Chords Workshop by Mark Fowler

Transcription

1 hords Workshop by Mark owler ased mostly on: 2 straight-forward articles by avid Hamburger in coustic uitar Magazine (ugust & September 2003) What Makes Music Work, a book by P. Seyer,. Novick, & P. Harmon n amazingly simple but effective little book!! hords & Progressions for Jazz and Popular uitar, a book by rnie erle Wikipedia ntry ot Questions? mfowler@binghamton.edu et ull-size, ull-olor Handout: (lick on Other ) 1/44

2 Part Ia What We ll over 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? 2/44

3 Part Ia What Notes re In The Normal hords? 3/44

4 What is a hord? Threeor more different notes played together What Makes a ertain hord? It depends on the Intervals (i.e., distance) between the notes What Is an Interval? measure of the distance between two notes Interval names are based on positions in scales ctually, they are really based on the # of half steps between the notes Note: 2 notes a half step apart are one fret apart 4/44

5 Intervals within the Major Scale b 7 th (Minor 7 th ) Minor 3 rd H W W W H W b # # b Major 2 nd Perfect 4 th Major 3 rd Perfect 5 th Major 6 th Major 7 th W # 5/44

6 Intervals etween Strings On The uitar 4 th up is 4 ths a 5 th down 5 ths Maj 3 rds Min 3 rds djacent Strgs Skipped Strgs 6/44

7 Triads Simplest hords There are only 4 types of triads: Major Minor iminished ugmented R 3 5 R b 3 5 R b 3 b 5 R 3 # 5 b b b b Sharp 5 th # b Perfect 5 th # b Perfect 5 th # b lat 5 th # b b Major 3 rd b Minor 3 rd b Minor 3 rd b Major 3 rd # # # # These constitute about 99% of the chords you see traditionally in a fiddle tune We won t be needing these! 7/44

8 Triads-ased uitar hords: n xample Major Note: In a typical uitar hord-orm we often repeat triad notes Minor x Major R 3 5 R 3 5 R 3 b R b 3 5 R Minor R b3 5 b # b Perfect 5 th b # b Perfect 5 th b # Major 3 rd b # Minor 3 rd 8/44

9 Triads-ased uitar hords: nother xample Major Minor In some uitar hord- orms the triad notes don t appear in order # 5 R 5 R 3 Major R R 5 R b 3 Minor R b3 5 # # b # # b Perfect 5 th Major 3 rd b # # b Perfect 5 th Minor 3 rd 9/44

10 Part Ib What Notes re In These Weird hords? 10/44

11 igger Intervals (shown relative to in major scale) /44

12 Nearly-omplete Jazz hord amily Tree or Jazz hords: sequentially add other notes to a maj/min triad Note the main pattern: b 3 b 7 Major Triad These are the ominants Minor Triad im Triad dd 6 dd 7 dd b 7 dd 6 dd 7 dd b 7 dd bb 7 Maj Maj b 7 m6 1 b m(maj7) 1 b m7 1 b 3 5 b 7 dim 7 1 b 3 b 5 bb 7 Maj6/ Maj b 7 9 m6/9 1 b m(maj9) 1 b m9 1 b 3 5 b 7 9 Maj11 1 (3) Maj (11) (3) 5 b b 7 9 (11) 13 Notes in ( ) are usually omitted. It is common to leave out other notes too, especially on guitar m11 1 b 3 5 b m13 1 b 3 5 b 7 9 (11) 13 = 6!! ltered hords (e.g., 7 # 5 b 9): Raise or Lower the 5, 9, 11, or 13 12/44

13 Part II How o You Play These Weird hords? 13/44

14 Major x R 3 5 R 3 n xample b R 3 b 7 R This now becomes Movable or this form we sacrifice the 5 th! x Major om 7 b # b b # R 3 5 Perfect 5 th Major 3 rd b # b b # R 3 5 b 7 b 7 th Perfect 5 th Major 3 rd V # R 3 b 7 R x # R 3 b 7 R 14/44

15 Structure-ased pproach: Maj ind a Root and Keep Lowering It # R 5 R 3 5 # # R # R 5 b Make It Movable: Maj III III III R 5 R 3 5 R b R 5 b /44

16 More xamples of that Rule: ind a Root and Keep Lowering It maj R 3 5 R 3 R # R 3 5 R 3 7 R 3 5 R 3 b 7 R 3 5 R maj # 5 R 5 R 3 # # 5 R # 5 R 5 b 7 3 # 5 R /44

17 nother Structure-ased Rule: x x ind a 5 th and Keep Raising It III III R 5 R 3 5 R R R R 5 3 b 7 R Or Use Our 1 st Rule: Lowering a Root maj III III III III R 5 R 3 5 R # R R b ray ircles = notes left out to make the new chords playable playable!!! R /44

18 nd More: V # R 5 R 3 5 R ind the Maj 3 rd and lower it m m maj m m 6 2 x V V V V R 5 R b 3 5 R # R 5 7 b 3 5 R R 5 b 7 b 3 5 R # R 6 b 3 5 R 2 x ind a Root and keep lowering it V R b 7 b 3 5 R ertified Jazzer s orm 18/44

