, also called the letter names C, D, E, F, G, A, B and C.

* NOW PLAY THE NOTES OF THE C BLUES SCALES
Instead of C scale notes (1,2,3,4,5,6,7, and 8), play notes number 1, b3, 4, #4, 5, b7 and 8 (note names C, Eb, F, F#, G, Bb and C). Use your Thumb on the white notes and the pointer or middle finger on the black notes.

For additional information on the C,D and A Blues Scale visit:

http://ladydpiano.blogspot.com/2008/07/learn-blues-piano.html

* BONUS
Can you figure out the riffs to Smoke on the Water, Iron Man, and Indagadadavida? They all use notes of the C Blues scale (hint: They start on the C note)

* PLAY THE BLUES - C CHORD
Press and hold the C chord with your left hand, and play the C Blues scale with your right hand

* PLAY THE BLUES - F CHORD
Play the F chord in your left hand, and play the C blues scale with your right hand.

* PLAY THE BLUES - G CHORD
Play the G chord in your left hand, and play the C Blues scale with your right hand.

Tips & Warnings

The C blues scale (based on the 1 chord of the scale), also works well with the 4 chord (F), and the 5 chord (G).

Most blues songs are made out of just 3 chords (the 1, 4 and 5 chords). You can improvise and make up melodies using the blues scale built on the 1 chord, which goes nicely with all 3 chords used in the song.

Learn How To Play The Piano>



* Just for fun listen to this 2 min. video
A great old number that always seems to go down well!

Old Piano Roll Blues!



Cheers,
~ LadyD

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Common Chord Progressions

Chord progressions are just a way to get the harmony to support the melody. In any key, if your melody sticks to the key you are in then the one chord will harmonize three notes, the five chord will harmonize two additional notes and the four chord will harmonize the remaining two notes.

So the I IV V chords will harmonize every note in a given melody providing it stays in key. You can replace the two chord for the four chord, so now we get the 2 5 1...

You can expand the one chord, meaning if you are sitting on it for a while
you can play different bass notes under to help create motion. That is where we get the 1 3 6 2 5 1... the vi chord and the iii chord fill in for the 1 chord and the vii fills in for the V chord. The vi chord can also lead to the IV chord.


All this may seem confusing but it all starts with the I chord and the V chord and the IV. If you just use these three chords you can play with most songs. I wrote 3 Chords You Just Gotta know! You can check it out here:

http://zone.hearandplay.com/modules.php?op=modload&name=Reviews&file=index&req=showcontent&id=48

When you get more advanced you can use the 2 5 1 as a little intro to each new chord you will play.

So to introduce the I chord you play ii V and then I... When you want to go to the IV chord you introduce it by playing a ii V I in the key of the IV chord. So if you were in the key of C and you want to go to the F, you introduce the F by playing g min7 C7
Fmaj...2 5 1... Now you have it! 2 5 1 are derived from 4 5 1 and they have over time become embellishments as well static chords to rest on to support the melody.

Where to apply them:
2-5-1 is used most times at the end of a piece of music to resolve the progression back to 1. See both examples below.

No Weapon by Fred Hammond Example-Key of Ab

/Ab, Bb, C – There, is, No
8. Ab-Ab/EbGBbC, Bb, Ab – Weapon
7. G-G/DbFGBb(7), C/DbEGBb(3)- Formed (Circle of 4th – G, C, F or 7-3-6)
6. F-F/EbFAbC(6), Bb, Ab – Against Me
5. Eb-Eb/DbGbBb(5), Ab-Ab/CGbBb(1) – That Shall (Circle of 4th – Eb, Ab, Db or 5-1-4)
4. Db-Db/EbFAbC(4), Bb, Ab – Not Prosper

(Now look at the last five notes of the Ab ex. Above C, F, Bb, Eb, Ab – all using the circle of 4th 3-6-2-5-1)

3. C-C/BbEbAb(3), FCEb/BbCEbAb(6)– Use this chord instead of previous
2. Bb-Bb/CDbFAb(2) – It Won’t
Eb-Eb/DbFAbBb(5) - Work
1. Ab-Ab/EbGBbC(1), Bb, Ab – Weapon

