In music, a guitar chord is a set of tones played on a guitar. Chord tones are often played simultaneously, but can be played sequentially in the arpeggio. The implementation of a guitar chord depends on the guitar tuning. Most guitars used in popular music have six strings with Spanish classical "standard" guitar tuning, E-A-D-G-B-E '(from lowest to highest strings); in the standard tuning, the intervals that exist between adjacent strings are the perfect quarter except for the three main (G, B). Standard tuning requires four chord-shapes for the main triad.
There are separate chords for chords that have note roots on the third, fourth, fifth, and sixth strings. For a six-string guitar in standard tuning, it may be necessary to drop or remove one or more tones from the chord; this is usually root or fifth. The tone layout on the fretboard in the standard tuning often forces the guitarist to change the order of the pitch tone to a tone.
Playing conventional chords is simplified with open tuning, which is very popular in folk, blues, and non-Spanish guitars (such as British and Russian guitars). For example, a typical twelve-bar blues uses only three chords, each of which can be played (in every open tuning) with a six-stringed fracture with one finger. Open barrel is used primarily for steel guitar and slide guitar. Open tuning allows a single finger chord to be played with a larger consonant than any other tuning, which uses the same temperament, at the cost of increasing dissonance in other chords.
Playing a guitar chord (3-5 strings) is simplified by an alternate tuning class called ordinary tuning , where the musical interval is the same for each pair of consecutive strings. Regular tuning includes the third-major, all-fourth, and all-five tuning tuning. For each regular tuning, the chord pattern may diagonally shift down the fretboard, a property that simplifies learning beginner chords and that simplifies advanced player improvisation. On the other hand, on regular tuning the 6-string chords (on the C, G, and D keys) are harder to play.
Conventionally, the guitarist prints a double tone in a tone to increase the volume, an important technique for players without amplification; doubling notes and changing the order of notes also change the timbre chord. This can create a "chord" consisting of the same tone on different strings. Many chords can be played with the same tone in more than one place on the fretboard.
Video Guitar chord
Music basics
The guitar chord theory respects the harmonious convention of Western music. The basic discussion of guitars depends on basic concepts in music theory: twelve tones of octaves, musical intervals, chords, and chord progression.
Interval
Octave consists of twelve tones. Natural records form the C major scale, (C, D, E, F, G, A, B, and C).
The interval between notes of the chromatic scale is listed in the table, where only the emboldened intervals discussed in this section of the article are about fundamental chords; These intervals and other seventh intervals are discussed in the section on the intermediate-intermediate chords. Simultaneous and octave intervals have perfect consonants. The Oktaf Interval was popularized by Wes Montgomery jazz game. The fifth-perfect interval is very consonant, meaning that consecutive play of two tones from the fifth perfectly sounds harmonious.
Semitone is the distance between two adjacent notes on the chromatic circle, which displays twelve tones of an octave.
As demonstrated by those who have been brave at the table, some intervals - three (minor and major), fifth perfect, and seventh minor - are used in discussions following fundamental guitar chords.
As already stated, the perfect-fifth interval (P5) is the most harmonic, after simultaneous and octave intervals. The explanation of the human perception of harmony connects the vibrating string mechanics with sound wave music acoustics using Fourier series harmonic analysis. When a string is struck with a finger or pick (plectrum), it vibrates according to its harmonic series. When the open-note C-string is hit, the harmonic series begins with the terms (C, C, G, C, E, G, B ? , C). The root records are related to the sequence of intervals, beginning with simultaneous intervals (C, C), perfect (C, G), perfect (C, G), fourth perfect intervals (C, G), fourth (C, G), and third major (C, E). Specifically, this sequence of intervals contains one-third of the C-major ({C, E), (E, G)} chords.
