Q.
A. Any minor chords. If it's just plain out sad then any minor chord would be perfect. But if you are looking for a sad sound that is also pretty, I think that these would be good:
B major
B flat
A flat major
F sharp minor
D major 7
You can also different inversions of them to make the sound a bit different. For example, a C major chord consists of C as the root, and then E following it and then G as the top note (C-E-G). But a different inversion of it would be to just change the root to E or G so it could be E-G-C or G-C-E. So basically they all have the same notes, but they're just mixed up. (I feel smart ha)
I'm confused about finding the inversions of chord progressions in piano theory?
Q. When a chord progression modulates from C to G, i was told that finding the roots, qualities, and inversions of the chords seem confusing to me. I understand how to find the inversion and quality of a normal triad, 5/3, 6/3, then 6/4. However, in a modulation the treble cleff triads begin at tonic, go to sub-dominant, then to dominant, and back to tonic, then reaches the new key through a pivot chord which is the dominant of the dominant of C, so it would be a dominant in the key of G, then basing the rest of the modulation off of G it goes to tonic, super-tonic, tonic, dominant seventh, then finally back to tonic. If you understand what i mean by finding the quality of the triad, i also mean by finding if it is in root, first inversion, or second inversion. I thought this was easy until i was informed that you don't base your inversion on the triad, you base it off of the treble cleff, which plays the root of the triad along with the inversion. If you had a modulation like the one i explained above, then the base cleff would have the notes C, F, G, C, D, G, C, D, D 8vaâ, then to B, all being in accompaniment with the triads. If you follow the left hand notes with the key signature, you can tell that it has the exact same modulation as the treble cleff triads: tonic, sub-dominant, dominant, tonic, dominant of G (pivot chord), tonic, super-tonic, tonic, dominant seventh, and back to tonic being in the key of G.
If you take the left hand out of the equation, then the inversions of the right hand triads would being 6/3, 5/3, 7, 6/3, 7, 6/4, 6/3, 7, 6/3. You can never be more wrong because with the left hand IN the equation, the inversions are different. My question is, what are the actual inversions. In other words, if you were to rewrite the inversion basing everything off of the root of the chord that is being played in the left hand, what would the inversions be?
A. There are no inversions of chord progressions; there are inversions of chords. For an inversion of C chord, instead of playing C, E, and G, you could play E, G, and C or G, C, and E. The root does not have to be played in the left hand.
Does anyone know the piano chords for Gravity by Sara Bareilles?
Q. Not the sheet music, but just the chords? Would be very very very much appreciated :)
A. I have perfect pitch.
The song starts on the D, then goes down to G.
The next chord is G, C, E, the second inversion of the C major triad.
The triad is played again, only this time, the G is moved up to an A.
-violins-
IT goes back to G, C, E.
D, A, C, E is the next chord and vocals come in now.
G, B, D, F
C, E, G. (C+ triad in root position)
The song is written in C+ major, and the basic chords are above. Keep inverting the triads and move the notes around on the chords with 4 notes and you'll be fine :)
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