DOCSLIB.ORG

Guitar League Chords Workshop

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Guitar League Chords Workshop Chords Workshop by Mark Fowler Based mostly on: – 2 straight-forward articles by David Hamburger in Acoustic Guitar Magazine (August & September 2003) • http://acousticguitar.com/lessons/Chord_Names/1.html • http://acousticguitar.com/lessons/Chord_Names2/1.html – What Makes Music Work, a book by P. Seyer, A. Novick, & P. Harmon • http://www.lovemusiclovedance.com/what_makes_music_work.htm • An amazingly simple but effective little book!! – Chords & Progressions for Jazz and Popular Guitar, a book by Arnie Berle – Wikipedia Entry • http://en.wikipedia.org/wiki/Chord_notation Got Questions? mfowler@binghamton.edu Get Full-Size, Full-Color Handout: Next http://www.ws.binghamton.edu/fowler (Click on “Other”) 1/44 What We’ll Cover • Part Ia – What notes are in the “normal” chords? • Part Ib – What notes are in the “weird” chords? • Part II – How do you play the “weird” chords? • Part III – When do you use the “weird” chords? Next 2/44 Part Ia What Notes Are In The “Normal” Chords? Next 3/44 What is a Chord? •Threeor more different notes played together What Makes a Certain Chord? • It depends on the “Intervals” (i.e., distance) between the notes What Is an Interval? • A measure of the distance between two notes • Interval names are based on positions in scales – Actually, they are really based on the # of “half steps” between the notes Note: 2 notes a half step Next apart are one fret apart 4/44 Intervals within the C Major Scale C H Major “b7th” B th (Minor 7th) 7 W Bb Major A 6th W G# G Perfect 5th W F# Perfect 4th F H Major E Minor 3rd rd b 3 W E Major nd D 2 C# W Next C 5/44 Intervals Between Strings On The Guitar A 4th “up” is ¾ 4ths a 5th “down” ¾ 5ths ¾ Maj 3rds ¾ Min 3rds Adjacent Strgs Skipped Strgs Next 6/44 Triads – Simplest Chords There are only 4 types of triads: ¾ Major ¾ Minor ¾ Diminished ¾ Augmented R 3 5 R b3 5 R b3 b5 R 3 #5 C C C C B B B B Bb Bb Bb Bb A A A A Sharp 5th G# Perfect 5th G# Perfect 5th G# G# G G G G th Gb Gb Gb Flat 5 Gb F Major 3rd F F F Major 3rd E E Minor 3rd E Minor 3rd E Eb Eb Eb Eb D D D D C# C# C# C# C C C C These constitute about 99% of the chords We won’t be needing these! you see traditionally in a fiddle tune Next 7/44 Triads-Based Guitar Chords: An Example C Major C Minor 3 2 0 1 0 4 1 0 1 x Note: In a typical Guitar Chord-Form we often repeat triad notes C E G C E C Eb G C b R 3 5 R 3 R 3 5 R ¾ Major ¾ Minor R 3 5 R b3 5 C C B B Bb Bb A A G# Perfect 5th G# Perfect 5th G G Gb Gb F Major 3rd F E E Minor 3rd Eb Eb D D Next C# C# C C 8/44 Triads-Based Guitar Chords: Another Example D Major D Minor 0 0 1 3 2 0 0 2 3 1 In some Guitar