Chords
Mon, 17 Jun 2024 06:33:38 GMT — Properties
Properties
| Key | Value |
|---|---|
| Identifier | chords |
| Name | Chords |
| Type | Topic |
| Creation timestamp | Mon, 17 Jun 2024 06:33:38 GMT |
| Modification timestamp | Tue, 02 Jul 2024 07:09:02 GMT |
Chords
- Identifying notes in key
- W W H W W W H
- For example, key of F: F (W) G (W) A (H) Bb (W) C (W) D (W) E, with (H) F again on top
- Half notes are also called semi-notes
- W W H W W W H
- What is a cord?
- A chord is comprised of a minimum of 3 notes (a.k.a. "triads")
- The root
- The 3rd
- The 5th
- A chord has a starting note, the so-called "root" note
- Starting from the root note, play "every other note" within the key
- For example, in the key of F, find the first chord: F, A, C (F Major). The second chord would be: G, Bb, D (G Minor)
- A chord is comprised of a minimum of 3 notes (a.k.a. "triads")
- Finding chords in key, i.e., you can build a chord on every note in the scale
- Major vs. minor chord
- Major: Has a major third and a perfect fifth above the root
- 4-3, i.e., four semi-tones between the root note and the (major) third, followed by 3 semi-tones between the third and the (perfect) fifth
- Minor: Has a minor third and a perfect fifth above the root
- 3-4, i.e., three semi-tones between the root note and the (minor) third, followed by 4 semi-tones between third and the (perfect) fifth
- Diminished
- 3-3
- Major: Has a major third and a perfect fifth above the root
- Intervals (a combination of 2 notes) are relationships between two notes
- Minor second (half-step from the first note)
- Major second (2 half-steps from the first note)
- Minor third (3 half-steps from the first note)
- Major third (4 half-steps from the first note)
- The first two notes in a chord, the (major or minor-third) interval, determine if the chord is either a major or a minor chord
- Identifying all chords in scale, i.e., the formula for finding chord progressions in a major scale can be represented with Roman numerals:
- I ii iii IV V vi vii° (diminished), i.e., I (major) ii (minor) iii (minor) IV (major) V (major) vi (minor) vii° (diminished)
- For example, C major with the chord progression 1(I) 5 (V) 6 (vi) 4 (IV), count the notes in the scale of C major: 1, 5, 6 and 4 and play the corresponding major or minor chord: 1=major, 5=major, 6=minor and 4=major.
- Find the accompanying notes of any key and subsequently build the chords for that key
- Scale: W W H W W W H
- Chord progression: I ii iii IV V vi vii° (diminished)
- Chord inversions
- Root Position: the chord is in its basic form, with the root note as the lowest pitch. For example, a C Major chord in root position is C-E-G.
- For example, D Major chord: D, F#, A in root position can be inverted to A, D, F# or F#, A, D
- In the majority of songs, chords are not in their root position
- Regardless of how the chord is played (e.g., D Major chord with A, D, F# or F#, A, D) we are still hearing the harmony of the original chord
- The use of inversions can not only make it easier to play it will also make the progression sound smoother
- Chord extensions
- Triads are built by stacking thirds on each scale degree, following the structure of major and minor scales, i.e., I ii iii IV V vi vii°
Notes
The left and right hands when playing the piano
The typical approach for playing the piano involves using the left hand to play chords or harmonic accompaniment while the right hand plays the melody. This standard technique aligns with common piano playing practices:
- Left Hand (Bass and Harmony): The left hand usually handles the lower register, providing the bass notes and harmonic structure of the piece. This often involves playing chords, arpeggios, or bass lines.
- Right Hand (Melody): The right hand typically plays the melody, which is the main tune of the piece. This hand focuses on the higher register of the piano.
However, it's important to note that this is a general guideline and can vary depending on the genre of music, the specific piece, or the pianist's interpretation. Some compositions may require the left hand to play part of the melody, counter-melodies, or intricate patterns, while the right hand provides additional harmony or rhythmic support. Advanced pianists often switch roles between hands to achieve the desired musical effect.
Chords and the accompanying melody
It is generally considered "best practice" for chords and the accompanying melody to be in the same key. Here’s why this practice is foundational in music:
- Harmonic Consistency: When both the chords and the melody are in the same key, they share the same set of notes, creating a harmonically consistent and pleasing sound. For example, in the key of C Major, both the chords and melody will predominantly use the notes C, D, E, F, G, A, and B.
- Musical Cohesion: Keeping the chords and melody in the same key ensures that they fit together naturally, supporting each other and creating a cohesive musical piece. This alignment helps to reinforce the tonal center and the overall structure of the music.
- Ease of Playing: For pianists, playing both the melody and chords in the same key simplifies the cognitive and technical demands, as the patterns of notes and chords are more predictable and easier to manage.
- Predictable Progressions: Common chord progressions and melodic lines are built around the diatonic scale of a given key, making it easier to follow and understand musical phrases and cadences.
However, while this is a standard practice, it's important to note that variations and deviations from this norm can and do occur in music:
- Modulation: A piece of music might change keys (modulate) at some point, requiring both the chords and melody to shift to a new key together.
- Chromaticism: Some compositions incorporate notes outside the key for added color, tension, or resolution.
- Non-Diatonic Chords: Occasionally, chords that include notes outside the key are used to create specific harmonic effects or to lead into modulations.
Despite these variations, the fundamental practice of aligning chords and melody in the same key remains a cornerstone of musical composition and performance.
Chord inversion
Chord inversion is the rearrangement of the notes in a chord such that a note other than the root note is the lowest pitch. This technique changes the order of the notes but does not change the overall harmonic function of the chord. Here’s a breakdown:
- Root Position: The chord is in its basic form, with the root note as the lowest pitch. For example, a C Major chord in root position is C-E-G.
- First Inversion: The third of the chord is the lowest pitch. For a C Major chord, the first inversion is E-G-C.
- Second Inversion: The fifth of the chord is the lowest pitch. For a C Major chord, the second inversion is G-C-E.
Practice
Practice making triads out of the first through sixth degrees of a major scale. Identify each chord: what is the letter of the root, and is it major or minor (i.e., I ii iii IV V vi)
Practice making chord progressions based on numbers. Pick a random key and random sequence of numbers between 1 and 6, find the corresponding chords, and practice playing them in sequence.
Create some more chord progressions, this time using inversions so that the chords are voiced more closely together. Experiment with reinforcing the lowest notes of the inversions by also playing them in lower octaves.
- Map: Music Theory and Production — Info
- Topic: Chords
- Scope: Universal Active