Jesus is Love by Commodores-Key of Ab

8. Ab-Ab/EbGBbC – Father
7. G-G/DbFGBb(7), C/DbEGBb(3)- Help Your (Circle of 4th – G, C, F or 7-3-6)
6. F-F/CEbAb(6) – Children
5. Eb-Eb/DbGbBb(5), Ab-Ab/CGbBb(1) – And Don't let them (Circle of 4th – Eb, Ab, Db or 5-1-4)
4. Db-Db/AbCEbF(4) – Fall

(Now look at the last five notes of the Ab ex. Above C, F, Bb, Eb, Ab – all using the circle of 4th 3-6-2-5-1)

3. C-C/BbEbAb(3), FCEb/BbCEbAb(6)– by the side of the
2. Bb-Bb/CDbFAb(2) – road.
Eb-Eb/DbFAbBb(5)
1. Ab-Ab/EbGBbC(1) – Walk-on

2 5 1 (or ii V I in roman numerals as most theory books will use) is a basic cadential progression throughout music. In other words it leads to a "resting" point, temporary or permanent. The thing is you need to think beyond the ii V I of just the given key (such as in F -- G C F) because, although the song is in F, there may be ii V I patterns leading to other keys.

Take the beginning of "Amazing Grace"

C7 F Cm7 F7 Bb C7 F
A - Mazing Grace How Sweet the Sound

The Cm7 F7 Bb is ii V I in the key of Bb and we have temporarily rested in Bb
Note that IV and ii are almost functionally identical and often interchangeable. A Bb6 chord has the same notes as a Gm7. We could then add a Gm7 between the Bb and the C7 and get a II V I in F.

Am7 Dm7 Gm7 C7 F
Was blind but now I See

Again Gm7 C7 F is ii V I in the key of F.
Note that you could change the Gm7 to a G7

Often ii V I is taught the ii is minor and V is Dominant and I is either Tonic Major or Minor. But actually, they can be about any quality -- the II dominant 7 etc. Note that the Am7 Dm7 G(m)7 progression could be ii V I in G (though functionally here that is stretching things a little bit.

Learn to listen to the bass line for that pattern and note that it may not be in a temporary key of a song.



Another common chord progression is the I IV V IV I... You'll hear this chord progression in Rock, Gospel and Jazz.

Then there's the 12 Bar Progressions, those blues chord progressions.



A great source for these blues chord progressions can be found at the Classic Cat

http://www.classiccat.net/dictionary/chord_progressions.htm



C is the one chord- I Major
Dm is the two - ii minor
Em is the three - iii minor
F is the four - IV Major
G is the five - V Major
Am is the six - vi minor
B diminished is the seven - vii diminished

When you know every chord in the key of C, we can create a chord progression. Here are ten common progressions in the key of C:

I - V
C - G
I - vi - ii - V
C - Am - Dm - G
I - IV
C - F
I - vi - IV - V
C - Am - F - G
I - vi
C - Am
I - vi - ii - vii
C - Am - Dm - Bdim
I - IV - V
C - F - G
I - vi - IV - vii
C - Am - F - B dim
I - ii - V
C - Dm - G
I - vi - V
C - Am - G

Songs which use a simple chord progression (some are above):

1. (I - IV - V) 'La Bamba' - Richie Valens
2. (I - IV) 'You Can't Always Get' - Rolling Stones
3. (IV - V - I) 'Mr. Tambourine Man' - Bob Dylan

My friends over at HearandPlay have posted great information on their blog regarding common chord progressions:

http://www.hearandplay.com/main/learn-these-most-common-chord-progression-types-and-never-get-stuck-again

Stray411 has shared a great video for us on how to build chord progressions using minor chord progressions for an example.

http://www.youtube.com/watch?v=gs2Yb3whXDA




Then there are great ear training and fun, free games about learning chord progressions!

http://www.hry.in/Music_Flash_hry_games/20080418/3034.html

Plus, you can print out this great newsletter from Jermaine Griggs on Gospel Chord Progressions.

http://www.hearandplay.com/piano-chords-piano-chord-progressions/gospel-bass-runs.html

So, chord progressions are definitely related to the scale!

