Guitarist's Dictionary Glossary What Does It Mean? Musical Terms Defined for Guitar Teachers
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Naming a Chord Once You Know the Common Names of the Intervals, the Naming of Chords Is a Little Less Daunting
Naming a Chord Once you know the common names of the intervals, the naming of chords is a little less daunting. Still, there are a few conventions and short-hand terms that many musicians use, that may be confusing at times. A few terms are used throughout the maze of chord names, and it is good to know what they refer to: Major / Minor – a “minor” note is one half step below the “major.” When naming intervals, all but the “perfect” intervals (1,4, 5, 8) are either major or minor. Generally if neither word is used, major is assumed, unless the situation is obvious. However, when used in naming extended chords, the word “minor” usually is reserved to indicate that the third of the triad is flatted. The word “major” is reserved to designate the major seventh interval as opposed to the minor or dominant seventh. It is assumed that the third is major, unless the word “minor” is said, right after the letter name of the chord. Similarly, in a seventh chord, the seventh interval is assumed to be a minor seventh (aka “dominant seventh), unless the word “major” comes right before the word “seventh.” Thus a common “C7” would mean a C major triad with a dominant seventh (CEGBb) While a “Cmaj7” (or CM7) would mean a C major triad with the major seventh interval added (CEGB), And a “Cmin7” (or Cm7) would mean a C minor triad with a dominant seventh interval added (CEbGBb) The dissonant “Cm(M7)” – “C minor major seventh” is fairly uncommon outside of modern jazz: it would mean a C minor triad with the major seventh interval added (CEbGB) Suspended – To suspend a note would mean to raise it up a half step. -
Glossary of Musical Terms PDF - Ricmedia Guitar
Glossary of musical terms PDF - Ricmedia Guitar Glossary of musical terms PDF Compliments of Ricmedia Guitar guitar.ricmedia.com Copyright © Ricmedia A B C D E F G H I J K L M N O P Q R S T U V W X Y Z A Accent A beat or note that is significantly louder than the others Action The space or distance between the fretboard and strings usually of a guitar Acoustic An instrument that creates it’s own amplification by passive means, not electric Ad Lib (Ad Libitum) Musical directive that gives the musician the ability to improvise or omit a section of music Arpeggio A series of notes derived from a chord, aka: broken chord Augmented Any note that has been raised by a semitone from it’s normal position B Banjo A stringed instrument characterized by a round body and a unique twangy sound Bass Mosty referring to a bass guitar but can be referencing to any instrument in the bass tonal range Bass Clef A musical symbol that indicates the piece should be played in the bass tonal range, or F clef Bass Drum Generally the largest drum in a drummers kit that sits on it’s side and is played via a foot pedal Beat The main pulse of the music, the rhythm of the music Blue Note Generally referring the the sharp fourth/flat fifth in the blues scale, aka: tritone Blues file:///I|/guitar.ricmedia.com/Cat_Miscellaneous/Music-glossary/glossary-of-musical-terms.html[21/07/2013 4:48:07 PM] Glossary of musical terms PDF - Ricmedia Guitar A large genre of music characterized by strong rhythms, improvisation and guitar centric music Brass The name given to a large range -
Ninth, Eleventh and Thirteenth Chords Ninth, Eleventh and Thirteen Chords Sometimes Referred to As Chords with 'Extensions', I.E
Ninth, Eleventh and Thirteenth chords Ninth, Eleventh and Thirteen chords sometimes referred to as chords with 'extensions', i.e. extending the seventh chord to include tones that are stacking the interval of a third above the basic chord tones. These chords with upper extensions occur mostly on the V chord. The ninth chord is sometimes viewed as superimposing the vii7 chord on top of the V7 chord. The combination of the two chord creates a ninth chord. In major keys the ninth of the dominant ninth chord is a whole step above the root (plus octaves) w w w w w & c w w w C major: V7 vii7 V9 G7 Bm7b5 G9 ? c ∑ ∑ ∑ In the minor keys the ninth of the dominant ninth chord is a half step above the root (plus octaves). In chord symbols it is referred to as a b9, i.e. E7b9. The 'flat' terminology is use to indicate that the ninth is lowered compared to the major key version of the dominant ninth chord. Note that in many keys, the ninth is not literally a flatted note but might be a natural. 4 w w w & #w #w #w A minor: V7 vii7 V9 E7 G#dim7 E7b9 ? ∑ ∑ ∑ The dominant ninth usually resolves to I and the ninth often resolves down in parallel motion with the seventh of the chord. 7 ˙ ˙ ˙ ˙ & ˙ ˙ #˙ ˙ C major: V9 I A minor: V9 i G9 C E7b9 Am ˙ ˙ ˙ ˙ ˙ ? ˙ ˙ The dominant ninth chord is often used in a II-V-I chord progression where the II chord˙ and the I chord are both seventh chords and the V chord is a incomplete ninth with the fifth omitted. -
