LadyDpiano

Primary and Secondary Triads Figured Bass

A triad can be built on each note of the scale.

When building triads on scale tones, all of the sharps or flats that are in the key being used must be added to the chords which have those notes.

Example: D Major Scale has F# and C#. When writing the triads of D Major, every time an F or C appears in a chord, a sharp must be added to it. (See example below.)

Triads of the scale are numbered using Roman Numerals. Upper case Roman Numerals are used for Major triads, lower case Roman numerals are used for minor triads, upper case Roman Numerals with "+" are used for Augmented triads, and lower case Roman Numerals with "o" are used for diminished triads. These are called the FIGURED BASS SYMBOLS.

I (Major) = DF#A ii (minor) = EGB

iii (minor) = F#AC# IV (Major) = GBD

V (Major) = AC#E vi (minor) = BDF#

viio (diminished) C#EG I (Major) = DF#A

All of the above charts are for the...
PRIMARY and SECONDARY TRIADS IN THE KEY OF D MAJOR

I, IV and V are the PRIMARY TRIADS. In Major keys, these three triads are Major and are the most commonly used chords for harmonizing tonal melodies. The chords are labelled with upper case Roman Numerals.

ii, iii, vi and viio are the SECONDARY TRIADS. In Major keys, iii, and vi are minor and viio is diminished. The chords are labelled with lower case Roman Numerals, and the viio chord has a small circle beside the Roman Numeral.

The qualities of the triads in minor keys are different from those for Major keys. When using harmonic minor, the triads have the following qualities:

i (minor) = DFA iio (diminished) = EGBb

III+ (Augmented = FAC# iv (minor) = GBbD

V (Major) = AC#E VI (Major) = BbDF

viio (diminished) = C#EG i (minor) = DFA

The above charts are for....
PRIMARY and SECONDARY TRIADS in the KEY of D MINOR

Jermaine Griggs has been talking about learning patterns in piano playing. So let's talk about it soon.

You may be interested in Gospel Keys 101

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How To Play A Love Song: Chuck Girard

I remember fondly when Chuck Girard, Tommy Coomes, Jay Truax and Fred Field first stepped out onto the Calvary Chapel stage back in 1970. I blogged about Chuck Girard's song, Freedom.

One of my favorite songs by Chuck Girard and Jesse Johnston is A Love Song. Copyright 1972 by Dunamis Music. It's played in the Key of G with a moderate waltz tempo.

Here are the piano chords to A Love Song.

Gmaj7   Dm/G      C        Cm
Lend an ear to a love song
        G
Ooh, a love song
        Bm               Cmaj7 Am7 Dsus4 D7 Gmaj7
Let it take you, let it start
              Dm/G      C         Cm
What can you hear in a love song?
            G
If you can feel it
              Bm              Cmaj7 D7 G
Then you're feeling from the heart
F#m                                             Emaj7
All the emotions true feelings of life is what music of love is about
Em7                         A7                         D   Gmaj7
If you are listening with peace in your heart and no doubt
           Dm/G     C        Cm
So listen now to a love song
           G
If you can hear it
         Bm        Cmaj7 D7 G
We will never be apart

If you're not familiar with some of the chords, here's what they look like.

Gmaj7 = G/DF#C
Dm (G bass) = G/FAD
C = C/EGC
Cm = C/GCEb
G = G/DGB
Bm = B/F#BD
Cmaj7 = C/EGB
Am7 = A/CEA
Dsus = DG/CEA
D7 = D/DF#A
F#m F#/AC#F#
Emaj7 = E/G#BF#
Em7 = E/GBDE
A7 = A/C#EA
D = D/DF#A

Here's the beautiful song on YouTube. Hope you enjoy playing along.

Chuck Girard
Take It Easy
The Stand

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

Reference Cadences

English: Plagal cadence Español: Cadencia plagal (Photo credit: Wikipedia)

A cadence is a chord progression which marks a close or conclusion at the ends of phrases, sections, or at the end of the entire piece. Cadence is a Latin word which means "to fall." cadences mark the "falls" (points of rest) in music.

