How To Form Basic Chords

I have a few piano students who are now playing songs from Fake Books, like Hal Leonard Scott The Piano Guy's Favorite Piano Fake Book Volume 2 . The kids know how to read notes and now they're applying their chord knowledge and playing popular songs with both hands. Here's some information I think you'll find very useful that every musician should know.

How To Form Basic Chords

Basic Chords and the Rules For Working Them Out

Although chord finders are valuable tools on the Internet, what do we do when we’re sitting at the piano and don’t have access to the computer, trying to figure out chords?

Here’s a breakdown on forming many chords you’ll use in your piano playing.

      Major

      Minor

      Dominant 7th

      Sus4

      Sus2 and add9

      Diminished

      Major Sevenths

Major Chords

Starting from the root note, count up FIVE semi-tones (5 half steps). Always use the root note when counting. This will bring you to the second note in the chord. From and including this note, count up FOUR semi-tones (4 half steps).  This will bring us to the final note in the chord.

Example: C Major - C is the root note in this chord. Count up 5 semi-tones from the C: C=1, C#= 2, D=3, Eb=4, E=5.  Then, count up 4 semi-tones from the second note in the chord: E=1, F=2, F#=3, G=4.  Play the C, E and G together and you have a C Major chord. By using this 'FIVE then FOUR' rule, you can work out any major chord.

Minor (m) Chords

For minor chords, simply reverse the rule for working out major chords. Instead of counting 5 then 4, count 4 then 5.

Example: C Minor - C is the root note in this chord. Count up 4 semi-tones from the C: C=1, C#=2, D=3, Eb=4.  Then, count up 5 semi-tones from the second note in the chord: Eb=1, E=2, F=3, F#=4, G=5.  Play the C, Eb and G together and you have a C Minor chord. By using this FOUR then FIVE' rule, you can work out any minor chord.

Dominant 7th (7) Chords

With 7th chords, you add an extra note onto the chord. This extra note is always the note two semi-tones (1 whole step) below the root note.  However, you don't play this note at the bottom of the chord - you simply move it to the top of the chord. 

Example: C7 – Form a C major chord... C, E, and G. The root note of this chord is C. Two semi-tones (1 whole step) below the root note is Bb.  Add this Bb to the top of the chord and we have a C7 chord- C, E, G and Bb. The same rule applies for working out minor 7th chords. 

Sus4 Chords

Example: Csus4

      Play C major - C, E, G

      Move the middle note of the chord UP one semi-tone (1 half-step). In this example, 

      Move E up one semi-tone. This brings us to F. Play the C, F and G together and 

      we have a Csus4 chord.

 Sus2 and add9 Chords

Sus2 Chords - Example: Csus

Play C major - C, E, G.

Move the middle note of the chord DOWN two semi-tones (1 whole step). In this example, move the E down two semi-tones. This brings us to D.

Play the C, D and G together and we have a Csus2 chord.

Add9 Chords - These chords are nearly identical to sus2 chords.  The only difference is, is that you play the middle note as well.  So, Cadd9 is made up of, C, D, E and G

Diminished (dim) Chords

Example:  Cdim

    

Play C major - C, E and G.

    

 Move the TOP TWO NOTES of the chord DOWN one semi-tone (1 half-step) - In this example, move the E and G down one semi-tone... this brings us to Eb and F#.

    

 Play the C, Eb and F# together and we have a Cdim chord.

Major Seventh (M7) Chords

These chords are used a lot in Jazz music. 

With major 7th chords, you add an extra note onto the chord.  This extra note is always the note ONE semi-tone (1 half-step) below the root note.  However, you don't play this note at the bottom of the chord - you simply move it to the top of the chord. 

Example: CM7 – Form a C major chord... C, E, and G. The root note of this chord is C. One semi-tone (1 half-step) below the root note is B. Add this B to the top of the chord and we have a CM7 chord...  C, E, G and B.

Now you have some music theory to apply to your piano playing. You now know how to form chords you’ll be using in your music.

