Chords and Chord Progressions Piano Lessons

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HearandPlay.com "Chords & Progressions" Newsletter

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Contents:

I. Welcome
II. Announcements
III. Online Classroom: "The Secret to Harmonizing Melodies"
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Dear Subscriber,

Hello there and welcome to a new edition of the "Chords & Progressions" newsletter. This month's newsletter focuses on how to harmonize melodies. Through analyzing several e-mails from our subscribers, we have discovered that many musicians lack the ability to accompany "one-fingered" melodies with full sounding chords.

Sure ... it's easy to play a one-fingered melody (i.e. - "Mary had a Little Lamb, Gospel melodies, etc.), but the hardest part is finding the right chords to accompany your melody. I will present a few techniques in this e-mail. However, I do encourage you to visit: http://www.hearandplay.com/course to check out my 300-pg course as chapter 17 (there are 20 chapters total) focuses on several techniques which will help you to harmonize melodies. So Keep reading and we'll get right to work!

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Announcements
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In addition to "Piano Player Plus v1.0," "Sound Library v1.0," and "bonus Sight Reading chapters," you will also receive:

----- "Chord Power v1.0" - This software program will teach you step by step how to play 10 advanced gospel & jazz chord progressions. With diagrams and chord charts along with sound examples, this program offers you all the tools you need to start playing the gospel & jazz chord progressions that you hear time and time again!

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Online Classroom: "The Secret to Harmonizing Melodies"
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Note: You might want to print this lesson out for easier reading....

In this lesson, we will learn how to take a melody and form various chords to accompany it. This is a common technique used especially by musicians who work with choirs.

For example, if one composed a melody which included the i, iii, iv, vi, vii, and viii tones of a scale, harmonizing this melody would mean playing a chord to accompany every note of the melody (either one chord or a combination of chords). The above melody in C major is:

C - E - F - A - B - C

Using a few techniques (as explained in my workbook; http://www.hearandplay.com/course ), you can easily find the corresponding chords to each of those notes.

To HARMONIZE a melody means to create a chord accompaniment for it. Since the I, IV & V chords contain all the notes of the major scale, many melodies in a major key can be harmonized with just these three chords.

To determine the chords to be used, analyze the melody notes. Refer to the following chart to see which chord is generally used with each melody note of a major scale. When more than one chord can be chosen, your EAR should always be the final guide.

SCALE DEGREE ------------------ CHORD

1 , 3 , 5 -------------------- I Chord (Major Chord)
2 , 4 , 5 , 7 ----------------- V Chord (Dominant Chord)
1 , 4 , 6 --------------------- IV Chord (Major Chord)

There is also one scale degree which can be accompanied by a minor chord

SCALE DEGREE ------------------ CHORD

2 ---------------------------- ii Chord (Minor Chord)

From personal experience, here are the most common chords that I play with the following scale tones:

SCALE DEGREE ------------------ CHORD

1 , 3 , 5 -------------------- I Chord (Major Chord)
2 ---------------------------- ii Chord (Minor Chord)
4 , 6 ------------------------- IV Chord (Dominant Chord)
7 ----------------------------- V Chord (Major Chord)

Using the above table, here is an example in C major.

"Joyful, Joyful, We Adore Thee"

E -- E -- F -- G -- G -- F -- E -- D -- C -- C -- D -- E -- E -- D -- D

With this "one-fingered" melody, I am going to show you how I can turn each and every one of the notes above into 3-fingered chords. However, if you are REALLY serious about learning this technique, you owe it to yourself to at least read about my 300-pg course as it covers several techniques to harmonize melodies. For more information on how you can receive my course at over 50% off (If you order by tomorrow), visit: http://www.hearandplay.com/special.html?offer

.... Because I prefer the melody to always be the highest tone of my accompanying chords, I use different inversions of each chords. If you do not know what inversions are, please visit: http://www.hearandplay.com/course

Notice that the first 2 notes of the melody above is E (the 3rd scale degree of the C major chord). If you look on my chart above, I most commonly associate E with the (I) Major Chord. The (I) chord in the key of C major happens to be a C major chord! So, the first two chords are C major chords in the 2nd inversion (which makes E the highest tone).

REFERENCE:
If you do not fully understand inversions, you need to check out my 300-pg course as these FUNDAMENTALS are key to your success!

Root Position: The keynote will always be the lowest note (for example, C major = C - E - G in Root position).

1st Inversion: The keynote will always be the highest note (for example, C major = E - G - C in 1st inversion). Keep in mind that the notes are the same, but they are simply arranged differently with C on top instead of the bottom.

2nd Inversion: The keynote will always be embedded in the middle. This inversion will always put the third tone on top. (for example, C major = G - C - E in 2nd inversion). Notice that the "E" is on top.

More References: http://www.hearandplay.com/course --- Chapter 4-6

... ... Back to the lesson ... Since we want E on top, we will choose a C major chord (2nd inversion) because it is this inversion which makes E the highest tone.

By simply following this same pattern, you can figure out all of the other chords. I have already done the work for you below. However, if you are interested in studying this topic EVEN further with written exercises and ear-training activities, visit:

http://www.hearandplay.com/course for more information. ALSO ... order by tomorrow and receive over 50% off!

http://www.hearandplay.com/ordernow.html?specialoffer

"Joyful, Joyful, We Adore Thee"

E -- E -- F -- G -- G -- F -- E -- D -- C -- C -- D -- E --

E -- E -- F -- G -- G -- F -- E -- D -- C -- C -- D -- E --
C -- C -- C -- E -- E -- C -- C -- A -- G -- G -- A -- C --
G -- G -- A -- C -- C -- A -- G -- F -- E -- E -- F -- G --

E -- D -- D (end)

E -- D -- D
C -- A -- A
G -- F -- F

Above, you will find each melody / harmony combination (written vertically from highest tone to lowest tone). As we studied earlier, the first two chords are inverted C major chords. The third chord is an inverted F major chord. Try to figure out the other chords ... HINT: There are only 3 different types of chords (different inversions however) used in this example and I have given you two of them already!

Well ... this concludes this month's lesson. I hope that this information has been valuable to you. Meanwhile, please read my author's comments below...

AUTHOR'S NOTE (http://www.HomePianoCourse.com):

As always, I couldn't get as "in-depth" into the material as I wanted to as I am limited by space and multimedia technology in this e-mail. However, if you are truly serious about learning to play the piano by ear or how to improve your piano skills, I really encourage you to read about my 300-pg course& bonus CD ---- http://www.hearandplay.com/course

With 20 chapters and over 300 pages, the home piano course provides several resources, techniques, tips, principles, and theories to playing the piano by ear. Along with hundreds of chords and scales, you'll also learn how to turn them into gospel, jazz and blues chord progressions and better yet, how to use them to play ABSOLUTELY any song you want ... IN VIRTUALLY MINUTES! Again, don't miss this opportunity. I've even added an additional bonus if you purchase the course this week --- You can read more about the course at: http://www.hearandplay.com/course

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