Q. I play bass guitar and rhythm guitar in a band. Sometimes our leader changes the key, and I need to be able to figure out how to write the chords out on my own sheets in the new key our leader wants it in. How do I do this? It should be simple. I have played guitar for fifteen years but have never been taught simple theory. HELLLPPPP!!!! lol Thanks!
A. Drop or raise the note by the proper amount of steps to get the the new key.
Say you're moving from C to G, and the chords in C are C, F and G.
You need to raise the pitch 4 whole steps.
C becomes G
G becomes D
F becomes C
Bad example, but you probably get the idea. It helps me to look at a diagram of piano keys, as it really illustrates where the steps are and exactly what chord becomes what. Just google image 'piano keys' and you'll find something you can use.
Also, learn your chord families. C F G is a I - IV - V progression. If you know the numerals of the progression, you can use a chart like this: http://www.i-love-guitar.com/guitar-chords-major-keys.html to find the chords in any key with little effort. That's what I usually do.
How do I make a song into a jazz song?
Q. Hey im having trouble on deciding on choosing a jazz song for music so I decided to change a song that I already know into a jazz song. I play piano and I'm going to sing to it but I dont know how to go about changing it as I've never played a jazz song before :O
Could someone point me in the direction of some jazz scales or how to go about creating the style?
Thanks heaps!
A. The cliche piano/voice duet sound usually revolves around adding extensions to chords, and adding subs, and extra leading chords into the progression.
Lets say for example you have a chord progression C Am Em G, which isn't an extremely uncommon chord progression in Pop tunes.
I would start by choosing some more interesting chords.
I would start by adding extensions to the chords: I would likely choose at first glance, Cmaj7#11, (C,E,G,B,F#), Am9 (A,C,E,G,B), Em7, (E,G,B,D), G7add13, (G,B,D,F,E). These are a little more colourful chords. Further still, lets say this progression repeats, so the G, goes back to C. Another colourful, and hip thing to do is to sub the dominant chord, (in this case G), with the Dominant chord, a tritone away from the fifth, G, so in C, this is a Db. It creates chromatic movement back to C, So I would like play G7, and then push a Db7 back to C.
Harmonizing the notes of the major scale introduces some more colourful chords, as well as an interesting harmonic idea, the functions of these chords. I find this chart helps me organize the function of chords in relation to tonic (T), sub dominant(SD), and dominant chords(D), in the key of C major,
Cmaj7 = T
Em7= T
Fmaj7 = SD
G7 = D
Am7 = SD
Bm7b5 = D
You now have potentially a whole tonne of possible harmonic substitutions to try:
Instead of Em7, you could try a Cmaj7 type chord with an E in the bass, (Cmaj7/E). Or instead of Am, you could try and squeeze in a Fmaj7 type chord. The possibilities are endless. With all this in mind, you must also consider voice leading.
A good arrangement might include a 'secondary dominant, (when functioning, leads to a chord other than the tonic' approach.
A good example would be to push a E7 sound (the fifth of Am) near the end of the measure in C, into the Am.
If you use some of these tricks, you might be able to get something good out of it, I find that if you are making a solo arrangement it is important to not be too 'floaty' with the changes, you can be more liberal in the sense that there is no rhythm section to contend with, but you still want people to hear the movement, and contrary to what some may think, sometimes it is better to play simple things right in the pocket, than to go nuts and try making something sound hip.
A good arrangement will also take into consideration the melody line. When you write it out, make sure that none of you chords clash with the melody notes.
The only real rule in jazz harmony I can think of is to 'avoid' the interval of a minor 9. Its not that you can't do it, it's just generally better if you don't. Exceptions to the m9 rule obviously include the use of chords like G7b9. But it is still considered the the most dissonant of all intervals.
You may also want to learn the Charleston Rhythm, depending on if you are arranging a ballad or a swing tune.
Why do chord progressions have to follow the 'Chart'?
Q. If you have ever studied music theory, you know what I'm talking about (If not, just google "Chord Progression Chart"). Be as detailed as possible. Talk about what would happen if you didn't choose to follow the chart. Don't say, "It has to follow the circle of fifths" without explaining to me WHY that is important.
A. I went through music conservatory as a piano performance major and later did a second upper-level training in theory and composition, and never -- in all that classical study -- ever seen a "Chord Progression Chart."
ADD: I just googled it: this is a form of popular music theory, and specific for guitar playing more than actual 'music theory.' Please Do Not Mistake It In Any Way As Music Theory: what you learn from a chart like that would not qualify you for admittance to or be of any help to you in a freshman college theory 101 class. It may help you learn your way around basic guitar, but if you ever want a handle on music theory, of any sort, I'd ditch it. Thinking in nothing but 'chords' is very "pop theory" and wholly detrimental to your full development as a musician, regardless of musical genre. /// The shock there is another planet of music theory, often at odds with the pop theory terminology, shows up often enough in this category of Y/A, especially when it comes to analysis and identifying chords beyond the basic triads and seventh chords. END ADD
Some chords work, to all ears, better than others going one to the next. Initially, it is what is first learned, classical or other theory, since one has to start somewhere, and from the basics and beginning is almost always the best as well as most logical starting point. I repeat your chord chart has at least as much or more to do with 'the handiness' of playing guitar at a basic level vs. actual theoretic musical use, or other real musical possibility.
After one further investigates theory, there are no 'rules' but only examples of how, formerly, someone else 'made music work.'
If everyone 'followed the chart,' as if it were a law there would be no more music, no need to make anymore, and all listeners would be bored to tears!
Some progressions, within a certain context, may have one chord sounding really 'weak' - and your flow or structure collapse. That same chord, approached with different horizontal voicing of parts - individual lines, in an otherwise similar harmonic context, could sound 'fine.' That is nothing you will learn to do anything about if you are studying 'chord - chord - chord' instead of approaching those chords as a consequence of several simultaneous lines. -- Because, that is after all, how you learn enough to make anything sound good!
No rules, no laws, just examples of what most commonly 'works' or what others before you have made 'work.' At the time, at least in the common practice period of classical theory, what ended up in textbooks was 'breaking rules' of that day!
You are in trouble if you take those examples you study as a rule or 'law.' - you may have to mimic those examples closely for an assignment, that is so you learn how to work them yourself. It is not intended that will be the way you 'should' or will later compose.
That chart, again, is for pop music more than anything, all the conventional progressions, and very much about how to physically negotiate the guitar while mucking about within that set of conventions. It is a list of what has commonly worked and been done before, no more, no less.
Best regards.
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