I would like to recommend two resources that I personally own in my library that I refer to often:

Chords 101 & 102

300pg Piano By Ear Home Study Course

photo credit: F A C E via photopin (license)

All the best,






"Jazz washes away the dust of every day life." -- Art Blakey

Eight Types of 7th Chords

7th Chords

Many chords have three notes. They are called triads. There are other chords that have more than three notes. They can have four or five different notes. This gives them a bigger, fuller sound than a triad. One way to build these bigger chords is to take a triad and add more notes on top. Each note is placed a third above the last one. Those extra notes are called extensions. By adding extra notes to the triad, you are extending the chord.

Chord Extensions

F7 = FACE

F9 = FACEG

F11 = FACEGBb

F13 = FACEGBbD

The most popular large chords in classical music are seventh chords. They are also often used in jazz. They are called seventh chords because the distance from the bottom note to the top note is an interval of a seventh. There are many kinds of seventh chords, depending on the size of thirds between the outer notes. Look at each chord carefully.

Major-Minor Seventh Chord - CEGBb

Start with a major triad and add a minor third above the last note.

Major Seventh Chord - CEGB

Start with a major triad and add a major third above the top note. This chord is often played in jazz music.

Minor Seventh Chord - CEbGBb

Start with a minor triad and add a minor third above the last note.

Diminished Seventh Chord - CEbGbA

Start with a diminished triad and add a minor third. This chord is made up of all minor thirds, which makes it sound scary and dark.

Half-Diminished Seventh Chord - CEbGbBb

A diminished triad can be topped with a major third for this unusual sound. It is less scary than a fully diminished seventh chord.

Continuing with Chord Chart from last blog post:

F# maj7 = F#A#C#E#

F# maj7 (+5) = F#A#CxE#

F#7 = F#A#CE

F#7 dim5 = F#A#CE

F#m7 = F#AC#E

F#m maj7 = F#AC#E#

F# dim7 = F#ACE

F# half-dim7 = F#ACEb

Gb maj7 = GbBbDbF

Gb maj7 (+5) = GbBbDF

Gb7 = GbBbDbFb

G maj7 = GBDF#

G maj7 (+5) = GBD#F#

G7 = GBDF

G7 dim5 = GBDbF

Gm7 = GBbDF

Gm maj7 = GBbDF#

G half-dim7 = GBbDbF

G dim7 = GBbDbFb

G#7 = G#B#D#F#

G#7 (dim5) = G#B#DF#

G#m7 = G#BD#F#

G# half-dim7 = G#BDF#

G# dim7 = G#BDF

Ab maj7 = AbCEbG

Ab maj7(+5) = AbCEG

Ab7 = AbCEbGb

Ab7 dim5 = AbCEbbGb

Abm7 = AbCbEbGb

Abmin maj7 = AbCbEbG

Ab half-dim7 = AbCbEbbGb

A dim7 = ACEbGb

A#m7 = A#C#E#G#

A# half-dim7 = A#C#EG#

A dim7 = A#C#EG

Bbmaj7 = BbDFA

Bbmaj7 (+5) = BbDF#A

Bb7 = BbDFAb

Bb7 (-5) = BbDFbAb

Bbm7 = BbDbFAb

Bbm maj7 = BbDbFA

Bb half-dim7 = BDFA

Bb dim7 = BbDbFbAbb

Bmaj7 = BD#F#A#

Bmaj7 (+5) = BD#FxA#

B7 = BD#F#A

B7 (-5) = BD#FA

Bm7 = BDF#A

Bm maj7 = BDF#A#

B half-dim7 = BDFA

B dim7 = BDFAb

Cb maj7 = CbEbGbBb

Cb maj7 (+5) = CbEbGBb

Cb7 = CbEbGbBbb

Add this to your library, 300pg Piano By Ear Home Study Course, for a great understanding of music theory in a workbook... and just in case you missed part one to 7th chords, you can check it out, here.

"Jazz washes away the dust of every day life." -- Art Blakey

The Jazz Language

Image via Wikipedia

When you're playing simple jazz chords or looking at a jazz composition, sometimes you need to pick up a jazz book and learn the language!

When I first started playing in a band as a keyboard player, I was not familiar with the speaking part of the music language, as a musician. Sometimes as musicians, we get introspective and start looking at why we play patterns or chord progressions the way we do.

A wonderful comparison between speech language and improvising in music is that everyone learns to speak and have a conversation, as well as write in our given language. Unfortunately, many musicians never learn the "speaking" portion of the musical language.