Musiciansfor Normaland
MUSIC THEORY MUSICIANSfor NORMALand “My Dad” Sofia Rush, Age 5 Pen and crayon on printer paper realPEOPLE college-level music theory, from fundamental concepts to advanced concepts presented in a convenient, fun, engaging and thorough one-topic-per-page format free to copy, for more, visit share and enjoy! by Toby W. Rush tobyrush.com music theory for musicians and normal people by toby w. rush so then the What is Music Theory? bassoon choir comes in like flaming Chances are there’s a piece of music honeydew melons that moves you in a profound way... from on high a way that is frustratingly difficult to describe to someone else! Like other forms of art, music often has the capability to create in the listener that emotional reactions please transcends other forms of communication. bradley it’s late though a single piece of music may elicit different reactions from different listeners, any and if i’m lover of music will tell you that they’re real, almost those feelings are real! they’re worthy done of study. one of the most valuable parts coming up with terminology of music theory is giving names to doesn’t just help us talk to musical structures and processes, others about music, though... which makes them easier to talk about! it actually helps us learn! but while it’s an important step, and a great place to start, music theory is much more than just coming up with names for things! when composers write music — whether it’s a classical- era symphony or a bit of japanese post-shibuya-kei glitch techno — they are not following a particular set of rules. -
Affordant Chord Transitions in Selected Guitar-Driven Popular Music
Affordant Chord Transitions in Selected Guitar-Driven Popular Music Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Gary Yim, B.Mus. Graduate Program in Music The Ohio State University 2011 Thesis Committee: David Huron, Advisor Marc Ainger Graeme Boone Copyright by Gary Yim 2011 Abstract It is proposed that two different harmonic systems govern the sequences of chords in popular music: affordant harmony and functional harmony. Affordant chord transitions favor chords and chord transitions that minimize technical difficulty when performed on the guitar, while functional chord transitions favor chords and chord transitions based on a chord's harmonic function within a key. A corpus analysis is used to compare the two harmonic systems in influencing chord transitions, by encoding each song in two different ways. Songs in the corpus are encoded with their absolute chord names (such as “Cm”) to best represent affordant factors in the chord transitions. These same songs are also encoded with their Roman numerals to represent functional factors in the chord transitions. The total entropy within the corpus for both encodings are calculated, and it is argued that the encoding with the lower entropy value corresponds with a harmonic system that more greatly influences the chord transitions. It is predicted that affordant chord transitions play a greater role than functional harmony, and therefore a lower entropy value for the letter-name encoding is expected. But, contrary to expectations, a lower entropy value for the Roman numeral encoding was found. Thus, the results are not consistent with the hypothesis that affordant chord transitions play a greater role than functional chord transitions. -
Music Theory for Young Students
Longy School of Music Music Theory for young students designed for use in Creative Music Theory classes in the Preparatory Division by John Morrison Emily Romm Jeremy Van Buskirk Vartan Aghababian Teen Theory I and II second revision fall 2011 © 2011 Longy School of Music of Bard College The creation of this text was supported over a four-year period by the generous donation of Mr. John Carey. Introduction Dear student! You are about to start learning music theory. Music theory is a study of music; it helps to understand how music works. It will teach you to read, write, and compose music. What is music? It is something that can change your mood, make you move faster or slower, it can even change your heartbeat! Music can make you imagine things, sometime nice and sometimes scary, and when it gets stuck in your head, it simply won’t leave! It is everywhere – on the radio, in a concert hall, in church or temple, in school – but it only lives while it sounds. You need a composer to make music, a performer to play it, and a listener to enjoy it. To students, parents, and private instructors: This portion of the theory text, where we explain and demonstrate basic concepts of music theory, is the same in Levels 1, 2, and 3 of the text for Creative Music Theory classes at Longy. As such, it will go further than a student in Level 1 will progress during a year. It will allow those starting their study of music theory at Level 2 or 3 to have all the background information they will need for a solid start in theory. -