Chord- Forms the triad notes don’t appear “in order” A D A D F# A D A D F 5 R 5 R 3 5 R 5 R b3 ¾ Major ¾ Minor R 3 5 R b3 5 D D C# C# C C B B Bb Perfect 5th Bb Perfect 5th A A G# G# G Major 3rd G F# F# Minor 3rd F F E E Next Eb Eb D D 9/44 Part Ib What Notes Are In These “Weird” Chords? Next 10/44 Bigger Intervals (shown relative to C in C major scale) C D E F G A B C D E F G A B C 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 Next 11/44 Nearly-Complete Jazz Chord “Family Tree” For Jazz Chords: sequentially add other notes to a maj/min triad Note the main pattern: 1 3 5 7 9 11 13 b3 b7 These are the Major Triad “Dominants” Minor Triad Dim Triad Add b7 bb Add 6 Add 7 Add 6 Add b7 Add 7 Add 7 Maj6 Maj7 7 m6 m(maj7) m7 dim 7 1 3 5 6 1 3 5 7 1 3 5 b7 1 b3 5 6 1 b3 5 7 1 b3 5 b7 1 b3 b5 bb7 Maj6/9 Maj9 9 m6/9 m(maj9) m9 1 3 5 6 9 1 3 5 7 9 1 3 5 b7 9 1 b3 5 6 9 1 b3 5 7 9 1 b3 5 b7 9 Notes in ( ) are Maj11 11 usually omitted. m11 = 6!! 1 (3) 5 7 9 11 1 (3) 5 b7 9 11 1 b3 5 b7 9 11 It is common to leave out other Maj13 13 notes too, m13 b b b 1 3 5 7 9 (11) 13 1 3 5 7 9 (11) 13 especially on 1 3 5 7 9 (11) 13 guitar Next Altered Chords (e.g., A7#5b9): Raise or Lower the 5, 9, 11, or 13 12/44 Part II How Do You Play These “Weird” Chords? Next 13/44 An Example C Major C7 3 2 0 1 0 3 2 4 1 x This now For this becomes form we sacrifice “Movable” th 7 C E G C E C E Bb C the 5 ! D R 3 5 R 3 R 3 b7 R 3 2 4 1 x ¾ Major ¾ Dom 7 R 3 5 R 3 5 b7 C C b th B B 7 D F# CD Bb Bb R 3 b7 R A A 7 G# Perfect 5th G# Perfect 5th E G G 3 2 4 1 x Gb Gb V F Major 3rd F Major 3rd E E Eb Eb D D # Next C# C# E G DE R 3 b7 R C C 14/44 A Structure-Based Approach: Find a Root and Keep Lowering It A AMaj7 A7 0 2 1 3 0 0 2 1 3 0 0 2 0 3 0 A E A C# E A E G# C# E A E G C# E R 5 R 3 5 R 5 7 3 5 R 5 b7 3 5 Make It Movable: C CMaj7 C7 1 2 3 4 1 1 3 2 4 1 1 3 1 4 1 III III III C G C E G C G B E G C G Bb EG R 5 R 3 5 R 5 7 3 5 R 5 b7 3 5 Next 15/44 More Examples of that Rule: Find a Root and Keep Lowering It G Gmaj7 G7 G6 3 2 0 0 0 4 3 2 0 0 0 1 3 2 0 0 0 1 3 2 0 0 0 0 G B D G B G G B D G B F# G B D G B F G B D G B E R 3 5 R 3 R R 3 5 R 3 7 R 3 5 R 3 b7 R 3 5 R 3 6 D Dmaj7 D7 D6 0 0 1 3 2 0 0 1 1 1 0 0 2 1 3 0 0 2 0 3 A D A D F# A D A C# F# A D A C F# A D A C F# 5 R 5 R 3 5 R 5 7 3 5 R 5 b7 3 5 R 5 6 3 Next 16/44 Another Structure-Based Rule: Find a 5th and Keep Raising It G G6 G7 1 3 4 2 1 1 1 3 x 2 1 1 1 3 x 2 1 1 III III G D G B D G G D B E G G D B F G R 5 R 3 5 R R 5 3 6 R R 5 3 b7 R Or Use Our 1st Rule: Lowering a Root G Gmaj7 G7 G6 1 4 3 2 1 4 2 1 1 2 4 3 2 1 4 3 III III III III G D G B D G G F# BD G F B D G E B D R 5 R 3 5 R R 7 3 5 R b7 3 5 R 6 3 5 Gray Circles = notes left out to make the new Next chords playable playable!!! 