HearandPlay.com August 2006 Newsletter
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Contents:
I. Welcome
II. Announcements
III. Online Classroom:
"How to play
smoothly using the power of inversions" Part 2
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Dear Musician,
Welcome to my August
newsletter. In this issue, we'll start from where we left off last month, exploring how to make your chord progressions
and movements more smooth by understanding inversions!
Enjoy
this month's newsletter!
Other sites to check out this month:
------------------------------------------------------------------------ Online Classroom: "How to play smoothly using the power of inversions" Part 2 ------------------------------------------------------------------------ Note: You might want to print this lesson out for easier reading... Let's get started! As you know from last month's newsletter (July): "The number of notes in a chord determines how many inversions exists for that chord"Example 1: If there are three notes in a chord (as in a "TRIAD"), then there are three inversions for that same chord. Example 2: If there are seven notes in a chord (like in a "THIRTEENTH" chord), then there are seven ways to play it. With this being known, the amount of voicings, inversions, and ways to play chords are virtually endless.
Seventh chords (4-notes): Root position, first inversion, second inversion, third inversion [More info] Ninth chords (5-notes): Root position, first inversion, second inversion, third inversion, fourth inversion [More info] Eleventh chords (6-notes): Root position, first inversion, second inversion, third inversion, fourth inversion, fifth inversion [More info] Thirteenth chords (7-notes): Root position, first inversion, second inversion, third inversion, fourth inversion, fifth inversion, sixth inversion [More info] Moving on... Now that you understand that the bigger the chord, the more ways to play it, we can look at this concept as it relates to more extended chord progressions. We will cover "2-5-1" progressions in this lesson. If you don't know what "2-5-1" progressions are, feel free to refer to past newsletters or my 300pg home study course for more information. C major: Scale: C D E F G A B C The "2" of C major is D. The "5" of C major is G. The "1" of C major is C. These keynotes ("D," "G," and "C") make up a 2-5-1 progression in C major. Here are some variations. Dmin7 G7 (aka Gdom7) Cmaj7 Dmin7 (D F A C) G7 (G B D F) Cmaj7 (C E G B) Now... notice that these chords are spread out and hardly close to each other. Using the power of inversions and my "common note" trick from the last newsletter, you can invert some of these chords to make them smoother. Since the Dmin7 is our first chord, let's keep that one the same. Dmin7 (D F A C) We can, however, invert the G7 to be closer to the Dmin7 chord. First start by finding common notes between the Dmin7 and the G7 chord. Common notes: _____________________ _____________________ Notice that the Dmin7 and G7 chords both share the notes: "D" and "F." These notes happen to be the first 2 notes of the Dmin7 chord. Therefore, keeping the "D" and "F" in place, change the other notes to complete the G7 chord. G7 (inverted): D F G B Ask yourself this question: "Are these the same notes of the G7 chord?" Your answer should be: "Yes, these are the same notes just played in a different order!" So now your chord progression looks like this: Dmin7 (D F A C) G7 (D F G B) --- which is the 2nd inversion of the G7 chord Cmaj7 (C E G B) Note: I really didn't have to do anything with the Cmaj7 chord because it already shared the same ending as G7. Notice that the "G" and "B" from the end of the G7 chord already match the "G" and "B" from the Cmaj7 chord. So which progression do you prefer better? The old way: Dmin7 (D F A C) G7 (G B D F) Cmaj7 (C E G B) Or the new way: Dmin7 (D F A C) G7 (D F G B) Cmaj7 (C E G B) I think the new way is much smoother, if you ask me! One reminder: Sometimes the melody permits you to play various voicings of a chord. However, if you are not following the melody, then inverting will allow you a much more smoother accompaniment. Let's take it a step further: Dmin9 G9 Cmaj9 Dmin9 D (left hand) / F A C E (right hand) G9 G / B D F A Cmaj9 C / E G B D Step one: Determine if you want to keep the first chord the same or convert it to match up with the second or third chord. In this case, we'll just keep the Dmin9 the same (in root position) and base the 2nd and 3rd chords on it! Step two: Find the common notes between G9 and Dmin9 in your right hand (keeping the left hand stable). Answer: They both have the notes: F A Step three: Keep the common notes in place. All other notes that are not common will move either up or down to their respective places. The new G9 chord is: G (left) / F A B D (Remember, we didn't move the D F from the first part of the previous chord. We just changed the "C" and "E" to "B" and "D," thus making the new chord a G7. So our new progression is: Dmin9 (D / F A C E) G9 (G / F A B D) Cmaj9 (C / E G B D) --- no need to move this chord Notice how easier it is to transition between these chords when the middle chord is inverted. Let's take it another step further: Dmin11 G11 Cmaj11 Dmin11 (D / F A C E G) G11 (G / B D F A C) Cmaj11 (C / E G B D F) How would you invert these chords (there are many different answers depending on which chord you choose to keep the same and which chord you choose to invert). Feel free to let me know on my message board at https://www.hearandplay.com/board Explore these chord types to prepare for future newsletters:
Well, I hope you enjoyed this newsletter and I'll be back soon! Take care! This concludes your Online Classroom Lesson If you were intrigued by the online classroom lesson above, then you would definitely benefit from my course! Enjoy this edition? Visit our message board and let us know! https://www.hearandplay.com/board Please Let a friend know about HearandPlay.com! PLEASE FORWARD THIS NEWSLETTER TO YOUR ENTIRE E-MAIL ADDRESS BOOK. Yours Truly, Jermaine Griggs www.HearandPlay.com www.GospelKeys.com
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