5 String Banjo Chord Chart
Open Chord Shapes Closed (movable position) Chord Shapes Open chord shapes are those that feature an open string. MAJOR TRIADS MINOR TRIADS MAJOR TRIADS MINOR TRIADS Closed or Movable shapes are those that feature no open strings and can The Big 3 be slid around the fingerboard to produce the same type of chord but F A D Fm Am Dm with a different note value (Dm can G C D E Em Dm Cm be slid up 7 frets to become an Am). O O O O O O O O O O O When building a triad, there are only 3 different closed SHAPES for each type of chord. All Inversions For a F Major Triad What is the difference between the major and minor chord F F F F shapes of the same name? (ex. D vs Dm ) (1st inversion - uses a “D” shape) (2nd inversion - uses an “A” shape) (3rd inversion - uses a “F” shape) (4th inversion - uses a “F” shape) 13 17 DOMINANT 7TH CHORDS 10 5 G7 D7 B7 E7 A7 O O O O O O O O These two inversions are repeating shapes since we have now gone up one octave. When constructing 7th chord shapes (or higher such as 9ths, 11ths, and 13ths) every note in the chord does not need to be featured. The TRITONE (the 3rd and 7th) All Inversions For a F Minor Triad of the chord is the meat of the chord and should be featured. MINOR 7TH CHORDS Fm Fm Fm Fm The root and 5th of the chord are (1st inversion - uses a “Dm” shape) (2nd inversion - uses an “Am” shape) (3rd inversion - uses a “Fm” shape) (4th inversion - uses a “Fm” shape) Gm7 Dm7 Bm7 Em7 Am7 ‘weak’ chord tones and can be left off. -
Four Contemporary Trumpet Sonatas
Four Contemporary Trumpet Sonatas: A Recording Project and Performer’s Guide by Garrett L. Klein A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved April 2019 by the Graduate Supervisory Committee: David R. Hickman, Chair Gary Hill Amy Holbrook ARIZONA STATE UNIVERSITY May 2019 ABSTRACT This document accompanies new recordings of four recent sonatas for trumpet and piano. The project’s objective is to promote these works, while providing a comprehensive resource for potential performers. The four sonatas were selected based on their appeal to modern audiences. Composers Brendan Collins, Luis Engelke, William Rowson, and Christoph Nils Thompson each represents a different country, and they offer significant contributions to the trumpet repertoire. Each sonata expertly features the trumpet by highlighting its lyricism, virtuosity, and ability to cross genres. The accompanying document draws upon interviews with the four composers, which reveal insights into the compositional process and provide details that performers will find useful. This document also offers in-depth musical descriptions, allowing performers to enhance their understanding of each sonata. The principal component of the document is the performer’s guide: Advice is presented directly to the trumpet player that has been garnered from the composers’ interviews, study of the music, and the author’s thoughts on preparing the music. To help other young musicians better comprehend the recording process, the author’s own experience is detailed. Ultimately, this document provides a window into the lifespan of the four sonatas; from their initial composition through the various stages of studying and rehearsing, culminating with the experience of recording these works for the first time. -
Diatonic Harmony
Music Theory for Musicians and Normal People Diatonic Harmony tobyrush.com music theory for musicians and normal people by toby w. rush although a chord is technically any combination of notes Triads played simultaneously, in music theory we usually define chords as the combination of three or more notes. secundal tertial quartal quintal harmony harmony harmony harmony and œ harmony? œœ œ œ œ œœ œ œ tertial œ œ œ septal chords built from chords built from chords built from chords built from seconds form thirds (MORE perfect fourths perfect fifths tone clusters, SPECifically, from create a different can be respelled as respectively. harmony, which are not major thirds and sound, used in quartal chords, harmonic so much minor thirds) compositions from and as such they harmony? as timbral. form the basis of the early 1900s do not create a most harmony in and onward. separate system of are the same as as with quintal harmony, these harmony, as with quintal the common harmony. secundal practice period. sextal well, diminished thirds sound is the chord still tertial just like major seconds, and if it is built from diminished augmented thirds sound just thirds or augmented thirds? like perfect fourths, so... no. œ œ the lowest note in the chord & œ let’s get started when the chord is in simple on tertial harmony form is called œ the the & œ with the smallest root. fifth œ chord possible: names of the œ third ? œ when we stack the triad. other notes œ the chord in are based on root thirds within one octave, their interval we get what is called the above the root. -
