Chord Theory

The first book looks more practical. The second book looks pretty dry.

But honestly, the best way (and fastest way) to learn is to get somebody help you. You need to see/hear/play the chords. Reading books will only help you that far. And theory is more than chords. Where are you in theory? Obviously you have a little background, considering you are already playing a keyboard.

I wrote a theory manual a number of years ago - for beginners. I used it to train a number of keyboardists (main focus was chords and get beginner keyboardists to start improvising ASAP). I don't have it with me - in my other HD which is not in Singapore! When I get hold of it, I can pass it on to you.

But to give you better advise, you need to give a little more of your background - mainly how much you already know.
 
hi Cheez,

thanks for helping me check out the books and reply.

I'm just a beginner. My teacher just got to upper structured voicings and diatonic 7th chords.

Recently, he changed the chords of a song which I'm supposed to learn and added new ones. Well, he changed everything of the song to 7th chords and throw in a few 11th chords. Just to let me get used to finding and the chords right.

I was puzzled on how he managed to figure out what chords to use. Normally, I'll just sing along as I'm figuring out and decide which chords to use. As my knowledge of what chords there are, it's all the very basic chords I know how to use.

He said that there are some calculations involved. We're not getting there yet, so he hasn't talked much about it. But I went back and use another couple of songs and tried to change it like he did and check with him if they are right.

Anyways, I thought it would be better if I know what I'm doing. And might be more effective and efficient if I read up and check with him on things I read but don't understand during my lesson.
 
If you'd like to explore a different take at producing complex-sounding chords, I'd like to propose using the numerical system as taught in Scoreless Music Method. If you'd like to find out more, check http://www.scorelessmusic.com

The method uses only numbers and shows you clearly, based on fixed rules, how you can do chord substitution, what's the best chords to use at any given time, chord formant shaping etc.
 
Joash, although I'm a advocate of playing using "numbers" (as I said in your other thread), I feel formal theory training helps dramatically. From Grade 6 onwards in Harmony writing, we deal heavily in numbers. This gives a very good foundation and basis for using numerals eventually when playing by ear.

When I play today, I still stick very closely to theory, even in improvisation and playing by chords. Harmony theory never left.

Nevertheless, I would recommend people to visit you website to have a look!
 
Joash, thanks for your post.

Quite interesting. Although I'm learning piano and reading music notes.... the fakebook that I regularly use is compiled by a friend who uses the chinese "jian pu". So, everything is in numbers. Great for transposing on the spot!

Hey Cheez,
formal training still impt? Wahhh...harmony writing comes after Grade 6? Thats a long way to go.


Btw, remember that I ask about how you listen to a tune and know what key it is in the other thread? Hahaha.....going through a bit of ear training at my last music lesson. Quite fun!!! But I think I can only recognise stuff in D major key. My fav key. Hahaha...:D
 
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Hey there,

I normally lurk in the guitar forums (I'm a guitarist) but I saw this thread and thought I'd chime in :D

First things first, I shall assume that virtually no prior knowledge exists. Let's start with intervals. In western music, we work with 12 tones. Some notes are what we call enharmonic meaning they sound them same on an even-tempered instrument (such as the piano/guitar). These notes are

A
A# / Bb
B / Cb
C /B#
C# / Db
D
D# / Eb
E / Fb
F / E#
F# / Gb
G
G# / Ab

The shortest distance between a note is a half-step. This may be represented by adjacent keys on a keyboard, or adjacent frets on a guitar. Let us examine these intervals using the key of C major. The notes contained in C major are as follows:

C D E F G A B (w w h w w w h)

The root note is C. The relationship between each note in the scale within 1 octave, and the root note, is as follows:

C - C = Unison
C - D = Major 2nd (1 step)
C - E = Major 3rd (2 steps)
C - F = Perfect 4th (2 1/2 steps)
C -G = Perfect 5th (3 1/2 steps)
C - A = Major 6th (4 1/2 steps)
C - B = Major 7th (5 1/2 steps)
C - C = Octave (6 steps)

If you lower a major interval by a 1/2 step, it becomes a minor interval. The reverse is true, thus if you raise a minor interval by a half step, it becomes a major interval. Let us rearrange the notes of C major, starting on A. This gives us the key of A minor.