"With a musical note, one of the fundamental strikes, and, in addition to the root notes, another note is generated: this is a harmonic series.... As one fundamental account contains in it another record in octaves, two fundamentals produce an incredible harmonic circuit , and the number of possible combinations between all the tones increases phenomenally.With triads, business has a great chance of getting out of hand. "
Perfect value
The fifth interval is perfectly displayed in the guitar game and in the string of chords. The fifth interval order built on the C-mayor scale is used in the development of the triad, discussed below.
Fifth cycle
Combine the fifth perfect ( (F, C), (C, G), (G, D), (D, A), (A, E), (E, B) ) produces the fifth order (F, C, G, D, A, E, B,...); this fifth sequence displays all octave tones. This fifth sequence should be used in the chord progressions discussion, below.
Power Chord
The fifth-perfect interval is called the powercord by the guitarist, who plays it mainly in blues and rock music. The Who's guitarist, Peter Townshend, plays a power chord with a theater windmill. Power chords are often played with notes that are repeated in higher octaves.
Although established, the term "power chord" is inconsistent with the usual chord definition in music theory, which requires three (or more) different notes in each chord.
Chord in music theory
- Short summary
Chord music theory is reviewed, to provide terminology for guitar chord discussion. Three types of chords, which are emphasized in the introduction of guitar playing, are discussed. This basic chord appears in conventional chord-triples in Western music, threefold called the three-chord progression. After each type of chord was introduced, its role in the three-chord progression was recorded.
Discussions between chords result in simultaneous chords and progressions of scale harmonization. The basic guitar chord can be constructed by "stacking thirds", by combining two or three third intervals, where all the lowest tones come from the scale.
Triad
Major
Both major and minor chords are examples of triad music triads, containing three different notes. Triad is often introduced as a triplet booked:
- root ;
- the third , which is above the root by one of one third (for the major chord) or one-third minor (for minor chords);
- the fifth , which is the fifth perfect above the root; consequently, the fifth is a third above the third - either a small one third above a third or a third third above a small one third. The main triad has the root, the main third, and fifth. (Interval major chord major -third is replaced with an minor interval in the minor chord, to be covered in subsections next.)
Misalnya, triad C-major terdiri dari (root, third, fifth) -notes (C, E, G).
Three notes of the main triad have been introduced as triplets ordered, ie (root, third, fifth), where the three main are four semitones above the root and where the fifth perfect is the seven semitones above the root. This triad type is in closed position. Triads are quite often played in open positions: For example, the main C-triad is often played with the third (E) and the fifth (G) one octave higher, each sixteen and nineteen semitones above the root. Other variations of the main triad change the order of the note: For example, the main C-triad is often played as (C, G, E), where (C, G) is the perfect fifth and E is raised an octave above the perfect third (C, E ). An alternate sequence of notes in triads is discussed below (in discussion of inversion chord and chord drop-2).
In popular music, a subset of triads is emphasized - those with notes of three primary keys (C, G, D), which also contain their relative minor key records (Am, Em, Bm).
Progressions
The major chords are highlighted by chord three-chord chord theory, which depicts a three-chorded song that is an archetype in popular music. When played in sequence (in any order), chords of three chord chords sound harmonious ("together well").
The three most basic chords of Western harmony have only major accords. In each key, three chords are designated with Roman numerals (musical notation): The tonic (I), subdominant (IV), and dominant (V). While the chords of each of the three chord chords are numbered (I, IV, and V), they appear in another order.
In the 1950s I-IV-V chords were used in "Hound Dog" (Elvis Presley) and in "Chantilly Lace" (The Big Bopper).
Major-chords are built in large-scale harmonization in triads. For example, accumulate C-major scales with thirds creating chords, traditionally referred to as Roman numerals I, iii, iii, IV, V, vi, vii o ; sub-progressive C-F-G (I-IV-V) is used in popular music, as already discussed. Further chords are built by accumulating an additional third. The main dominant buildup-the main triad with one-third minor creates the dominant seventh chord, which will be discussed after minor chords. Small
The minor key has the corresponding root and fifth major chords, but the first interval is one third of a third:
Minor chords appear in the major scale harmonization in three parts, which have been discussed: minor chords have positions ii, iii, and vi.
