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Badges Unreceived Bonmots Art's Cake-Theory Gaming More Art Lip Webs Friends Copyrights etc Copyrights Directory Releases 2012 Releases 2011 Releases 2010 Releases 2000-2008 Releases 1989-1997 Releases 1969-1988 Releases bands 1994-97 Releases bands 1990 - 1994 Releases bands until 1992 - Hint for the industry - Distributed currently - Copyrights and Collaborations Your Feedback Visitor's Book Contact Impressum ei ei-2 showcase SiteMap SiteMap alles player export hal under construction zwirbel ersatzteilager Tutorial-eng-05- ChordsChordsHow the naming system worksCertain chord types always appear on certain steps of a cadence:step abbreviation PronounciationI Maj7 Major 7thII m7 Minor 7thIII m7 Minor 7thIV Maj7 Major 7thV 7 Dominant 7thVI m7 Minor 7thVII m7b5 Half-diminished 7thFor the complete cadence (explanation follows farther down) in the tonal space of C the chords are therefore:CMaj7 - Dm7 - Em7 - FMaj7 - G7 - Am7 - Bm7b5It's also possible to use Roman numerals, if the root key is known:Imaj7 - IIm7 - IIIm7 - IVmaj7 - V7 - VIm7 - VIIm7b5. Or even shorter: I - II - III - IV - V - VI - VII.This abbreviating is done in jazz arrangement often - the soloist knows at once then which mode matches. This is of course a very square-headed approach.Anyway, these established chord names always refer to the steps - if you know them - then this is easier to understand :)Now a very short trip into harmonics to explain why this is so:The respected standard of harmonics used in mainstream and jazz is based on the Berkeley system that was developed at the university of the same name in Caifornia at the beginning of the last century. It's established because it does include not only triads (the harmonic system of the classic) but also integrates chords build with four voices logically.The standard chords of a given key are build by layering thirds of the given root scale on one another (It's crucial that the thirds are belonging to the root scale).e.g.:C | E | G for the C-Major triad.In a four-voiced harmony there is just one layer of thirds more added on top of the triad.e.g.:C | E | G | B for the CMaj7 (" C Major seventh")(The convention of naming chords is explained farther down here).We go back again to our chords from above now:scale on the 1.step ("Major", "Ionian")tone: C | D | E | F | G | A | B | step: 1.| 2.| 3.| 4.| 5.| 6.| 7.| Now we just replace the Arabian numerals by Roman numerals and build the chords in their standard form again using only tones of the given scale and layering them in thirds of that scale on each other:we start on the 1.step and get:tone: CMaj7 | Dm7 | Em7 | FMaj7 | G7 | Am7 | Bm7b5 |step: I | II |III | IV | V | VI | VII |Doing this, someone systemized an awareness that is rediscovered by nearly every pianist quite early - a detection that this piano player often views as a great secret he has found exclusively ;)This discovering often happens this way:The pianist pushesD | F | A | C ( "II") and mumbles: "Sounds cool. Hmmm. And what will happen, when I just shift two fingers now?"He pushes:D | F | G | B ( "V" - in another voicing than the basic form - in an inversion)He again and again alternates between the two chords - he is playing what is called a "II-V progression".Now the guy caught fire: he drives the alternating-white-keys-game to the final detection of the cadence as progression:He pushes:I - IV - VII - III - VI - II - V - Iexactly the keys :C | E | G | B = I = 1. step = CMaj7C | E | F | A = IV = 4. step = FMaj7B | D | F | A = VII = 7. step = Bm7b5B | D | E | G = III = 3. step = Em7A | C | E | G = VI = 6. step = Am7A | C | D | F = II = 2. step = Dm7G | B | D | F = V = 5. step = G7G | B | C | E = I = 1. step = CMaj7This game could be continued endlessly and it already sounds great on the piano in the given voicing. For guitarists it's much more unlikely to find this out by coincidence.I repeat:at the beginning our pianist played a II-V progression .In jazz (in the grandpa "realbook" version of jazz) the progression appears as II-V-I often (appending the 1.step of the cadence to the progression, hereby bringing it back to the root chord). This progression is more than common - the old standards are flooded with that and it sounds extremely boring. Most jazzers hate it like pest therefore - but all have to practice it ;)The "boring" effect may be avoided by using only progressions consisting of two chords of the complete cadence. Or by altering tones of the chords, expanding or shrinking their structure (triads , 2-voice chords, 5 and more voices instead of the basic 4-voice formula) - or by simply replacing it with a completely different chord. This is called reharmonizing.However.The above mentioned cadence and its parts are your dayly companion as a mainstream musician.Therefore they must be practiced.Exercise and sample tracks will be imbedded here.They have names like "II-V"You now understand why.Your own ears will tell you that every progression not only allows the use of another mode:they evencallfor the use of another mode.So: practice the modes.To say it specificly: - Every scale must be practiced- In every key (!)- starting on each key (step) of the scale and ending with that same starting toneHereby you automaticly learn Major, Minor, Dorian and so forth :) Tutorial:Mainstream-SoloistAll works under Creative Commons License: http://creativecommons.org/licenses/by-nc-nd/3.0/ Um alle Inhalte sehen zu können, benötigen Sie den aktuellen Adobe Flash Player. |