When I first started taking piano lessons, I was classically trained to read all the notes on the music staff. After several years of advancing through different levels of music books and applying lots of music theory, I still wasn't able to find a music teacher who wasn't afraid of improvisation.

In short, music educators were not taught the history and evolution of improvisation in "classical" music. During the baroque period of music, improvising was a basic part during that time. Musicians needed to learn this skill in order to work together effectively.

Some say it is a skill that one learns unconsciously, without effort and fear. So it is with my grandchildren who are learning a verbal language. Hopefully, no longer talking like a baby but the English language. They seem to improvise with that language every time they have a conversation with someone.

So, we learn to read and write the language and that means we need to learn grammar. But with music, we learn it differently. Most musicians, including myself, learn to read the music notes at first but we can't speak with one another unless we're looking at the notes. We simply do not know how to "jam."

When I first came across a very popular website online that teaches one how to play by ear, I would read about how easy it is to read the language of music and that it was not difficult to play by ear.

I was challenged at first because I could hear the difference in my playing without sheet music compared with the pros. It is necessary to have something worth saying when you speak the Jazz language. There is a huge difference between a beginner improviser and a great one. It's not about skill, technique or memorization, but it's about the concept and content.

As a piano teacher, I am trying to stay balanced with my students in finding the balance with their technique and developing their musical personality and composition.

A great tip is recording your self. Play the keys and playback your song and analyze the harmony and rearrange things a bit. The more you practice and get familiar with your instrument, your style becomes more fluid. Then you'll merge more with the other band members.

When I play with a group of musicians that I have known for quite sometime, you can just feel the chemistry. A transformational event takes place when we are playing live and we become one unified voice.

After all, improvising is the art of making up music on the spot. It is fun to learn the Jazz language.

Article Source

Monday Music Quote Meme

"Though the Jazz Age continued it became less and less an affair of youth. The sequel was like a children's party taken over by the elders."

F. Scott Fitzgerald

Read more: http://www.brainyquote.com/quotes/keywords/jazz.html#ixzz1ktxapPNs

Looking for some free jazz chords to songs by Adele? I found Someone Like You.

"Jazz washes away the dust of every day life." -- Art Blakey

Practicing Scales

The traditional method of practicing scales, two hands moving up and down four octaves, is great for technique but doesn't do much to improve your skills as an improvisor. Because you're always starting on the root, reversing directions on the root, and ending on the root, you're using only one seventh  of the possibilities inherent in each scale.

Beginning jazz musicians often play:

D, E, F, G, A, F, E, D

Then: G, A, B, C, D, B, A, G

And: C, D, E, F, G, F, E, D, C.


By going up the Ionian mode, down the Dorian, up the Phyrgian, down the Lydian, and so on, you're starting on each note, reversing directions on each note, and ending on each note of the C major scale.

Example:

Ionian (C, D, E, F, G, A, B, C)

Dorian (D, C, B, A, G, F, E, D)

Phrygian (E, F, G, A, B, C, D, E)

Lydian (F, E, D, C, B, A, G, F)

Mixolydian (G, A, B, C, D, E, F, G)

Aeolian (A, G, F, E, D, C, B, A)

Locrian (B, C, D, E, F, G, A B)

Ionian (C, B, A, G, F, E, D, C)

You've only covered half the possibilities. Reverse everything, going down the Phrygian, up the Lydian, and so on. Use the same pattern to practice the melodic minor scales.

Ionian (C,B,A,G, F, E, D, C)

Dorian (D, E, F, G, A, B, C, D)

Phrygian (E, D, C, B, A, G, F, E)

Lydian (F, G, A, B, C, D, E, F)

Mixolydian (G, F, E, D, C, B, A, G)

Aeolian (A, B, C, D, E, F, G, A)

Locrian (B, A, G, F, E, D, C, B)

Ionian (C, D, E, F, G, A, B, C)

If you practiced this exercise every day, you'd still be starting the C Major Scale on C every day. I think it helps to take this idea even further, starting the C Major scale  on C one day, D the next, E the next, and so on. If this seems like taking things to extremes, remember, the goal is to de-program yourself from years of root-bias conditioning.





-- LadyD Have a heart that never hardens and a touch that never hurts. Be kinder than necessary, for everyone you meet is fighting some kind of battle.

What Is A Key Signature?