THE 15 STEPS to CREATING Your Own Music on the Guitar INDEX
the BEGINNERS GUIDE TO GUITAR MASTERY THE 15 STEPS TO CREATING your own music on the guitar INDEX Page Number Contents 1 About this book and why we made it 2 Our philosophy and community 3 Guitar Construction 4 Strings and string names 5 Open position notes 6 Open chords 7 Strumming 8 Tablature and notation 9 Riffs 10 Barre chords 11 Power chords 12 Pentatonic scales 13 Arpeggios 14 Major scale formula 15 String effects 16 Octaves 17 Alternate tuning 18 What now? 19 About us ABOUT THIS BOOK Hey there reader, and guitar player! We have created this learning resource in an attempt to help people accelerate their journey of understanding the guitar, and inspire them to start creating their own music. A lot of people when wanting to start playing guitar will go straight to Youtube, learn ran- dom songs here and there, but the information you are consuming is really scattered and has no building of structure. This makes it harder for you to remember, much longer to improve, and when you don’t feel like you’re improving you’re going to lose motivation real quick. Think of this book as a blueprint of what you need to learn, and the order you should learn it in, so you can start wailing on the guitar and creating your own music as quickly as possible. WHY WE MADE IT We are committed to teaching people not only the technical aspects of playing this amazing instrument, but also to helping people understand, interpret, and celebrate this phenome- non we call music. -
Open Chord Diagrams”
Concerning “open chord diagrams” is one of the open chord diagrams. Let’s stick to this. Only two others and are prone to be offset on the fretboard (and of course, their minor and sept variations). For them all further explanation is valid analogously. Mechanically increasing the fret number of the diagram would not change the depiction of the diagram. Only a little digit 2 would appear beneath the first fret stating it now be the second fret – and the thicker leftmost line representing the saddle would change in to a thinner one. The digit 1 never appears beneath the first fret, it is represented by that thicker line, that disappers while shifting. But in reality the three fingers of the open diagram are offset one fret to the right, which can also be put this way – it’s all the same: Further offset leads to = and = That shall be enough. The status quo of musescore is that the name of the chord does not change, even if the diagram gets “shifted”. It keeps to be “E” even after an arbitrary number of moves. That’s obviously wrong. As obviously the idea behind increasing the fret number is, that after “shifting” the diagram the whole structure of the chord is preserved. Why would a guitarist move his fingers from an open E-major chord one fret to the right? He wants to play an F-major chord! He would call that an F-major chord, even if he forgets to place his index finger on the first fret as a barré. -
Chord Symbols
CHORD SYMBOLS Chord symbols are used in jazz, pop/rock, folk music. In fact in most types of music except in classical music and there may even be some modern classical composers who use them. So if you can understand chord symbols, a whole new world of music will be open to you. A chord symbol is a shorthand way of denoting what notes in whatever chord are to be played. They do not tell you how exactly to play it or in what range of the instrument to play it. That is up to the player to decide. The most basic bit of information lies in the initial part of the symbol. This is the note on which the chord is built, called the root-note (or sometimes just the root). The root-note refers to any of the notes in a chromatic scale and is written with a capital letter, eg. C or C#. (Sometimes in a given key, Roman numerals are used instead, eg. IV indicates the fourth degree or step in the scale. This can show how each chord relates to the others. While this is useful for transposing purposes (changing the piece into another key), it is rather cumbersome to read. Besides showing the root-note, the captal letter also informs you whether the chord is major or minor. Thus, C refers to a major chord, whereas Cm (sometimes written as Cmi, Cmin or C- ) means that a minor chord is required. The most basic form of chord is the triad . It consists of just 3 different notes (tri- means 3, as in tricycle).