Learn Chord Theory

There are courses aimed at teaching you everything you need to know to play chords by ear. From major, minor, diminished, and augmented to major sevenths, dominants, and half-diminished sevenths (and more). You will understand the "why" and "how"behind these chords.
Not only that, but you will learn how to apply them inreal situations and why the "circle of fifths" is so important to learning every song you've ever wanted to play.

Step-by-step, you'll learn how to form various types of chords: major, minor, diminished, augmented and the easy theory behind them. Do you know the classes of chords and the difference between triads,sevenths, ninths, elevenths, and thirteenths?

Do you know that notes create scales, scales create chords, and chords create progressions? Once you master this simple process, learning songs comes easy, even to a beginner!


How to form various types of seventh chords and why they
are so important in playing by ear. Why seventh chords are the foundation of many more extended chords like ninths, elevenths, thirteenths, and altered voicings.
9th, 11th and 13th chords all have a 7th in them. That is what makes them 9th, 11th or 13th. There are several different ways to form these chords, and everyone has their own tricks depending on how they like to voice the chords.

Here are some shortcuts to form these chords.

To play a ninth, play the root in your left hand. In your right, play a minor triad a fifth away from the root.

So here is C9

LH / RH

C -C / G Bb D

Here is F9

F - F / C Eb G

To form an 11th, just play the root with your left hand. With your right hand, play a major triad one whole step down from the root.

So to play a C 11, do this:

LH / RH

C - C / Bb D F

Here is an F11

F - F / Eb G Bb

Here is a G 11

G -G / F A C

To form a 13th, do the same thing except play the root and a sixth above the root in your left.

C13 = C-A / Bb D F
F 13 = F-D / Eb G Bb


The power of the "magic 3rd & 7th" and how manipulating
them can help you to instantly play dozens of chords in all twelve keys... very easily!

The concept of "tertian chords" versus "non-tertian" chords and how to form both types. Musicians that understand both kinds play a lot more interestingly and unpredictably than those that stick to regular chords.

While it's great to be able to "see" things in action,
sometimes, it's equally effective (if not
better) to only "hear" things and be able to relate to what you hear without seeing it.

If you're looking for a course that really spoon-feeds you the information and leaves absolutely nothing out, then Chords 101 and Chords 102 audio courses are definitely for you. Each course is approximately 2 hours long. Remember it's an Audio Course, not a dvd to watch. Take it with you in your car, i pod, stereo, or to the gym! Go ahead and rush over to


http://www.hearadnplay.com/441295/hpchords.html
and read the entire report.




http://www.LadyDpiano.com

2-5-1 Progression

If you listen to music, you've definitely heard a "2-5-1" progression. They are found in just about any type of music --- regardless of style, genre, or rhythmical pattern. It is commonly the series of chords that end a song or phrase. In this chord progression, the 2 chord leads to the 5 chord which in turn, produces a strong pull towards the ending chord (which is usually the 1st major chord of the scale).

Let me start by showing you what chords correspond to each tone of a major scale:

1 tone - Major
2 tone - minor
3 tone - minor
4 tone - Major
5 tone - Major (dominant)
6 tone - minor
7 tone - Half Diminished

To understand the chart above, you must understand that each tone of a major scale has a chord that goes along with it. For example, the following is a C major scale:

(C -- D -- E -- F -- G -- A -- B -- C)

Each tone above has a matching chord. Simply add the endings of the chart above to the scale as shown below:

>C MAJOR<
>D MINOR<
>E MINOR<
>F MAJOR<
>G MAJOR / DOM<
>A MINOR<
>B HALF-DIMINISHED<

To further understand progressions, lets number each chord:

1 = C Major
2 = D minor
3 = E minor
4 = F Major
5 = G dominant
6 = A minor
7 = B half - diminished
8 = C Major

Now, to create a "2-5-1" chord progression (or any numbered chord progression), simply take the 2, 5, and 1 chord out of the entire series of chords above. That is, we would not use the 3,4, 6, or 7th chord.

The 2 chord is D minor; the 5 chord is G dominant; and the 1 chord is C Major.