If you've played the piano for some time now or are just beginning with piano lessons, by now you know that the key signature is the sharps or flats, or in some cases the absence of sharps or flats, that appear immediately after the clef sign at the beginning of every line of music. Without a key signature, accidentals would have to be placed throughout the music in front of particular notes each and every time they occur. It is easier on the eye and mind in the long run, believe it or not, to indicate at the beginning of the line which notes will be affected by sharps or flats and then to remember to alter those notes as the song is played.



A key signature is just a convenient way of noting the sharps and flats that occur in a particular scale, specifically the one on which the melody of the song is based. There is no rule that says a melody has to stay within the boundaries set by one scale. If a melody strays from those scale tones, accidentals are used to show the variation. Since it is possible to write a song without using a key signature, and only using accidentals, it stands to reason that even in a song which has a key signature, a melody line could wander into a new key by the use of accidentals which would not affect the original key signature at all.


Applying these ideas to a song, let's say that a song basically begins and stays in the key of Ab major from the beginning to about measure 16. Then you you come upon a G7 chord, which is a very important chord being the dominant seventh in the key of C major. It normally does not occur in the key of Ab major. Now we are firmly planted in the key of C major and we can stay there until measure 31 and then in the following measure our ears get ready to hear a key change back to Ab major.


In a song, there can be a lot of shifting of tonal center as one key then another becomes king of the mountain for a few counts. When you look at sheet music, you will notice that all this key changing is done with accidentals and that the key signature is changed at the beginning of each line of the song thereafter. For more exciting, professional piano playing, find songs that modulate and change keys throughout the song. This will surely add spice to your piano playing!


Warmest Regards,
LadyD

Chords and Harmony

Image via Wikipedia

Today we hear a more open sound in keyboard voicings than in the past and a new type of shorthand has developed to express it. You've seen these new symbols before in sheet music and chord charts: F/A


Many years ago I would look at lead sheets and they seemed so complex. "Extensions" were used to add color to seventh chords. By extensions I mean adding the 9, 11, 13 and alterations like b9, #9, b5, and #5. I still use these beautiful chords today. I've learned not to cluster them all in my left hand. An easy way to learn thirteenth chord patterns is to spot the Major and Minor triads.


Today chords have a wider spread and greater openness to their sound, especially in jazz and pop music. I experienced Slash chords when I began playing music with other band members and was given chord charts to play instead of sheet music.


The easiest way to understand a slash chord is by taking a two handed approach and reading it as:
right hand chord// left hand root


So, for example, F/A means an F triad in the right hand over an A root in the left hand. I find that slash chords lead to fresh sounds and modern progressions. Listen for these sounds in contemporary music. You'll hear them everywhere.


Remember the song Blue Christmas? It was written in 1949 and a revival of this song took place in the 60's by Elvis Presley and the Beach Boys. A chord chart to this song with slash chords would look like this:


F F/A C7/6 C7/E F Am7-5 D7 Gm G7 C7 Bb/D D#m C7/E


Now's the time to practice and start becoming familiar with
slash chords and harmony. Spend time at your piano or keyboard experimenting with the sounds of triads over root chords. There's no need to restrict the slash chords to single notes in the left hand because the left hand can play a voiced chord as well as the right. For example:


D/ C7 or another way to look at it, DF#A/ CEGBb


You'll see that the above chord is the same as C13#11
Happy practicing!


Warmest Regards,
~ D.

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• Elvis Presley - Elvis Presley (1956) (thepopstory.tumblr.com)

How To Improvise in D Minor

While surfing the net, I discovered this great teaching video on how to improvise in D Minor by Yoke Wong on YouTube. I found the video very informative and wanted to share it with you. Learn these easy steps to improvising with your right hand with a few minor sounding songs that are great to play in October for setting the mood for Halloween.


Themes from Classical pieces for Halloween music!

* J.S.Bach- Toccata and Fugue in D Minor

* Improvise in D Minor Scale (relative to F Major Scale)

* D Harmonic Minor Scale

* In the Hall of the Mountain King

* Online Piano Lesson - Classical Music For Halloween



For more information, visit Yoke Wong's site:

http://www.yokewong.net

For more related Topics, visit:

http://ladydpiano.blogspot.com/2009/05/how-to-play-minor-piano-scales.html

Happy Autumn,
~ LadyD

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http://www.LadyDpiano.com

Half Off Sale - The Secrets to Playing Piano by Ear Course Book

Over at Hearandplay.com, Jermaine Griggs is having a 50% off sale on one of his courses, learning to play the piano by ear. No, it's not a Dvd to watch but rather a music theory book loaded with tones of information for all you musicians.

