Q. I am trying to write a song and am wondering if anyone knew chords that produced that sleepy wonderful sound. Thanks so much!
A. Well, you'd have to choose a scale first, a good scale would be G major or C major. In G major, whenever you play "C" or "F", you change the not to a sharp. Some chords you could use include G, B, D, or C, E, G (the most simple chord), but you should experiement different key combinations.
Good lullaby chords usually use three keys each spread out by one note.
How long should I ideally learn piano chords before moving onto a different key?
Q. I started on the C chords and now I have to learn the Sharps. I don't feel I'm ready to learn these yet until the C chords are sunk well and truly in, That said I don't want to be learning each one for months at a time. I get it, I have to practice but as a rule, how long each day would you suggest a beginner learn his chords for?
Cheers.
A. The only rule is learn the chords until you know them. It might help to remember this:
All major chords are constructed this way: first play the note that is the name of the chord, then go up 4 half-steps (counting all notes, black and white) and play that note, then go up 3 half-steps and play that note. You can actually play the notes in any order and it is still the same chord; whether you play C, E, and G, or E, G, and C, or G, C, and E, it is still C chord, but to find the notes of a particular chord, start this way.
It should not take long to remember what C chord is.
Before i asked a question on double flats and sharps, why not just write what your supposed to play ?
Q. With the double sharps and flats, I ask myself WHY?!? Instead of writting G double sharp why not just natural A? Triple and quadruple sharps and flats? People PLEASE!! I know it concerns music theory and all, but can annyone shed a bit of light on this subject? In plainest terms please!
A. The section after this first one is about triple sharps and flats. I figured that I might as well answer the main question in simple terms since I posted in here.
If you don't use double sharps or double flats, then music gets even more confusing than you think. Sure, some of us understand what you are getting at with this question. You want an enharmonically equivalent note that is simpler to read.... but this makes no sense at all if you are looking at chords (string music, piano music, etc.). Your "easy to read" notes make chords look completely dissonant when, in fact, they are pleasant chords.
The Doctor's example is good here. If we were to cater to you and spell the Gb minor chord as Gb, A, and Db, then it would look like like a sus2 chord - a chord with a dissonant second (in purer Classical music this dissonance is arrived at via non-harmonic tones - in this case the appogiatura or retardation would be appropriate). The performer would not immediately recognize such a chord spelling, and would assume that the composer had meant for some strange dissonance; however, the chord is simply a Gb minor triad. Nothing more, and nothing less. If you think about this example, you might understand why double sharps and flats are absolutely necessary when it comes to stacking chords. They are also necessary in voice leading (the creation of individual musical lines and parts).
I decided to show you this example (so I wrote it out in Finale for you):
http://img26.imageshack.us/img26/1655/finout.jpg
edit: The fact that the above example can resolve to some other chord does not make it any less awkward.
Let's also assume that Gb minor is the vi chord and that I doubled the third because it was necessary =). I wrote it in bass and treble clef just in case the poster can only read one or the other.
Others have already elaborated on why you need double sharps or flats for voice leading purposes.
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The reason that you don't see triple sharp or triple flat more often is because they are only needed when you have a key signature full of sharps or flats.
It makes theoretical sense. If you have C# major as your key and you build an augmented chord on the Leading Tone (B#+), then the best theoretically correct way to spell it is B#, Dx, and F#x (F triple sharp).
This is the only example I can think of, so that is probably why it is not generally taught or accepted. That is why they are only used in modern repertoire on rare occasions. But - nonetheless - I have SEEN them in real music. Therefore, they surely exist. Triple sharps have been published in music, therefore they exist.
You can deny it and say they don't exist because they only have 1 or 2 uses. That is fine. I don't mind.
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Title : What piano chords make a good lullaby song?
Description : Q. I am trying to write a song and am wondering if anyone knew chords that produced that sleepy wonderful sound. Thanks so much! A. Well, ...