19 nother Rule: Making the dom 9 th hord om 9 # b # b b # R 3 5 b th b 7 th 5 th 3 rd x b R 3 b 7 R x b R 3 b 7 9 Here we gain back the 5 th! Recall: or this form we sacrificed the 5 th! b R 3 b ind a Root and Raise It This form is movable IV V # R 3 b # # R 3 b /44

20 Part III How o You Use These Weird hords? 20/44

21 Triads Harmonize the Scale hoose triad type so that each chord uses only scale tones I: ii:m iii:m IV: V: vi:m vii:# o # # # 5 th # 5 th # # 5 th 3 rd b # # 5 th b 3 rd b # # b 5 th b 3 rd b b 5 th b b 3 rd b b b # b # 5 th 3 rd # b # b 3 rd # b # b 3 rd # b # # b # # b # # b # 21/44

22 Typical Places to Use Jazz hords Recall: Number System for hords (xample - Key of ) I ii iii IV V vi vii m m m # o I IV V ii, iii, vi Jazzy Replacements Maj7, Maj6 ( in blues the I is played as om7) Maj7, Maj6, ( in blues the IV is played as om7) om7 min7 To see why see next two slides Numbered hords with Replacements: I ii iii IV V vi vii M7 m7 m7 M7 7 m7 # o7 22/44

23 Pick xtensions to Stay in Scale Why I is either Maj7 or Maj6: Why IV is either Maj7 or Maj6: I: maj7 I: maj6 IV: maj7 IV:maj6 Maj 7 th b # b # Maj 6 th # Maj 7th # # 5 th # 5 th b b Maj 6 th b 3 rd b 3 rd # 5 th # 5 th # # b # 3 rd b # 3 rd b # b # 23/44

24 Pick xtensions to Stay in Scale Why the V chord is om7: Why ii, iii & iv chords are min7: V: ii:m iii:m vi:m # b7 th b # b7 th b # # 5 th 3 rd # # b7 th b # # b7 th 5 th b # # 5 th b 3 rd b # b # b # b # 5 th b 3 rd b # b # b 3 rd b # b # 24/44

25 olden Slippers in : Standard Progression Let s use our replacement rules (and a couple other jazz ideas) to spice up the chords for this tune. I V I Part: / / / / / / / / / / / / / / / / / / / / / / / / / I IV V I Part: / / / / / / / / / / / / / / / / / / / / / / / / / / / / I IV V I / / / / / / / / / / / / / / / / / / / / / / / / / / / / good place to start is with the V chords 25/44

26 irst Step: hange V to dom7 I IV V ii, iii, vi Jazzy Replacements Maj7, Maj6 ( in blues the I is played as om7) Maj7, Maj6, ( in blues the IV is played as om7) om7 min7 This first step doesn t make things too jazzy 26/44

27 Some Jazz om7 hord orms for the V in III x X V This one isn t quite as jazzer-approved as the other two # R 3 b 7 R # R b # R 5 b simpler form to use for now but it just doesn t have that nice jazz texture: # 5 R 5 b /44

28 olden Slippers in : w/ om 7 th on V I V I Part: / / / / / / / / / / / 7 / / / / / / / / / / / / / / ould use this, for now ould use this, for now I IV V I Part: / / / / / / / / / / / / / / 7 / / / / / / / / / / / / / / I IV V I / / / / / / / / / / / / / / 7 / / / / / / / / / / / / / / 28/44

29 Second Step: hange I to Maj6 I IV V ii, iii, vi Jazzy Replacements Maj7, Maj6 ( in blues the I is played as om7) Maj7, Maj6, ( in blues the IV is played as om7) om7 min7 hanging the I chord to Maj7 makes things very loungy-jazzy not so good for fiddle tunes. hanging the I chord to Maj6 makes things more western-swingy-jazzy 29/44

30 Some Jazz Maj6 hord orms for the I in III x R R III R Leave out the gray circles they are there only to show where this came from! simpler form to use for now but it just doesn t have that nice jazz texture: R 3 5 R /44

31 olden Slippers in : w/ Maj 6 th on I x ould use this, for now 7 ould use this, for now I V I Part: 6 / / / / / / / / / / / 7 / / / / / / / / / / / 6 / / / I IV V I Part: 6 / / / / / / / / / / / / / / 7 / / / / / / / 6 / / / / / / / I IV V I 6 / / / / / / / / / / / / / / 7 / / / / / / / / / / / 6 / / / 31/44

32 3 rd Step: hange IV to Maj6 with a twist I IV V ii, iii, vi Jazzy Replacements Maj7, Maj6 ( in blues the I is played as om7) Maj7, Maj6, ( in blues the IV is played as om7) om7 min7 hanging the IV chord to Maj6 gives: 6 = ut imagine re-arranging these same notes: Hey that is an m7 which is the ii m7 of!!! an substitute ii m7 for IV maj6!!! 32/44