300pg.Course-50%off Sale

The 300 page course book takes an easy approach to concepts that otherwise seem unreachable for those of us that use the self teaching approach. Although many of the concepts I've read before in other methods, I find amazing that Jermaine seems to expose every idea with the simplicity that makes it so easy to understand. I find myself referring to this popular book often.

For more information visit:

http://ladydpiano.blogspot.com/2008/10/play-piano-by-ear-course.html

The first 5 chapters of the book were a basic review of music theory and sight reading that anyone that's had some music lessons would know. The rest of the book is absolutely amazing. Jermaine Griggs shows how you can build on one another, like how to take triads like a Cmaj chord and build on it to a 7th chord, then a 9th, then a 13th. This book is full of "meat" of music theory and tips. EVERY MUSICIAN, WHETHER BEGINNING OR ADVANCED NEEDS TO GET THIS BOOK!

The 300 page course book is worth the money. It's good to learn music theory and how to apply it. The 300 page course is a theory book with bonus CD (sound library- audio examples). Jermaine's course covers beginning techniques, music theory, chords, progressions, improvisation, and more! You will want to order the 300 page course book, The Secrets To Playing Piano By Ear today. The half price sale is great!

300pg.Course-50%off Sale

Happy 4th of July!
~ LadyD

http://www.LadyDpiano.com

Basic Music Theory

Learn to Play Somewhere in My Memory on Piano

I wanted to share with you a guide or booklet, if you will, of some basic music theory to help you learn the piano.

* Keyboard make-up

The keyboard uses the first 7 letters of the alphabet: A B C D E F G

A piano/keyboard is made up of black and white notes. The white notes are the regular letters. The black notes can mean 2 different things. As you move up the keyboard, from left to right, the black notes are indicated by #, which means sharp. So, the first black note after F going up the keyboard is F#, and the next black note is G#, etc. As you move down the keyboard, from right to left, the black notes are indicated by b, which means flat. So, the last black note before B going down the keyboard is Bb, and the next black note is Ab, etc. Make sure you know your notes.


* Hands and its members

When you sit down to play the keyboard, of course you are using 2 hands, Left Hand and Right Hand. On each hand there are 5 fingers. Each finger has a number (same for both hands):

Thumb = 1 Index = 2 Middle = 3 Ring = 4 Pinky = 5


* Movement on the keyboard

The first movement is a half step (HS). A half step is from one key to the very next key, regardless of color or direction. Here are some examples: F to F#, F# to F, B to C, C to B, D to Eb, Eb to D, etc.

The second movement is a whole step (WS). A whole step is from one key to the very next key w/one in between, regardless of color of direction. Here are some examples: F to G, G to F, B to C#, C# to B, Db to Eb, Eb to Db, etc.

All other movement on the keyboard is a combination of half and whole steps.


* Flats (b) and Sharps (#)

Whenever you flat (b) a note, it means to lower that note 1/2 step. No matter how many flats (b) you see, for each one you lower the note 1/2 step. Here are some examples:

Bb = B lowered 1/2 step
Bbb = B lowered two 1/2 steps
Bbbb = B lowered three 1/2 steps


Whenever you sharp (#) a note, it means to raise that note 1/2 step. No matter how many sharps (#) you see, for each one you raise the note 1/2 step. Here are some examples:

B# = B raised 1/2 step
B## = B raisedtwo 1/2 steps
B### = B raised three 1/2 steps


* Major scales

A scale is simply a group of notes that start and end on the same note. There are many, many types of scales involved in music, but the most basic scale is the major scale. The pattern for forming a major scale is:

First, pick a note. Then: _WS _ WS _ HS _ WS _ WS _ WS _ HS _


* Scale Degrees

After you have formed your major scale, each note in the major scale gets a number called a scale degree. The first note is 1, the second note is 2, etc. Here is an example in the key of C:

C = 1
D = 2
E = 3
F = 4
G = 5
A = 6
B = 7

Now, those are the scale degrees for the first octave. You can also keep going past an octave and scale degrees increase as well. Example:

C = 8
D = 9
E = 10
F = 11
G = 12
A = 13

As far as I know, this is as high as the scale degrees go in modern day practice. The purpose for these scale degrees is to help you with forming different types of chords and naming progressions.


