#76
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__________________
Yamaha FG700s & Taylor 114e (Walnut) |
#77
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Irony!
All you need is love (and many Beatles tunes) use some doozys of chord progressions. |
#78
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#79
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__________________
Yamaha FG700s & Taylor 114e (Walnut) |
#80
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I haven't read all the responses, so I may be repeating someone else here.
I'd recommend learning theory and the notes on the neck. That way you know all the chords. You can just figure them out on the fly vs. rote memorization of many many voicings. |
#81
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I'm going to come back with another summary of what's (mostly) been said, and a few different ways of looking at what's basic and necessary: different angles on the same information, alternative foundations and perspectives, if you like.
A lot of it is repeating what I posted earlier, but is a kind of re-arrangement of the information. I think I'll split it into 3 posts for manageability... 1. SHAPE-BASED FOUNDATION 1. Beginner guitarist chord shapes. aka "cowboy chords", or open position triads. EIGHT of these: C, G, D, A, E, Em, Am, Dm. These are only common because the peculiar tuning of the guitar makes them easy to play. That in turn means that a hell of a lot of guitar music is made using these chords. (Guitarists like to make their lives as simple as possible .) 2. Open position 7ths. C7, G7, D7, A7, E7, Em7, Am7, Dm7, B7. Some of these have two shape options, because the 7th can be added in two places. Important for blues and jazz, less important in rock or folk. 3. Barre shapes. These are based on turning some open position shapes into movable ones, in particular E, A, Em and Am. So we get an F chord from an "E" shape barre on fret 1, and a Bm chord from an "Am" shape barre on fret 2. Etc. Barre shapes are the toughest challenge for beginners, but it's hard to find songs that don't have at least one. 4. Power chords. These are an important and easy option for rock players: the bottom 2 or 3 strings of barre shapes, essentially. THE basic chord shape for rock music . This is still not a huge quantity of chords; and all are derivations of (a few of) those 8 basic cowboy chords. [cont below...] |
#82
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2. KEY FOUNDATION
Sometimes known as "harmonized scale". This is about seeing chords in "diatonic families" - built from notes all taken from the same scale - which is usually the way they are used in actual music. IOW, a very practical perspective. The same chords crop up in different keys, so - although there are 12 major and 12 minor keys in all - there's a lot of overlap. Every major and minor triad occurs in 3 different major keys. Every min7 chord also occurs in 3 different keys. Every maj7 chord occurs in 2 different keys. Dims and dom7s, however, only occur in one key each (at least, strictly speaking...) There is no need to learn all 12 major and minor keys! (Except as a long-term goal if you're going to be a jazz player.) Guitar music - surprise surprise - tends to be written in keys that are easy to play on guitar. (If singers need a song to be in an awkward key, rock and folk guitarists are likely to use a capo to make it easier.) The common rock guitar keys are as follows. I'm omitting the vii chord in each key, and replacing it with the bVII, because it's simply a lot more common. So these are not strictly diatonic sets (the bVII is out of key in major), but are the sets you're most likely to find, and therefore best to learn and practice with. Code:
MAJOR KEYS I IV V vi ii iii bVII C MAJOR C F G Am Dm Em Bb G MAJOR G C D Em Am Bm F D MAJOR D G A Bm Em F#m C A MAJOR A D E F#m Bm C#m G E MAJOR E A B C#m F#m G#m D MINOR KEYS I iv V bIII bVI bVII A MINOR Am Dm E C F G E MINOR Em Am B G C D I've arranged them left to right in approximate order of likelihood (more common to the left), but you may find bVII chords more often than iii or ii chords. There are no real "rules" here, just "common practices". There is nothing you "can't" do, just things that are "not often done". (Eg, you can use minor chords as Vs in the minor keys, but it's rarer than using the majors.) Using B7 instead of B will make the keys of E and Em easier; and feel free to make any of the V chords into their "7" versions. It's optional to add 7ths to other chords as follows: I and IV have maj7s; all other chords have b7s (plain "7"). In BLUES, I and IV may have b7s added (making dom7 type chords), and will never have maj7s added. (OK, "never" is a big word, but don't bank on ever finding a blues with maj7 chords. Someone will now post an example, I expect...) Blues is also much less likely to feature the minor ii, vi or iii chords. PRACTISE the chords in each key "family"; in any order, always returning to "I" at the end. Precede I with V, V7 or IV and compare the differences in sound. In major keys, compare the difference in sound between using I, IV, V and bVII alone, and using I, IV V and the minors (excluding bVII). In minor keys, compare how it sounds to use bVII in place of V, and vice versa. (Eg, compare F-E-Am with F-G-Am.) [cont below...] |
#83
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3. THEORETICAL FOUNDATION