Minor chords appear as a minor keyton tonic that shares the same key sign as the primary key. From the major key developments, the tri-'secondary' (minor) ii-iii-vi appears in the chord progression (i-ii-iii-IV-V-vi-vii o the key is relatively small as i-iv-v (or i-iv-V or i-iv-V7): For example, from the progression of C-ii-iii from Am-Dm-Em, Em chords are often played as E or E7 in chord minor. Among the basic chords, the minor chord (D, E, A) is the tonic chord of minors under the three primary keys (F, G, C):
The technique of change between relative keys (relative pair and relative minor) is a form of modulation. Minor chords are built by small-scale harmonization in triads.
Seventh chord: Major minor chord with dominant function
Adding the seventh minor to the main triad creates the seventh dominant (denoted V7). In music theory, the "dominant seventh" described here is called the seventh minorities, emphasizing chord construction rather than the usual function. The dominant sevens are often the dominant chords in the three chords, where they increase the tension with tonic "already inherent in the dominant triad".
The seventh most dominant one discussed is the seventh most played chord.
A-mayor I-IV-V7 ak-A-D-E7 was used by Paul McCartney in the song "3a, Legs" on his album Ram .
This progression with the seventh chord emerges in large scale harmonization in the seventh chord.
Twelve-bar blues
Whether it's a key or a minor, I-IV-V acceleration extends over twelve bars in popular music - especially in jazz, blues, and rock. For example, twelve-bar blues chord development in key E has three sets of four bars:
- E-E-E-E7
- A-A-E-E
- B7-A-E-B7;
this development is simplified by playing the seventh as the major chord. The twelve-barrel blues structure is used by McCartney's "3 Legs," noted earlier.
Maps Guitar chord
Playing a chord: Opening strings, inversions, and doubling
The implementation of the music chord on the guitar depends on the tuning. Because standard tuning is most commonly used, the exposure of the guitar chords emphasizes the application of musical chords on the guitar with standard tuning. The chord implementation using a certain tuning is the part that defines the literature on the guitar chord, which is eliminated in the abstract music theory of chords for all instruments.
For example, in a guitar (like other stringed instruments but unlike a piano), the open notes are undisturbed and therefore require little hand movement. So the chords that contain open tones are easier to play and are therefore more often played in popular music, like folk music. Many of the most popular tunes - standard tuning, open tuning, and new standard tuning - are rich in open records used by popular chords. Open tunings allow the main triad to be played by limiting one fret with just one finger, using a finger like a capo. On a zeroth fretless guitar (after the nuts), the intonation of an open note may differ from that moment when it is fretted on another string; consequently, on some guitars, the sound of an open tone may be lower than an anxious tone.
Unlike the piano, the guitar has the same tone on different strings. As a result, guitar players often multiply notes in chords, thus increasing the volume. Multiple notes also alter the timbre of chords: Having different "ropes, tension, and barrel, mutually reinforcing tone, like a twin string of twelve-string guitar adds chorusing and deep". Records can be duplicated in identical pitches or in different octaves. For a triadic chord, double the third interval, which is one-third large or one-third small, explaining whether the chord is large or small.
Unlike piano or chorus sounds, the guitar (in standard tuning) has difficulty playing chords as a stack of three, which will require the left hand to stretch too many frets, especially for the seven dominant chords, as described below. If in certain tuning chords can not be played in a closed position, then they can often be played in open positions; similarly, if in certain tuning chords can not be played in root position, they can often be played in reverse position. An inverted chord when a bass tone is not a root record. Additional chords can be generated with drop-2 (or drop-3) sound, which is discussed for the implementation of the seventh dominant chord standard tuning (below).
When giving harmony in accompanying the melody, the guitarist can play the chords all at once or as an arpeggio. Arpeggiation is a traditional method of playing chords for guitarists such as in the Mozart period. Contemporary guitarists use arpeggios including Johnny Marr from The Smiths.