17/44 And More: A 1 3 4 2 1 1 V rd A E A C# E A Find the Maj 3 R 5 R 3 5 R and lower it Am Ammaj7 Am7 Am6 1 3 4 1 1 1 1 3 2 1 1 1 1 3 1 1 1 1 2 x 1 3 3 3 V V V V A E A C E A A E G# C E A A E G C E A A F# C E A R 5 R b3 5 R R 5 7 b3 5 R R 5 b7 b3 5 R R 6 b3 5 R 2 x 3 3 3 3 Find a Root and V “Certified keep lowering it Jazzer’s A G C E A Form” Next R b7 b3 5 R 18/44 Another Rule: Making the dom 9th Chord C7 Find a Root and Raise It 3 2 4 1 x ¾ Dom 9 Recall: R 3 5 b7 9 For this This form is movable form we D9 9th sacrificed 2 1 3 3 3 D C E Bb C the 5th ! b C# R 3 7 R IV C B b7th Bb 9 9 C C D F# C E A A 2 1 3 4 x 2 1 3 3 3 R 3 b7 9 5 G# 5th G 9 Gb E 2 1 3 3 3 F 3rd V E Eb C E Bb D C E Bb D G D R 3 b7 9 R 3 b7 9 5 C# C Here we E G# DF# B gain back R 3 b7 9 5 the 5th ! Next 19/44 Part III How Do You Use These “Weird” Chords? Next 20/44 Triads Harmonize the Scale Choose triad type so that each chord uses only scale tones I:G ii:Am iii:Bm IV:C V:D vi:Em vii:F#o C b5th B B 5th Bb Bb A 5th A A b3rd G# G# G# G G G G G G G th b rd F# F# F# F# 5 F# F# 3 F# th rd F F F 5 F F 3 F F E E E E E E E th 3rd Eb Eb 5 Eb Eb Eb Eb Eb D 5th D D b3rd D D D D C# C# C# C# C# C# C# C C C C C C C b3rd B B B B B B B rd Bb 3 Bb Bb Bb Bb Bb Bb A A A A A A A G# G# G# G# G# G# G# G G G G G G G Next 21/44 Typical Places to Use Jazz Chords Recall: Number System for Chords (Example - Key of G) I ii iii IV V vi vii G Am Bm C D Em F#o Jazzy Replacements I Maj7, Maj6 (… in blues the I is played as Dom7) IV Maj7, Maj6, (… in blues the IV is played as Dom7) V Dom7 ii, iii, vi min7 To see why… see next two slides… Numbered Chords with Replacements: I ii iii IV V vi vii Next GM7 Am7 Bm7 CM7 D7 Em7 F#o7 22/44 Pick Extensions to Stay in Scale Why I is either Maj7 or Maj6: Why IV is either Maj7 or Maj6: I:Gmaj7 I:Gmaj6 IV:Cmaj7 IV:Cmaj6 Maj 7th B B Bb Bb Maj 6th A A G# G# G th G G G Maj 7 th th F# F# F# 5 F# 5 F F Maj 6th F F E E E 3rd E 3rd Eb Eb Eb Eb D D D D 5th 5th C# C# C# C# C C C C B B B B rd rd Bb 3 Bb 3 Bb Bb A A A A G# G# G# G# Next G G G G 23/44 Pick Extensions to Stay in Scale Why the V chord is Dom7: Why ii, iii & iv chords are min7: V:D ii:Am iii:Bm vi:Em Eb b7th D C# th b7 C# C B B th th 5 Bb Bb b7 Bb A th A A 5 G# G# b7th G# G# G G G G b rd F# F# F# F# 3 rd th F 3 F F 5 F E E E E th Eb Eb 5 Eb Eb D D D D b3rd C# C# C# C# C C C C b3rd B B B B Bb Bb Bb Bb A A A A Next G# G# G# G# G G G G 24/44 Golden Slippers in G: Standard Progression Let’s use our replacement rules (and a couple other jazz ideas) to spice up the chords for this tune….
Load more
Loading...
Loading...
Loading...
Loading...
Loading...

39 pages remaining, click to load more.

Recommended publications
  • 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.