Here is the most basic "2-5-1" chord progression:

Dmin --- Gdom --- Cmaj

min = minor
dom = dominant
Maj = major


D minor chord = (D) + (F) + (A)
G dominant chord = (G) + (B) + (D) + (F)
C Major chord = (C) + (E) + (G)

Example: To play a D minor chord simply play all three of the notes shown above at the same time (D+F+A)



http://www.LadyDpiano.com

Getting Started with 2- 5- 1 Chord Progression

If you listen to music, you've definitely heard a "2-5-1" progression. They are found in just about any type of music --- regardless of style, genre, or rhythmical pattern. It is commonly the series of chords that end a song or phrase. In this chord progression, the 2 chord leads to the 5 chord which in turn, produces a strong pull towards the ending chord (which is usually the 1st major chord of the scale).

Let me start by showing you what chords correspond to each tone of a major scale:

1 tone - Major
2 tone - minor
3 tone - minor
4 tone - Major
5 tone - Major (dominant)
6 tone - minor
7 tone - Half Diminished

To understand the chart above, you must understand that each tone of a major scale has a chord that goes along with it. For example, the following is a C major scale:

(C -- D -- E -- F -- G -- A -- B -- C)

Each tone above has a matching chord. Simply add the endings of the chart above to the scale as shown below:

>C MAJOR<
>D MINOR<
>E MINOR<
>F MAJOR<
>G MAJOR / DOM<
>A MINOR<
>B HALF-DIMINISHED<

To further understand progressions, lets number each chord:

1 = C Major
2 = D minor
3 = E minor
4 = F Major
5 = G dominant
6 = A minor
7 = B half - diminished
8 = C Major

Now, to create a "2-5-1" chord progression (or any numbered chord progression), simply take the 2, 5, and 1 chord out of the entire series of chords above. That is, we would not use the 3,4, 6, or 7th chord.

The 2 chord is D minor; the 5 chord is G dominant; and the 1 chord is C Major.

Here is the most basic "2-5-1" chord progression:

Dmin --- Gdom --- Cmaj

min = minor
dom = dominant
Maj = major


D minor chord = (D) + (F) + (A)
G dominant chord = (G) + (B) + (D) + (F)
C Major chord = (C) + (E) + (G)

Example: To play a D minor chord simply play all three of the notes shown above at the same time (D+F+A)





http://www.LadyDpiano.com

== SUSPENDED CHORDS ==

Suspended chords leave you hanging in mid air. They create suspense or anticipation. They sound and feel as though they should be resolved.

A suspended chord (or a chord suspension) is usually made by holding one of the tones of a chord a tone higher, then resolving it to its resting place. This can be done with any tones of a chord, but one of the more common suspensions is to manipulate the third of the chord, by first playing the fourth, and resolving it to the third. So a C suspended chord has the tones of the root, the fourth and the fifth:

A C suspended chord of this type is often shown in chord charts as either a "Csus", or a "C sus4". "Sus4" means that the third is initially played as a fourth, and resolved to a third.

In "real music", let's suppose you're playing a simple tune which uses three chords, C, F, and G, then returning to C. Try adding a little flavor to the mix: turn that final chord into two chords. Make it a suspended C chord, followed by a C chord.. Your chord progression would look like this: C - F - G - Csus - C. You can try this on a guitar or a piano.

Experiment with other suspended chords. Put them in places where you need a bit of emotion in your music. Might be just what you're looking for. Take a Christmas carol book (one that has chord symbols in it is good for this purpose), and try adding suspensions to dominant or tonic triads.

In the Key of C:

Sus 4 chords- Formed by raising the 3rd of the chord you are playing by a half step.

C-E-G is your basic major triad C chord. The E in bold is your 3rd.
C-F-G: The F in bold is your suspended 4th. Notice that the distance between E to F is a half step. This chord now becomes your suspended 4th chord. If you play a I IV V progression, the IV is the best chord to play as a suspended 4th.

Sus 2 chords- Formed by lowering the 3rd of the chord you are playing by a whole step.

C-E-G This is your basic major triad C. The E in bold is your 3rd.
C-D-G The D in bold is your suspended 2nd. Notice that the distance between E to D is a whole step. This chord now becomes your suspended 2nd chord. I hope this helps! ~ LadyD

http://www.LadyDpiano.com