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Forums - Theory / composition / technique
Subject: Chord identification...
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Original Message 1/8 11-May-04 @ 04:57 PM - Chord identification...
So, let's say we're in the key of E Major and I'm analyzing the chords and I get to two notes that don't exactly complete a triad, for example let's say the two notes are A and C#, with A as the bass note. Can I assume that this will be the subdominant chord of the E Maj scale since it's missing the the 5th of that triad?
For 7th chords, how about if the 1st, 5th, and 7th (or some other combination with a missing note) are given, can I assume that it will be a 7th chord if I have those parts of it? Any info is appreciated!
JJ Freqy
Message 2/8 21-May-04 @ 04:40 AM - RE: Chord identification...
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This often done on the guitar in a group context simply playing the 3rd and the 7th for example because the 5th is always implied and the Bass instrument should be taking care of the root note.
The 7th has to be included in a 7th chord and the 3rd is required to let you know whether it's major or minor but the 5th is only a support to the structure of the chord so it can be ditched and often is.Leaving out the 3rd creates ambivalence because you have no tonality to refer to.
If you for example played a 1,4,5,1 chord progression in E major in an ascending manner you could play an E chord,A chord and play just the 3rd and 5th(or 7th) of the B chord followed by an E chord above that.The root of the B chord would be implied by the other chords in the progression.
The elements of a chord that most closely express the emotion you're after should be emphasised and the omission of less necessary chord notes is a good way of doing that,a bit like using cut on your eq rather than boost.
Thelonious monk was a master at that implied note thing.The tritone is truly where it's at.
Message 3/8 21-May-04 @ 09:31 PM - RE: Chord identification...
truly where it's at? Isn't a tritone an +4 th interval? Thanks again.
JJ
Message 4/8 22-May-04 @ 12:03 AM Edit: 22-May-04 | 12:04 AM - RE: Chord identification...
| C | C# | D | D# | E | F | F# | G | G# | A | A# | B | C | C# | D | D# | E | F | F# | G | G# | A | A# | B | C | C# | D | D# | E | F | F# | G | G# | A | A# | B | C |
| x | x | x |
tritone is like a +6, midle of octave type thing as far as i know... sounds dichordant as fook too
Message 5/8 22-May-04 @ 01:36 AM Edit: 22-May-04 | 09:11 AM - RE: Chord identification...
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The thing is the tritone is shared between two chords the 3rd and 7th of one chord is the same as the 7th and 3rd of a chord whose root is a tritone away from the other for example the E and B flat are the 3rd and 7th of a C7 chord but B flat is also the 3rd of a G flat 7(or F # 7 )chord and E is the 7th of the G flat 7 chord.
So in the case of a 1,4,5 progression in C to add more interest you can substitute the 5th chord which would be G in this case with a chord whose root is a tritone away which would be D flat Major in this case because D flat is a tritone away from G this can also be extended to other chords in a progression like say a 2,5,1 you could substitute the 2 chord for one that is a tritone away so a 12 bar 2,5,1 progression in C (4 bars of Dminor,4 of G7,and 4 of C)could be varied by doing D minor for 2 bars and then (tritone substitution) 2 bars of A flat minor then onto the 5 chord G then (tritone substitution) D flat 7,D flat 6, (back to) G (orG,G,Dflat,Dflat for a different variation) then onto the 1 chord C,Cmajor7,C7,C6 (or C,C,C,C) you can finger these chords in such a way that they all smoothly resolve into the next one.
Can you see what I'm getting at? It opens up a lot of possibilities to expand on chord progressions that might other wise become stale.It's a great variation technique to have at your disposal and an nice way to move between different keys.It's very easy to fall into the trap of using it all the time though so I think it's good to think of it as a spice you know like fresh ground black pepper tastes good with a sprinkle on your food but you don't want to make a meal of it.
Message 6/8 23-May-04 @ 03:27 AM - RE: Chord identification...
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| C | C# | D | D# | E | F | F# | G | G# | A | A# | B | C | C# | D | D# | E | F | F# | G | G# | A | A# | B | C | C# | D | D# | E | F | F# | G | G# | A | A# | B | C |
| x | x | x | x | x | x | x | x |
C7 on the left hand side of the keyboard and G flat 7 on the right hand side see that they both share the E and the B flat (aka A#) note but that the harmonic function is reversed the 3rd of the C7 becomes the 7th of the Gflat 7 chord and the 7th of the C7 chord becomes the 3rd of the Gflat 7 chord.
Message 7/8 23-May-04 @ 03:37 AM - RE: Chord identification...
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| C | C# | D | D# | E | F | F# | G | G# | A | A# | B | C | C# | D | D# | E | F | F# | G | G# | A | A# | B | C | C# | D | D# | E | F | F# | G | G# | A | A# | B | C |
| x | x | x | x |
G flat 7 becomes......
Message 8/8 23-May-04 @ 03:57 AM - RE: Chord identification...
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| C | C# | D | D# | E | F | F# | G | G# | A | A# | B | C | C# | D | D# | E | F | F# | G | G# | A | A# | B | C | C# | D | D# | E | F | F# | G | G# | A | A# | B | C |
| x | x | x | x |
C7 by moving only 2 notes and it is very smooth sounding.If you know your standard chord inversions you can see all sorts of voice leading possibilities and inner voice movements etc
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