tips & tricks for the rhythmically & harmonically-challenged
Posts tagged chord progression
Wanna Play Pop, R&B, or Jazz? Then You Must Know the Diatonic 7th Chords Too!
Nov 28th
Oops! That looks like my longest article title yet! But it got you looking, right? Cool
Now that you know what the major scale diatonic triads are (check out my post on diatonic triads here), it’s time to expand the wee little triad to include it’s cooler, modern-sounding fourth note, that is to stack another note on top to make a Diatonic 7th chord.
Diatonic 7th Chords of the Major Scale
Here are the seven Diatonic 7th chords in the key of C Major:
C-Major-Scale-Diatonic-7thsNotice how just one additional note has given a slight twist to the chord qualities. The main quality of the chords are still there. With the exception of two of the chords, the major chords still retain their major quality sound and are still in the major chord family; the same goes with the minor chords. However, the 7th note has given each chord an extra bite, or a slightly more sophisticated quality, apart from contributing to a fuller, richer sound.
Now, the next important thing to look at are the chord symbols relative to each chord’s position (or chord degree) in the scale:
| Chord Degree | Chord | Chord Degree | Chord |
|
I |
Cmaj7 |
V |
G7 |
|
II |
Dmi7 |
VI |
Ami7 |
|
III |
Emi7 |
VII |
Bmi7b5 |
|
IV |
Fmaj7 |
|
|
The I and IV chords are both major 7th chords. The chord symbol is now represented by a capital letter along with ma7 or maj7.
The II, III and VI chords retain their minor chord quality to become minor 7th chords. The chord symbol is now represented by a capital letter along with mi7 or min7, sometimes you will also see this -7 (minus sign followed by the 7).
The two chords that take on different qualities are chords V and VII. Chord V is especially important to note because the added fourth tone has changed the major quality triad to one that is now called the dominant 7th chord. The chord symbol comprises simply the 7 next to the capital letter.
The Importance of the V7 Chord
The dominant 7th chord contains the 4th and 7th degrees of the major scale. If you take a look at the keyboard, you will notice that these two notes are part of two sets of white key halfstep intervals. For example, G7 consists of the notes G-B-D-F — B is the 7th and F is the 4th. These two notes form the core structure of a dominant 7th chord and give it the “active” sound that calls for a resolution to a stable chord, which is usually chord I of the key.
Listen to the chord again, followed individually by the 7th and 4th notes and finally the 7th and 4th notes sounded together (forming a tritone interval).
G7-chord-and-its-tritoneIn this case, G7 will move naturally and completely (or resolve) to C. Notice how and where each note moves from V7 (SO-TI-RE-FA) to I (DO-MI-SO-DO). Breaking the notes down to solfeg, you will see a very natural and organic movement in music, i.e. SO moves (up a perfect 4th or down a perfect 5th) to DO; TI resolves up a halfstep to DO; and FA resolves down a halfstep to MI.
G7-resolving-to-CIn short, the V7 is a signpost to the key of a song or composition, since there is only one such chord quality in a major key. For example, if we see this chord progression, Gmi7-C7, there’s a great probability that we are in the key of F major; or G major, if it’s this progression: C-D7.
And finally, the last chord of the scale on the seventh degree, VII, is now a minor 7th with a flatted 5th. The chord symbol is a capital letter along with mi7b5, mi7(b5), min7b5, or min7(b5).
Traditionally, this chord is referred to as a half diminished. However, in pop and especially jazz music, we view this chord as having a minor chord quality rather than a diminished one.
So this wraps up all the seven diatonic 7th chords of the major scale. In the next post, I will show you how just by using these seventh chords, a simple song can be tweaked to sound more sophisticated. Meanwhile, learn and play them in all keys!
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Top 5 Pieces For a Beginner Jazz Pianist
Nov 12th
Learning how to play jazz piano for the first time is exciting yet very intimidating if one starts with the wrong songs. Selecting pieces that are melodically pleasing, rhythmically simple, harmonically easy (as in the chord changes) and all structured within a straightforward form is very important if a beginner jazz pianist is to gain any significant performance result.
Hence, the following pieces all comprise the elements just mentioned above and, in my opinion, are very suitable for any novice jazz player. Interestingly, these pieces will eventually have to be among the standard tunes in any true jazzer’s repertoire.
The five songs are: (listed in alphabetical order)
- 1. Autumn Leaves: Beautiful melody in simple rhythms; II-V-I chord changes in the key of G major and its relative E minor; 32-bar AABC form. This is a “must know” jazz standard, often played in ballad and/or medium swing style. It is also common to find this song represented in G minor.
2. Blue Bossa: Descending melody line with lightly syncopated latin rhythms; II-V-I in C minor and Db major; 16-bar AB form. This piece is great in two ways: it is a great introduction to bossa nova style and also chord changes in minor key.
3. Fly Me to the Moon: Another beautiful descending melodic line with a rhythm that can be interpreted in swing or latin; mainly diatonic and related chords from C major; another 32-bar ABAC form. An old Sinatra favorite and, of course, repopularized by Michael Buble, this song not only has a catchy melody, but the chord progression also moves beautifully in the cycle of fifths.
4. So What: Simple modal melody in the bass in flowing 8th rhythms; D Dorian modal chords; classic 32-bar AABA, starting with 16 bars of D Dorian, moving up a half step to 8 bars of Eb Dorian and back to the last 8 bars of D Dorian again. Miles Davis’ popular piece is an excellent thesis in modal studies. The beginner will learn the concept of “less is more.”
5. Summertime: A classic Gershwin blues melody in simple rhythms; mainly diatonic and related chords of D minor; 16-bar AB form. Another great minor piece and also a “must know,” with a bluesy tinge. There is an opportunity to learn about line clichés and applying them to chords Imi and IVmi.
For each song, learn the melody and play through its chord progression. Pay attention to the form and structure of the song. If possible, commit all these to memory. It will be well worth the effort and time and you will appreciate knowing the song inside out, especially once you start the improvisational aspect of jazz piano-playing!
I have been teaching piano for more than 20 years. Although classically-trained, I have always loved contemporary music. I grew up in a household filled with all types of music, from classical to jazz, Pavarotti to Sinatra, Goldberg to Grusin, pop, rock, etc. Currently residing in Singapore, I conduct private piano lessons in pop and jazz music to students of all ages, ranging from music enthusiasts, piano teachers to professional musicians. I also write a blog especially for pianists who find themselves rhythmically and harmonically challenged, and also on other interesting music and piano-related stuff.
Article Source: http://EzineArticles.com/?expert=Nicole_H._E._Lee
http://EzineArticles.com/?Top-5-Pieces-For-a-Beginner-Jazz-Pianist&id=3225638
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