Practice these cadences, first hands separately, then together. Play in all keys.

Plagal Cadence I IV I

First Position

C F C

I IV I

CEG/CEG

CFA/CFA

CEG/CEG (rest)

Second Position

EGC/EGC

FAC/FAC

EGC/EGC (rest)

Third Position

GCE/GCE

ACF/ACF

GCE/GCE (rest)

Authentic Cadence I V I

First Position

C G C

I V I

CEG/CEG

BDG/BDG

CEG/CEG (rest)

Second Position

EGC/EGC

DGB/DGB

EGC/EGC (rest)

Third Position

GCE/GCE

GBD/GBD

GCE/GCE (rest)

Complete Cadence In Three Positions I IV I V I

First Position C Major

C F   C G C
I    IV I V I

CEG/CEG
CFA/CFA
CEG/CEG
BDG/BDG
CEG/CEG (rest)

Second Position

EGC/EGC
FAC/FAC
EGC/EGC
DGB/DGB
EGC/EGC (rest)

Third Position

GCE/GCE
ACF/ACF
GCE/GCE
GBD/GBD
GCE/GCE (rest)

First Position A Minor

Am Dm Am E Am
i iv    i    V i

ACE/ACE
ADF/ADF
ACE/ACE
G#BE/G#BE
ACE/ACE (rest)

CEA/CEA
DFA/DFA
CEA/CEA
BEG#/BEG#
CEA/CEA (rest)

EAC/EAC
FAD/FAD
EAC/EAC
EG#B/EG#B
EAC/EAC (rest)

For those who want to learn more...

Cadences occur at the end of a phrase, or the end of part of a phrase. They are the melodic or harmonic ending of a phrase, section, movement or complete composition. In other words, it’s a chord progression that feels like a conclusion. You play a combination of chords to close a musical phrase and rest with a sense of resolution.

There are many types of cadences to study in music theory. I know of several common cadences. Here are four of them.

1. Authentic Cadence consists of the V or V7 chord followed by the I chord. An example of what to play looks like these notes that you can play in both hands:

V = AC#E
I = DF#A
V6 = C#EA
I = DF#A
V7 = AC#EG
I = DF#A
V65 = C#EGA
I = DF#A

2. Half Cadence (V7) creates an expectation that something is coming next because the dominant chord is not resolved. A Half Cadence is a cadence that ends with a V or V7 chord. It is also called imperfect cadence. An example of this progression could be played here.

I = DF#A
V = AC#E
IV64 = DGB
ii6 = GBE
V7 = AC#EG
V of V = EG#B
V = AC#E

3. Plagal Cadence (IV - I) is familiar to the ear. You probably have heard it when singing amen at the end of a hymn played in church. A Plagal Cadence consists of an IV chord followed by an I chord. Many musicians refer to it as the church cadence or amen cadence. It's the very first cadence I learned at the piano. An example would be:

IV = GBD
I = DF#A
IV64 = DGB
I = DF#A

4. Deceptive Cadence (V7) is very unpredictable. It consists of a V (or sometimes IV) chord followed by a vi chord. The most common are:

V7 – vim (classical and pop)
V7 – iiim (jazz and pop)
V7 – im (when key is major)
V7 – I (when key is minor)
V7 – IV (gospel, pop, etc.)
V7 – bVI (various pop, classical, etc)

There are more cadences to know.

Full Cadence (V7 – I) Tones moving from tension and arriving at resolution with the ending chord playing in root position. Also known as Authentic Cadence.
Imperfect Cadence begins with ii, vi or IV. It starts like the sound of a question and resolves to the V chord.
Perfect Cadence moves from the V chord - I chord. Practice them and remember, all cadences end with the I or V chord and are made of two chords.

Hear and Play offers Advanced Gospel Courses, Gospel Core Essentials and Gospel Music Training Center

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Practice four cadence patterns to be familiar with them!

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