    [Show full text]
  • Many of Us Are Familiar with Popular Major Chord Progressions Like I–IV–V–I
    Many of us are familiar with popular major chord progressions like I–IV–V–I. Now it’s time to delve into the exciting world of minor chords. Minor scales give flavor and emotion to a song, adding a level of musical depth that can make a mediocre song moving and distinct from others. Because so many of our favorite songs are in major keys, those that are in minor keys1 can stand out, and some musical styles like rock or ​ ​ jazz thrive on complex minor scales and harmonic wizardry. Minor chord progressions generally contain richer harmonic possibilities than the typical major progressions. Minor key songs frequently modulate to major and back to minor. Sometimes the same chord can appear as major and minor in the very same song! But this heady harmonic mix is nothing to be afraid of. By the end of this article, you’ll not only understand how minor chords are made, but you’ll know some common minor chord progressions, how to write them, and how to use them in your own music. With enough listening practice, you’ll be able to recognize minor chord progressions in songs almost instantly! Table of Contents: 1. A Tale of Two Tonalities 2. Major or Minor? 3. Chords in Minor Scales 4. The Top 3 Chords in Minor Progressions 5. Exercises in Minor 6. Writing Your Own Minor Chord Progressions 7. Your Minor Journey 1 https://www.musical-u.com/learn/the-ultimate-guide-to-minor-keys A Tale of Two Tonalities Western music is dominated by two tonalities: major and minor.
    [Show full text]
  • Evaluating Prolongation in Extended Tonality
    Evaluating Prolongation in Extended Tonality <http://mod7.shorturl.com/prolongation.htm> Robert T. Kelley Florida State University In this paper I shall offer strategies for deciding what is structural in extended-tonal music and provide new theoretical qualifications that allow for a conservative evaluation of prolongational analyses. Straus (1987) provides several criteria for finding post-tonal prolongation, but these can simply be reduced down to one important consideration: Non-tertian music clouds the distinction between harmonic and melodic intervals. Because linear analysis depends upon this distinction, any expansion of the prolongational approach for non-tertian music must find alternative means for defining the ways in which transient tones elaborate upon structural chord tones to foster a sense of prolongation. The theoretical work that Straus criticizes (Salzer 1952, Travis 1959, 1966, 1970, Morgan 1976, et al.) fails to provide a method for discriminating structural tones from transient tones. More recently, Santa (1999) has provided associational models for hierarchical analysis of some post-tonal music. Further, Santa has devised systems for determining salience as a basis for the assertion of structural chords and melodic pitches in a hierarchical analysis. While a true prolongational perspective cannot be extended to address most post-tonal music, it may be possible to salvage a prolongational approach in a restricted body of post-tonal music that retains some features of tonality, such as harmonic function, parsimonious voice leading, or an underlying diatonic collection. Taking into consideration Straus’s theoretical proviso, we can build a model for prolongational analysis of non-tertian music by establishing how non-tertian chords may attain the status of structural harmonies.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • The Easy Guide to Chord Melody PREVIEW.Pdf
    1 2 Table of Contents Acknowledgements ................................................................................................................. 9 Introduction ............................................................................................................................10 How To Use This eBook ........................................................................................................11 eBook Overview .....................................................................................................................12 PART 1 - BUILDING BLOCKS Chapter 1 - Technique Fundamentals ....................................................................... 14 Holding Your Guitar .........................................................................................................16 Plucking Arm and Hand Placement ...............................................................................18 Plucking the Strings .........................................................................................................24 Different Strokes .......................................................................................................27 Walking Finger Exercises ..........................................................................................31 Solid Fingerstyle Tone ...............................................................................................35 String Crossing Exercises ..........................................................................................39 Using the Thumb
    [Show full text]
  • Guitar Chord Chart – Learn ALL Chords in ALL Keys
    Guitar Chord Chart – Learn ALL Chords In ALL Keys In this guide you will find: 60 essential guitar chords which will make you sound amazing. The secret to learning chords quickly. 2 quick and easy tips which will help you read a guitar chord chart. There are 5 main chord types, these are: Major Minor Dominant 7th Minor 7th Major 7th You learn easy versions of these chords here: 14 Easy Guitar Chords For Beginners For today’s lesson, you will learn each of those chords in ALL 12 keys, those keys are: A Bb B C C# D Eb E F F# G G# Hold on tight, this guide will blow your mind! The Major Chord The major chord is one of the most commonly used chords in music. It’s essential that you know how to play a major chord. Major chords sound happy and vibrant. This chord can be heard ALL over music, but is specifically used in pop and country music. Here’s the major guitar chord chart in ALL 12 keys: A Major If you don’t understand how to read this image, go to this article: How To Read Guitar Chords: An Essential Guide Bb Major B Major C Major C# Major D Major (If you don't understand the above image please read our article "How To Read Guitar Chordboxes In 60 Seconds". It will make everything clear!) . Eb Major E Major F Major F# Major G Major G# Major The Minor Chord The minor chord is one of the most popular guitar chords.