This is not tied to guitar specifically, and involves understanding (to some extent) how and why chords are made the way they are. It's useful for seeing connections between the above chords (eg in what ways C G D A and E are identical, even though the shapes are different), and for learning the fretboard. It's based on the idea of a handful of chord TYPES, and then adding EXTENSIONS to those. Which the most important basic types are depends to some extent on the kind of music you're interested in. You decide based on the following: TRIADS 1. MAJOR. Formed of a root, major 3rd and perfect 5th. Chord symbol is the root letter alone. Eg, "C" means a C note, plus a major 3rd (E) and perfect 5th (G). (If you're interested in this theoretical perspective, you'll need to do some research into interval terminology - which will pay big rewards! Chords are built from intervals - not just notes - and all chord names derive from interval names.) http://simple.wikipedia.org/wiki/Interval_(music) http://method-behind-the-music.com/theory/intervals http://www.musicalintervalstutor.info/listenpg.html 2. MINOR Root, minor 3rd, perfect 5th. Symbol adds "m" or "min" to the root letter to indicate the difference. "Cm" = C Eb G. 3. SUS4 Root, perfect 4th, perfect 5th. Symbol adds the word "sus" or "sus4". "Csus" or "Csus4" = C F G. In rock, SUS2 is also common, but is simply an inversion of a sus4 - ie same notes in a different order. SUS2 = root, major 2nd, perfect 5th "Csus2" = C D G. "Gsus4" = G C D (ie same notes). 4. DIM Root, minor 3rd, diminished 5th Symbol is "dim" or "o". "Cdim", "Co" = C Eb Gb This chord type is not important for rock music, but is significant for jazz. However, it's still very rare as a triad, and usually has a 7th (two possible kinds) added - see below. 5. AUG Root, major 3rd, augmented 5th. Symbol "aug" or "+". "C+" = C E G#. Very rare chord type, again more useful in jazz than rock, but still less common than DIM. SEVENTHS 6. DOM7 "Dominant 7th" in full, meaning the chord type you get when you add the 7th note to a chord built on the V (5th or "dominant") degree of a major scale. Root, major 3rd, perfect 5th, minor 7th. The minor 7th extension is labelled plain "7". "C7" = C E G Bb (dominant 7th chord in F major) Dom7 chords are essential in blues and jazz; less common (but still useful) in rock or folk. 7. MIN7 Root, minor 3rd, perfect 5th, minor 7th "Cm7" = C Eb G Bb. Another essential chord type in jazz, also common in R&B and funk. Sometimes useful in rock. Rarer in blues. 8. ADD9 Root, major 3rd, perfect 5th, major 9th. "Cadd9" = C E G D A few add9s (Cadd9, Fadd9, Aadd9) are very common in rock, mainly because they're easy to play. Other add9s would be rarer because they're harder. Has a similar sound to (and is often interchangeable with) a SUS2. 9.MAJ7 Root, major 3rd, perfect 5th, major 7th. Symbol "maj", "maj7", "M7", or a triangle, indicating the raised 7th. "Cmaj7" = C E G B. (Compare with "C7" above.) Widespread in jazz and R&B; less common in rock but occasionally useful. A distinctive, special sound, and usually quite easy to play. Minor chords can also have major 7ths added, but are much rarer, even in jazz. "Cm(maj7)" = C Eb G B. Further chord types are mostly of interest only for jazz. They include: DIM7 = root, minor 3rd, diminished 5th, diminished 7th. HALF-DIM = root, minor 3rd, diminished 5th, minor 7th. 6TH = root, major 3rd, perfect 5th, major 6th MIN6TH = root, minor 3rd, perfect 5th, major 6th 7#9 = root, major 3rd, perfect 5th, minor 7th, augmented 9th (or the 5th might be diminished or augmented) ... see, we're getting into deep water now... When applying these formulas to GUITAR, remember that the notes don't need to go in 1-3-5-7 order. However, if the root is not on the bottom, it's an "inversion", and most inversions have specific applications, eg used more as passing chords than lasting for more than a couple of beats. You can double up any note you like (that's within reach) to fill any spare strings; all common guitar shapes do this. But at least one of every note should be included. (The exception is 7th chords, where the 5th can often be omitted. Include it if you can, but it often sounds good enough without.) Last edited by JonPR; 02-08-2012 at 08:15 AM. |
#84
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jonpr, lots of useful information in these posts. i had a few thoughts as i read through, so i guess i will pass them along.
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also, i'd add in dom9 chords, they seem pretty popular in all forms of music. it's nice you take the time to write all of this information out. it's interesting how dom7 came from the 7th chord built from the 5 degree of the scale, but now can be used simple to describe a chord type, like min7. in fact, there really isn't another term for it, is there? |
#85
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Also it can be confusing to say "every maj7 chord occurs with 2 different roots". Any one chord only has one root! Quote:
In jazz, they tend not to recognise sus2s, and see them as inverted sus4s. Ie, even a C-D-G chord would be seen as a G-root chord (Gsus4). (Even though, with just those 3 notes, C would sound most like the root.) AFAIK, the idea is that a jazz musician would see no reason to omit the 3rd of a chord just because a 2nd is added. It doesn't clash with the 3rd the way a 4th does. So an "add9" chord might be common in jazz, but there would be no point in ever playing a sus2. Sus4s, however, are extremely useful and common. So the 3 notes C-D-G are most likely to be employed as some kind of Gsus chord - although a 7th (F) would be a very probable addition, to confirm it. (It could also be a partial D7sus.) Quote:
Still, good point, and I was only trying to draw an arbitrary line at some point to mark out basics. (We could go well beyond 9ths, of course...) Right. I think the phrase "major minor 7th" was used at some time - which does describe the chord, but it obviously easily confused with a "minor major 7th" (m(maj7). |
#86
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"ok, it goes A minor, A minor major 7th, A minor minor 7th, A major minor 7th, and then on to bar 2. ready?" Last edited by mc1; 02-08-2012 at 11:47 AM. Reason: correction |
#87
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As long as we don't start talking about modes.... |
#88
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you know, i really should be awake and not distracted when i post. what you wrote makes sense. i really was thinking of 2 maj7 chords in each key. and i even read your reply wrong. sigh. thanks for your patience.
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