The fundamental chords
Setup default
The six-string guitar has five musical intervals between successive strings. In the standard tuning, the interval is four and a quarter perfect and a third major, a relatively irregular interval for the pair (G, B). As a result, standard tuning requires four chord-shapes for the major chord. There are separate chords for chords that have note roots on the third, fourth, fifth, and sixth strings. Of course, a beginner learns guitar by studying notes and chords, and irregularities make learning the guitar difficult - even more difficult than learning the formation of plural nouns in German, according to Gary Marcus. However, most beginners use standard tuning.
Another feature of standard tuning is that the sequence of records is often different from the root position. Records are often reversed or otherwise changed, especially with the seven chords in the standard tuning, as discussed below.
Power Chord: Fingerings
As discussed earlier, each powerà ¢ â,¬ â "¢ chord has only one interval, a perfect fifth between the root and the fifth notes. In the standard tuning, the following radii are conventional:
Triad
Triads are usually played with multiple notes, as illustrated by the following examples.
Major
Commonly used chords are easy to play in standard tunes , where fundamental chords are available in open positions , that is, the first three frets and additional open strings.
For the C major chord (C, E, G,), the conventional left hand radius doubles the C and E records in the next octave; This fingering uses two open records, E and G:
- E on the first string
- C on the second string
- G on the third string
- E on the fourth string
- C on the fifth string
- The sixth string is not played.
Major Chord (Guide to Guitar Chord Charts)
A: 002220
B: x24442
C: 032010
D: 000232
E: 022100
F: 133211
F #: 244322 (can be moved - remember that there are no sharp or flat objects between BC and EF) Normal G: 320001
Gaya Nashville G: 3ÃÆ'Æ'à ¢ â,¬Å¡Ã 00,013
For other commonly used chords, conventional radii also have double notes and an open string record feature:
In addition to replacing the fifth note, the conventional E-major chord features three-fold bass tones.
Chord B major and F major is usually played as a barre chord, with the first finger pressing five-six strings.
Major B chord has the same shape as the A major chord but lies two frets further from the fretboard. The F major chord is the same shape as the E major but lies one further fret to the fretboard.
Small
Minor chords (generally denoted as C - , Cm , Cmi or Cmin ) are the same as the major chords except that they have a minor minor instead. of a large third. This is a semitone difference.
To make the F minor of the major F chord (in the form of E major), the second finger should be lifted so that the third string plays a barre. Compare F major to F minor:
Other forms can be modified as well:
Suspended
Mobile Movable Chords Guide (for chord diagrams)
(in the standard tuning)
Sus2
A Sus2 002200
B Sus2 224422
C Sus2 335533
D Sus2 x00230
sus4
Dan Sus4 022200
F Sus4 133311
G Sus4 366633
This chord is used extensively by My Bloody Valentine, on the Loveless album. They are also used on Who's song "Pinball Wizard" and many more songs.
Dominant seventh: Drop two
As stated earlier, the dominant seventh is a four-tone chord that combines the major and the seventh minor chords. For example, the dominant C7 seventh chord adds B ? to the C-major chord (C, E, G). The naive acts (C, E, G, B ? ) extend six frets from fret 3 to fret 8; the seventh chord "contains some pretty serious stretching in the left hand". An illustration shows a naive C7 chord, which will be very difficult to play, in addition to the conventional open C7 chords (open positions) in the standard tuning. The standard tuning implementation of the C7 chord is the second inversion C7 drop 2 , where the second highest in the inversion of the two C7 chords is lowered by an octave. Drop-two chords are used for the seventh chords in addition to the seven major-minor with dominant functions, which are discussed in the section on the middle chord, below. Drop-two is used primarily in jazz guitar. Drop-two-second inversion is an example of open-voiced chords, which are typical of standard tuning and other popular guitar-tuning.
The "alternative" honesty chord is usually played with standard tuning. The fret-number configuration list for some common chords is as follows:
- E7: [020100]
- G7: [320001]
- A7: [X02020]
- B7: [X21202] (This B7 does not require barre, unlike B major.)
