Q. I am a self taught guitarist. I have a very basic knowledge in SOME music theory, but for the most part I play by ear or use tabs. Sheet music for guitar has always frustrated me, I have tried to learn. I can read very simple sheet music for piano, that's about it. But enough about my knowledge of music. When reading tabs for a song I want to learn, I see chord diagrams.
What is the difference between chords like E and E7 and Em7? They seem to be played the same.
A. They are not played the same there are some differences, they only look similar because they're all variations of E (mi)
How do I read piano chords in this format: Em7, Dm7, F#m7?
Q. Please explain how a se of notes, such as c,d,e# would be written in this format. I do not understand music theory at all so please, keep it simple.
Thanks
A. Well you'll need to learn a little music theory to understand chords. It's not too complicated, it just takes a little bit of practice and playing around with chords and scales.
For any chord, imagine a basic major scale starting with the note that the chord is called. For example, a C scale (the easiest to play on piano) goes C-D-E-F-G-A-B-C with no sharps or flats. The most basic type of chord is called a major triad. If you just see a chord like "C" or "E," it's a major triad. For this you just play the 1st, 3rd, and 5th notes of the scale. So a C chord would be C-E-G.
Then there's a minor scale. It starts like a major scale, but the 3rd, 6th, and 7th notes of the scale are flat. So a C minor scale would be C-D-Eâ-F-G-Aâ-Bâ-C, and a C minor triad (written Cm) would be C-Eâ-G.
The rest of the chords are variations on the major and minor triads. A 7th chord means you play the triad (1st, 3rd, and 5th), plus the 7th note in the scale. A C7 chord would be C-E-G-B, and a Cm7 would be C-Eâ-G-Bâ.
Here are the chords in your question, see if you can figure out how to find them:
Em7: E-G-B-D
Dm7: D-F-A-C
F#m7: F#-A-C#-D
They're tricky at first, but once you play around with them enough to get the hang of how they work, they're actually pretty simple. There are also other chord types, like 6th and 9th chords (you should be able to figure out how to play those just by the name), or augmented and diminished chords, which are a bit trickier.
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.
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