Q. Lets say the root note is c major. can i use a melody such as cM7, then Csus and then C6? or should i stick with one chord progression. Im mainly writing pop-ish songs, not so much jazz or classical. Thanks
A. I'm not sure you understand what a "chord progression" is - it's just a sequence of chords. A "melody" is just a tune, you can't have "a melody such as cM7" (Cm7, if that's what you mean, is a chord, not a melody). Also, "c major" could',t be a "root note" - C major would be either a key/scale or a chord.
What are the names of these piano chords?
Q. I have this really cool chord progression! It goes like this:
First Chord: Eb/Ab/Bb
Second: Eb/A/Bb
Thrid: Eb/F/Bb
Fourth:Eb/Bb
If anyone knows this, please let me know! I want to put it to something.
A. You really can't apply normal names to these chords. What you're doing here is something called "quartal" harmony, which means that your chords are built in 4ths. Most Western music utilizes "tertial" harmony, where chords are built in 3rds. All the names for the chords we use are based on tertial harmony. They don't apply to quartal stuff.
You CAN give them names, but it's missing the point. Several composers have made liberal use of quartal harmony, but it's difficult to analyze. It's just one of those sounds that doesn't have really solid names yet.
How to notate a I, VI 6/3, IV 6/4, V, and back to I progression on manuscript paper?
Q. For my homework in music theory I was asked to create a chord progression using a: I chord, VI chord with a 6/3 notated next to it, IV chord with a 6/4 next to it, V chord and then back to I. The requirement is that at least one note in each chord, at least 1 chord tone, must be notated in the base clef. so, I have to use manuscript paper and write out the chord progressions on a grand staff. I am really confused about even how to begin this assignment. I think I will try to start with a simple C chord as my I chord. any help would be great!!
A. Don't worry, Adelin, you'll get the hang of this really quickly once you're up and on your way with it. :-)
Let's just set down a bit of a method that you can follow now and in future. When we've got a bit of a route map as to what to do that we can refer back to later, it's all not so intimidating any more.
Right, we start by giving ourselves a fresh sheet of manuscript paper and first off we need to create a double stave, so on the lefthand side of a pair of staves, we draw a line down the two of them to connect them together. Then add a bracket (one just the same as those you can see in any piano score) to keep them held together, as well as a treble clef in the upper stave and a bass clef in the lower one, and that's your first spadework all done & dusted!
Now to the business end of the task. We'll do this here in C for ease of argument and ease of notation, but the principle applies to absolutely any key, of course.
First we now need to assign parts to each stave.so, 4-part chord writing always being thought of as 4 voices S(oprano), A(lto), T(enor) B(ass), we need to assign the upper, SA parts to the upper stave (the one with the treble clef) and the two lower parts, TB, you've guessed it, fall to the lower stave with the bass clef.
(Because I can't ask you things 'live', I'm going to have to give some little things away but no more than absolutely necessary or I'll spoil your assignment for you.)
Right, if I give you the detail of the first chord 'free' then you should be able to work out the rest all by yourself from there. So let's get cracking.
First thing to do is to write out your bass-line first, *always* -- that way you can see not only where you are going but also where you have come from in any exercise. You keep yourself 'grounded'. So, in C root position (I) your bass note is C and you assign that to the bass part in a comfortable range for that voice type. A good one to take here would be the 'C' below middle-C in the space between lines 3 and 4 of the lower staff. You do that by writing a whole note 'C'. Writing in whole notes at first will make everything very easy to read for you and your tutor and you don't have fiddle with notating smaller values etc.
When you have done that, give yourself lots of space, then draw a bar line through both staves, and now you can begin on the second chord, *bass only* and work on through the others until you have done all the bass parts for each chord in whatever inversion necessary. When you're done, you will have created your very own first full bass part. :-)
Next, and *never* forget to do this, write out all the figured bass symbols below each of the chords they apply to, so you can see at a glance what it is you're doing while you are doing it. So, 'I' beneath the first, VI6 beneath the next, etc.
You will have noticed that we have 4 voices and three notes to a triad, so what to do? Well, we can double one note of the triad each time, which fills all the parts and gives us a little fexibility that just three notes would starve us of. You'll see how that works in just a second, it's not difficult.
Let's do the first chord -- the one I'm giving away -- to get that chord onto paper. The root triad in C is CEG and it being a root position we'll double the tonic to make it even more 'C' than it is already. So, we've already put the low C in the bass, which means we've got a G and an E and another C left. To create a nice open layout that gives us scope to move about for any following chord, we assign the G to the tenor in the first space below middle C of the lower, bass clef stave. We can now assign the E nicely within vocal range for the Alto on the first line of the upper stave, which leaves the soprano the (doubled) C above middle C and your first chord is complete.
Now on to the next.! No I'm not going to spell that one out for you, that's your task. But I will give you a leg up to help you underway. If you have worked out the second bass note correctly in the earlier part of the task I described, the one for VI6, then the second note in the bass will be another C, so you can simply repeat the bass C in the next bar in just the same place on the stave and take it from there.
I hope you're able to follow what I've said but don't hesitate to ask about anything more you think you need. (Use the 'Additional Information' function here or drop me a line by Y!A Mail if that's easier.)
All the best, and good luck!
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Title : On a piano, how many chord progressions can i use within a song?
Description : Q. Lets say the root note is c major. can i use a melody such as cM7, then Csus and then C6? or should i stick with one chord progression. ...