    [Show full text]
  • Top 10 Chord Types Commonly Used in Jermaine Griggs Jonathan Powell
    Top 10 Chord Types Commonly Used In ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ Gospel Music Jermaine Griggs ​ ​ Jonathan Powell (Edited by Chuku​ ​Onyemachi) ​ ​ ​ ​ ​ ​ A Gospel Music Training Center Resource ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ http://gospel.hearandplay.com Join The Gospel Music Training Center & ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ Become The Seasoned Gospel Musician You’ve ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ Always Dreamed Of! ​ ​ ​ ​ http://gospel.hearandplay.com Rank #10 - Dom13 [sus4] & Dom13 [add9] ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ G dom13 [sus4] chord: ​ ​ ​ ​ ​ ​ G dom13 [add9] chord: ​ ​ ​ ​ ​ ​ Chord Analysis ​ ​ The dominant thirteenth suspended fourth (dom13 [sus4]) chord and the dominant thirteenth add nine ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ (dom13 [add9]) chord are related. ​ ​ ​ ​ ​ ​ ​ ​ They’re basically formed on the fifth tone of the scale; however, they can be transposed to other tones ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ of the scale. ​ ​ ​ ​ The dom13 [sus4] chord can be formed by playing a major seventh chord a whole step below any given ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​​ ​ ​ ​ ​ ​ ​ ​ ​ note, while the dom13 [add9] chord can be formed by playing a major seventh [flat five] chord a whole ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​​ step below any given note. ​ ​ ​ ​ ​ ​ ​ ​ For example, in the formation of the C dom13 [sus4]: ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ The root (which is C) is played on the left hand: ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ while a maj7 chord
    [Show full text]
  • Enharmonic Paradoxes in Classical, Neoclassical, and Popular Music By
    Enharmonic Paradoxes in Classical, Neoclassical, and Popular Music by Haley Britt Beverburg Reale A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Theory) in The University of Michigan 2011 Doctoral Committee: Associate Professor Ramon Satyendra, Chair Professor Walter T. Everett Professor Kevin E. Korsyn Professor Herbert Graves Winful Associate Professor Wayne C. Petty © Haley Britt Beverburg Reale 2011 Dedication36B To my husband ii Acknowledgements37B I could not have completed this dissertation without the support of numerous people. I would especially like to thank my adviser, Ramon Satyendra, for his encouragement and boundless optimism through the whole process. He never failed to receive my ideas with enthusiasm and give me the confidence to pursue them, and his wide-ranging knowledge and helpful suggestions sparked many bursts of creativity over the past several years. I would also like to thank the other members of my dissertation committee— Kevin Korsyn, Wayne Petty, Walter Everett, and Herbert Winful—for their advice and support. Their expertise in diverse subjects was invaluable to me, and they were always willing and able to answer my many questions. I also had the privilege of working with and being inspired by many other faculty members at the University of Michigan. Special thanks to Karen Fournier for being a sounding board for many of my research ideas and for being a great listener. Additionally, I would like to acknowledge the Rackham School of Graduate Studies, especially Dean Steven M. Whiting, for financial support throughout my time at the University of Michigan. The teaching assistantships, fellowships, and travel grants for presenting at conferences gave me the means to pursue my research.