* Chord Forming

Chords are built using the intervals of 3rds, i.e. every member of a chord is a 3rd apart. Here is an illustration of how it's done:

1. Lay out all the notes that are used on the keyboard or in a major scale:

A B C D E F G A B C D E F G A B C D E

2. Pick a note that you want to form a chord on and write it down. This note will be your root note: C

3. Once you got a root note, write down every other note after it:

C E G B D F A

The first 3 notes played together is your basic triad chord. (C-E-G)
The first 4 notes played together is your basic 7th chord. (C-E-G-B)
The first 5 notes played together is your basic 9th chord. (C-E-G-B-D)
The first 6 notes played together is your basic 11th chord. (C-E-G-B-D)
All 7 notes played together is your basic 13th chord. (C-E-G-B-D-F)

That's all there is to forming a chord. So, if you want to build a triad off A, you just say A-C-E. If you want to build a triad off B, you just say B-D-F.


* 4 basic types of chords

There are 4 basic types of chords that are the basis for all the chords used in music. They are major, minor, augmented, diminished. To add to the diminished chord, there is also the fully diminished chord. So really I guess you can say there are 5 basic types of chords. Forming each of these types of chords goes back to the principle of scale degrees. We use scale degrees so that forming these chords can be universal for any chord in any key.

major: 1 3 5
minor: 1 b3 5
diminished: 1 b3 b5
*fully diminished: 1 b3 b5 bb7 *just an extension of the regular diminished chord
augmented: 1 3 #5

For help on learning, practicing, and playing these basic chords, here are some links for you:

Basic Chord Fingerings:

http://forums.learngospelmusic.com/index.php/topic,16403.0.html

Basic Chords Practice:

http://forums.learngospelmusic.com/index.php/topic,22023.0.html

Other chords:

major 7th: 1 3 5 7
dominant 7th (V7): 1 3 5 b7
minor 7th: 1 b3 5 b7
6th: 1 3 5 6
add9th: 1 2 3 5
9th: 1 3 5 b7 9
11th: 1 3 5 b7 9 11
13th: 1 3 5 b7 9 11 13
*Each of these chords can also be altered by sharping (#) or flatting (b) a note(s) to form even more chords


* Chords built off scale degrees (major mode)

This special group of chords will be your main arsenal of chords to use in your music. If you are struggling with what chord to play with a bass note, you start with these chords:

1 (I) = Major
2 (ii) = minor
3 (iii) = minor
4 (IV) = Major
5 (V) = Major
6 (vi) = minor
7 (vii) = diminished

Examples in the key of C:

1 (I) = C-E-G
2 (ii) = D-F-A
3 (iii) = E-G-B
4 (IV) = F-A-C
5 (V) = G-B-D
6 (vi) = A-C-E
7 (vii) = B-D-F


* Inversions

Look at those basic chords, what if we were to play those same chords, but switch up the order of the notes. This is where inversions come from. An inversion is just switching the order of the members of a chord. How do you invert a chord? You invert a chord by taking the first letter and moving it to the end. Depending on how many notes there are in the chord, there can be many inversions. Here they are:

3-note chords: 4-note chords: 5-note chords:
root position = x y z root position = w x y z root position = v w x y z
1st inversion = y z x 1st inversion = x y z w 1st inversion = w x y z v
2nd inversion = z x y 2nd inversion = y z w x 2nd inversion = x y z v w
3rd inversion = z w x y 3rd inversion = y z v w x
4th inversion = z v w x y


* Intervals

The term interval refers to the distance between 2 notes. Here is a little breakdown of intervals used in music:


Intervals of 1, 4, and 5

These three intervals are the only intervals that get the name perfect intervals. Here are examples of these:

C-C = perfect unison
C-F = perfect 4th
C-G = perfect 5th

Now, let's say for instance you decide to raise the last note by 1/2 step:

C-F#

Do you still have a perfect 4th? No, now you have what is called an augmented 4th. Anytime you raise the last note of a perfect interval it becomes an augmented unison, 4th, or 5th:

C-C# = augmented unison
C-F# = augmented 4th (tritone)
C-G = augmented 5th

Now, let's say for instance you decided to lower the last note by 1/2 step:

C-Fb

Do you still have a perfect 4th? No, now you have what is called a diminished 4th. Anytime you lower the last note of a perfect interval it becomes a diminished unison, 4th, or 5th:

C-Cb = diminished unison
C-Fb = diminished 4th
C-Gb = diminished 5th (tritone)


Intervals of 2, 3, 6, 7

These intervals are different from the other 3 because they can be major, minor, augmented, or diminished intervals. First, I'll show the major intervals:

C-D = major 2nd
C-E = major 3rd
C-A = major 6th
C-B = major 7th

Now, to make these intervals minor, just lower the last note of the major interval 1/2 step:

C-Db = minor 2nd
C-Eb = minor 3rd
C-Ab = minor 6th
C-Bb = minor 7th

Now, to make these intervals augmented, just raise the last note or the major interval 1/2 step:

C-D# = augmented 2nd
C-E# = augmented 3rd
C-A# = augmented 6th
C-B# = augmented 7th

Now, to make these intervals diminished, just lower the last note or the major interval 1 whole step:

C-Dbb = diminished 2nd
C-Ebb = diminished 3rd
C-Abb = diminished 6th
C-Bbb = diminished 7th

After you have reached the diminished and augmented intervals, if the notes are raised or lowered again, it then becomes doubly augmented or diminished, triple augmented or diminished intervals, etc.


* Progressions

For help with progressions, here are some links for you:

Basic Progressions:

http://forums.learngospelmusic.com/index.php/topic,15720.0.html

More Advanced Progressions:

http://forums.learngospelmusic.com/index.php/topic,15731.0.html

Progressions Practice Routine:

http://forums.learngospelmusic.com/index.php/topic,18903.0.html

Progressions Practice Routine #2:

http://forums.learngospelmusic.com/index.php/topic,31384.0.html


http://www.learngospelmusic.com/forums/index.php/topic,36503.new.html#new

Explaining Progressions:

http://forums.learngospelmusic.com/index.php/topic,18550.0.html

Explaining Progressions part 2:

http://forums.learngospelmusic.com/index.php/topic,31163.0.html

Explaining Progressions part 3:

http://www.learngosppelmusic.com/forums/index.php/topic,33036.0.html

http://www.LadyDpiano.com

Quartal Voicings

Here's a cool document that I found.

Quartal Voicings (PDF)

Publish at Scribd or explore others: Other How-To Guides & DIY chords quartals

http://www.LadyDpiano.com

The KEY to getting to the next level in your piano playing

There is great value in learning the number system!

Jermaine Griggs, Founder of Hearandplay.com, shares another strategy for getting to the next level. Here he explores the "number system" and why it's so important in playing songs, chords, and patterns on the piano. THIS INFORMATION IS INVALUABLE.



Learn 6-2-5-1- turnarounds

Learn 2-5-1 chord progressions

Learn Patterns and Tones of The Scale

Know The Numbers of Every Tone

Related Posts:


http://ladydpiano.blogspot.com/2008/08/nashville-number-system-explained.html


http://ladydpiano.blogspot.com/2008/06/getting-started-with-2-5-1-chord.html










http://www.LadyDpiano.com

Why Study Music?

If you’re learning adult piano lessons, it can be rewarding for both teacher and student. Playing piano as an adult is a good way to relieve stress – listening to music is a good stress reliever, so playing it works even better. Many adults think that it’s impossible to learn to play the piano, but this isn’t true.

Take some time to figure out what style you really want to play – maybe classical piano not for you and you want to try rock piano, blues piano or jazz piano. Some people don’t even really want to learn to read music but just improvise chords and learn to play basic melodies.

It’s like learning a new language or a martial art or something similar; it takes practice to become skilled and to notice your growth. And try to have fun with it – just because you’re not playing the Fifth Symphony by Beethoven doesn’t mean you’re not really a piano player. Remembering to be patient with yourself and willing to accept instruction will help you to become a better piano player and person.

Link



http://www.LadyDpiano.com