33 Some Jazz min7 hord orms for the ii in m 7 m 7 x x V V R b 7 b 3 5 R R b 7 b 3 5 R simpler form to use for now but it just doesn t have that nice jazz texture: m 7 x R 5 b 7 b /44

34 olden Slippers in : w/ ii min7 th sub for IV for now I V I Part: 6 / / / / / / / / / / / 7 / / / / / / / / / / / 6 / / / for now 2 m 7 x3333 for now m x 7 for now 5 I ii 7 V I Part: 6 / / / / / / / m7 / / / / / / / 7 / / / / / / / 6 / / / / / / / I ii 7 V I 6 / / / / / / / m7 / / / / / / / 7 / / / / / / / / / / / 6 / / / 34/44

35 4 th Step: Insert Passing hords or now lets forget that we substituted ii m7 for IV 6 Notice how in the part we have IV = going up to V = : I IV V I Part: 6 / / / / / / / / / / / / / / 7 / / / / / / / 6 / / / / / / / I IV V I 6 / / / / / / / / / / / / / / 7 / / / / / / / / / / / 6 / / / cool thing would be to go chromatically up through #!! ut what chord type??!! 35/44

36 im7 hord orms So let s take a 7 chord and move the root up to a # but leave everything else the same that gives us a passing chord that provides some chromatic motion: # o III III b R 5 b x b R 3 b 7 R # b R b 5 bb 7 b 3 # o x b # b 3 bb 7 R b 3 verything but the root from a 7 chord plus the # ool Things about im7 hords 1. Root can be taken as NY note in the chord. 2. Shift it three frets and you get the same chord again!!! 36/44

37 olden Slippers in : w/ dim7 passing chords I V I Part: / / / / / / / / / / / 7 / / / / / / / / / / / / / / xample #1 3 # 7 # 7 ould use this, for now I IV IV # 7 I Part: / / / / / / / / / / / / # 7 / 7 / / / / / / / / / / / / / / IV # 7 I IV V I / / / / / / / / / / / / # 7 / 7 / / / / / / / / / / / / / / 37/44

38 4 th Step Revisited: Insert Passing hords ut we substituted ii m7 for IV 6 So our part looks like this: I ii 7 V I Part: 6 / / / / / / / m7 / / / / / / / 7 / / / / / / / 6 / / / / / / / I ii 7 V I 6 / / / / / / / m7 / / / / / / / 7 / / / / / / / / / / / 6 / / / cool thing would be to go chromatically up through #!! ut what chord type??!! 7 # o III III # o R b R 3 b 7 38/44

39 olden Slippers in : w/ dim7 passing chords for now 7 for now xample #2 I V I Part: 6 / / / / / / / / / / / 7 / / / / / / / / / / / 6 / / / for now x # 7 x0102 for now for now m 7 x for now I I # 7 ii 7 V I Part: 6 / / / / / # 7 / m7 / / / / / / / 7 / / / / / / / 6 / / / / / / / I I # 7 ii 7 V I 6 / / / / / # 7 / m7 / / / / / / / 7 / / / / / / / / / / / 6 / / / 39/44

40 5 th Step: urther Jazzify the hords Our first step didn t make things too jazzy We made the V chords dom7 I IV V ii, iii, vi Jazzy Replacements Maj7, Maj6 ( in blues the I is played as om7) Maj7, Maj6, ( in blues the IV is played as om7) om7 min7 Now to make things even jazzier use jazzy extensions: add in the 9 (& maybe 11, 13) 40/44

41 Jazz om9 hord orms for V in IV # R 3 b simpler form to use for now but it just doesn t have that jazz texture: R 5 b /44

42 olden Slippers in : w/ om 9 th on V for now 9 9 for now I V I Part: 6 / / / / / / / / / / / 9 / / / / / / / / / / / 6 / / / for now for now I IV V I Part: 6 / / / / / / / / / / / / / / 9 / / / / / / / 6 / / / / / / / I IV V I 6 / / / / / / / / / / / / / / 9 / / / / / / / / / / / 6 / / / 42/44

43 olden Slippers: omplete or Now orms I V I Part: 6 / / / / / / / / / / / 9 / / / / / / / / / / / 6 / / / The ii V I progression shows up all over in Jazz!!! x # 7 x0102 x m I I # 7 ii 7 V I Part: 6 / / / / / # 7 / m7 / / / / / / / 9 / / / / / / / 6 / / / / / / / I I # 7 ii 7 V I 6 / / / / / # 7 / m7 / / / / / / / 9 / / / / / / / / / / / 6 / / / 43/44

44 olden Slippers: omplete To Work On orms 3 I V I Part: 6 / / / / / / / / / / / 9 / / / / / / / / / / / 6 / / / # m 7 9 I I # 7 ii 7 V I Part: 6 / / / / / # 7 / m7 / / / / / / / 9 / / / / / / / 6 / / / / / / / The ii V I progression shows up all over in Jazz!!! 6 I I # 7 ii 7 V I 6 / / / / / # 7 / m7 / / / / / / / 9 / / / / / / / / / / / 6 / / / STOP 44/44