A B C D E F G (w h w w w h w)

A - A = Unison
A - B = Major 2nd (1 step)
A - C = Minor 3rd (1 1/2 steps)
A - D = Perfect 4th (2 1/2 steps)
A - E = Perfect 5th (3 1/2 steps)
A - F = Minor 6th (4 steps)
A - G = Minor 5th (5 steps)
A - A = Octave (6 steps)

Thus, we see what defines the relationship between 2 notes is their distance from each other, and how rearranging the order of the notes gives us a different sound.

Let's now consider how this applies to chords. A chord is usually made up of 3 or more notes. These notes are usually stacked in thirds on top of a root note. These thirds may be either minor or major thirds. So, for a triad, the following configurations are possible

1 - 3 - #5 = Augmented
1 - 3 - 5 = Major
1 - b3 - 5 = Minor
1 - b3 - b5 = Diminished

Applying this with a root note of C, we would get

C E G# (C augmented)
C E G (C major)
C Eb G (C minor)
C Eb Gb (C diminished)

Let us take this further and apply it to 4 note chords

1 - 3 - #5 - octave = Augmented
1 - 3 - 5 - 7 = Major 7th
1 - 3 - 5 - b7 = Dominant 7
1 - b3 - 5 - 7 = Minor/Major 7th
1 - b3 - 5 - b7 = Minor 7th
1 - b3 - b5 - b7 = Minor 7th flat 5th / half-diminished
1 - b3 - b6 - bb7 = Diminished 7th

Of course, there are many other kinds of chords. One might construct chords by stacking in 4ths, or by adding colour tones such as 9ths/11ths/13ts (which are 2nd/4th/6th intervals an octave above the root), or just replacing the 3rd with a 4th or major second, creating suspended chords, as some examples. Experimenting is the key to success!

As for chord substitutions, here are some brief pointers:

For any diatonic chord, one may substitute a dominant chord with the same root note. We call these secondary dominants. They're extremely common in jazz and blues. Dominant chords create a dissonant sound that wants to be resolved, so be careful using these when you're going for a "smooth" sound!

For any dominant chord, we may substitute another dominant chord that is a tritone (flat 5th) away. This is because of the structure of a dominant chord. Let us use E7 as a example.

The notes of E7 are E G# B D

If we move up a tritone, we get Bb7, which has the notes Bb D F Ab

Notice that in E7, the G#/Ab is the major third and the D is the minor 7th. However, in Bb7, the G#/Ab is now the minor 7th, while the D is the major 3rd. Because it's the major 3rd and minor 7th that give the dominant chord it's tonality, we can use these chords interchangeably.

If you're wondering why this works, a tritone divides an octave exactly in half. The major 3rd and the minor 7th are also a tritone apart, thus, when we move up a tritone, these notes swap functions. A pretty nifty trick!

Lastly, we come to inversions. Let us consider the case of C major 7. By rearranging the notes, we have different inversions of the chord, and this is the gateway to substitutions. Next to the chord is a chord that may be substituted for it, along with how the notes that have been changed/added affect the CM7 chord

C E G B - CM7
E G B C - CM7/E -> Em7 - E G B D (D is 9)
G B C E - CM7/G -> G7 - G B D F (D is 9, F is 11)
B C E G - CM7/B -> Am7 - A C E G (A is 13)

To simplify, for any major chord, you might substitute a minor chord a major 3rd up or a major 6th up. The reverse is true. Play around with this and see what kind of sounds you like. As you've probably figured out by now, the possibilities are endless!

NB: I don't have "formal" music theory training so some terminology might deviate from the norm. Hopefully you find this useful though!
 
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Thanks for all the theory knowledge!!

Anyone have any books to introduce on chord improvisation or playing with a chord sheet?

I was thinking of joining scorelessmusic.com, but currently finacially, location and time wise cant make it..

I know how to forms 80 percent of the most used chords, (maj, minor, aug, sus, dominant, add, etc) and all their inversions.

have good knowledge of maj and minor scale too =)

An example of what i am looking for is like: instead of playing, all 3 notes of the chord together, we can play the root, third and fith in arpeaggio etc etc) =)

Hope to have some recommendations of books or sites, and thanks a lot again!!
 
Hahaha....I gave up reading books.....very boring to follow the words. Waiting for my teacher to teach me.
 
Nothing beats having a real person you can turn to, to answer your questions and to help you with your progress. (^_^)
 
well they teach the basics for any type of music and are a good reference if you're hazy about chords and notes and things.
 
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