    [Show full text]
  • THE ULTIMATE GUITAR CHORD CHART II - by Phillip J Facoline Email- Pfacol@Elaine.Ee.Und.Ac.Za A7sus4
    THE ULTIMATE GUITAR CHORD CHART II - by Phillip J Facoline email- pfacol@elaine.ee.und.ac.za A7sus4.... A9 A9sus Aadd9. Aadd9.. Aaug/D. Aaug/G. Adim 3 6 The .'s and ,'s after the chord name means that the chord is a duplicate or alternate formation. Ab Ab+ Ab/A. Ab/F. Ab/F.. Ab/Gb. Ab/Gb.. Ab11 Adim/Ab. Adim/E. Adim/F. Adim/F.. Adim/G. Adim/Gb. Adim7. Asus 4 8 4 4 3 Ab4 Ab5. Ab6. Ab6.. Ab7 Ab7.. Abdim Abdim/E. Asus.. Asus... Asus.... Asus2 Asus2.. Asus2... Asus2.... Asus2..... 4 8 4 5 Abdim/E.. Abdim/E... Abdim/Eb.. Abdim/F. Abdim/F.. Abdim/F... Abdim7. Abdim7.. Asus2/Ab. Asus2/C. Asus2/C.. Asus2/D. Asus2/D.. Asus2/Db. Asus2/Db.. Asus2/Eb. 5 6 Abdim7... Absus Absus. Absus2/F. Absus4 Abm Abm/D. Abm/E. Asus2/F. Asus2/G. Asus2/G.. Asus2/Gb. Asus2/Gb.. Asus4 Asus4/Ab. Asus4/B. 4 4 4 2 Abm/E.. Abm/E... Abm/Gb... Abm7 Abm7. Abmaj Abmaj7 Abmin Asus4/Bb. Asus4/C. Asus4/C.. Asus4/Db. Asus4/Db.. Asus4/F. Asus4/G. Asus4/G.. 4 4 4 4 5 6 Ab#5. A A+ A.. A... A..... A/Ab. A/B. Asus4/G... Asus4/Gb. Asus4/Gb.. Am Am(7#) Am(add9) Am.. Am... 2 5 4 5 A/B.. A/D A/D.... A/D..... A/D...... A/F# A/G# A/G. Am/B. Am/B.. Am/D. Am/D.. Am/Eb. Am/F. Am/F.. Am/F... 5 5 9 5 5 A/G.
    [Show full text]
  • Chords and More Chords
    Chords and More Chords for DGdg Tenor Banjo Mirek Tim Patek This tenth article about the fingerstyle tenor banjo in DGdg tuning will be focused on banjo accompaniment, i.e. on playing chords. The goal is to play basic chord progressions for the favorite songs in various keys (you know, summer campfire season is coming) in the oom-pah-oom-pah fingerstyle manner – with the correct bass note played by thumb and with the pinch of IM fingers. The capo usage will be also reviewed. Finally, the seventh chords will be presented on the Autumn Leaves chord progression in several keys. Basic triads Let’s start with the the chord progressions shown in this YouTube video http://www.youtube.com/watch?v=O14LbX83gU8 There are used the tonic, sub-dominant, and dominant major triads, as well as two minor triads in those major keys suitable for DGdg tuning. There are also the dominant seventh chords, but they will be broadly presented in the latter section. (Please refer to other web sources for the explanation of the terms related to music theory as there is lack of space to cover this here). Apparently, the most suitable keys for open G tuning DGdg are those ones which contain the G chord as one of the harmonic functions emphasized above. The chords are presented in tab and as the chord diagrams, but I cannot resist adding also the music notation. For the oom-pah-oom-pah accompaniment style, the chord voicings on the DGdg banjo are designed with the aim to have always the root and the fifth of the particular chord in the two thickest strings (they are numbered as the 4th string D and the 3rd string G).
    [Show full text]
  • Dominant Voicings Worksheet
    Dominant Voicings Worksheet www.pianogroove.com Root in the melody: My Foolish Heart In the 2nd bar we have a G7 with the root in the melody. - First try just 3rd and 7th - Next add in the 13 - Now let’s test the different alterations – b9, #9, #11 & #5 - When I see a root in the melody I ofte voice the dominant chord with a suspension. Sus chords are basically dominant in nature. - The nice thing with sus voicings is that you can then resolve the suspension and add an alteration. - On final option available to you is the tritone sub. An important relationship to understand is that when you have the root in the melody over a dominant chord. If you play the tritone sub, the root then becomes the #11. - You can also move from the suspended dominant chord to the altered tritone sub. b9 in the melody: You don’t know what Love Is In the 5th bar we have a C7 with the b9 in the melody. - the b9, #9, #11 and #5 are all present in the altered mode. This means that when you have an altered chord, in theory you can substitute or move between these different alterations. - The key point is that if you see a b9 in the chord symbol or melody, chances are that the #9 and #5 will also work well. This also works the other way around too, so if any of these extensions are in the melody of the chord symbol, I’d recommend you experiment to see how the other alterations sound.
    [Show full text]