- D7: [XX0212]
Inversion of other chats
Already in basic guitar playing, inversion is important for the seven chords in standard tuning. It's also important to play a major chord.
In standard tuning, the chord inversion depends on the bass ring tone, and hence there are three different forms for the inversion of each major chord, depending on the position of the major-third interval between strings G and B.
For example, if note E (the sixth string is open) is played on the minor A chord, then the chord will be [0 0 2 2 1 0]. It has the E record as the lowest note of A. It is often written as Am/E , where the letter that follows the slash indicates a new bass tone. However, in popular music it usually plays an inverse chord on the guitar when they are not part of the harmony, because the bass guitar can play the root tone.
Alternate tunings
There are many alternate tunings. This changes the way chords are played, making some chords easier to play and others harder.
- Open tune each allows chords to be played by plucking strings when "open", or when not bothering strings. Open tuning is commonly used in blues and folk music, and they are used in playing slide guitar.
- Drop tuning is common in hard rock and heavy metal music. In D-drop tuning, the standard E-string tuning is set to D tone. With D-drop tuning, the three bottom strings are tuned to the fifth-octave root tuning (D-A-D), which simplifies the playback of the power chord.
- Regular settings allows the chord notes to be shifted all around the fretboard, on all six strings (unlike standard or other non-regular settings). Knowing some note-patterns - eg C major chords, C minor, and C7 - allows guitarists to play all of those chords.
Open the barrel
An open tuning allows chords to be played by strumming when "open", or when fretting without strings. The basic chord consists of at least three tones and can include all strings or subset. Tuning is named for the basic chords when played open, usually the main triad, and each of the main triads can be played by limiting one fret. Open tuning is commonly used in blues and folk music, and they are used in playing slide and lap-slide ("Hawaiian") guitars. RyCooder uses an open tuning as he plays the slide guitar.
Open tuning increases the intonation of the major chord by reducing the errors of the third interval in the same temperament. For example, in G-G tuning G-G-D-G-B-D tuning, the interval (G, B) is the third major, and of course any consecutive note pairs on G- and B-strings are also the third major; Similarly, minor-third open-string (B, D) induces small thirds of all frets of the B-D string. A third of the same temperament has a distortion that can be heard from only three intonations: Equal temperament is used in modern music because it facilitates music in all keys, while (on pianos and other instruments) only intonations provide the third major interval which is better for only part key only. "Sonny Landreth, Keith Richards and other open-G masters often lowered the second string slightly so that the three major aligns with the overtone series.This adjustment takes out the dissonance, and makes a major finger's major chord come alive."
Repeated open adjustments are used for two non-Spanish classical guitars. For British guitars the open chords are C major (C-E-G-C-E-G); for a Russian guitar that has seven strings, G major (G-B-D-G-B-D-G). Mixing four perfect and one-third small together with one-third, this barrel averages a large-thirds regular adjustment. While the average major-third tuning is a conventional open tuning, the three-thirds tuning is an unconventional open tuning, since they have an additional triad as an open chord.
Regular settings
The guitar chords are dramatically simplified by an alternative tuning class called regular tuning. In each regular, tuning , the musical interval is the same for each successive string pair. Regular tuning includes major-thirds ( M3 ), all-quarters, augmented-fourths, and all-five tuning. For each regular tuning, the chord pattern may diagonally shift down the fretboard, a property that simplifies learning beginner chords and that simplifies advanced player improvisation. The diagonal shift of the C major chord in M3 tuning appears in the diagram.
Further simplification occurs for regular tuning that is repetitive , that is, which repeats their string. For example, E-G ? -c-e-g ? -c 'M3 tuning repeats its octave after every two strings. Such repetition simplifies chord learning and improvisation; This repetition produces two copies of three open-string records', each in a different octave. Similarly, B-F-B-F-B-F plus-fourth tuning repeats itself after one string.
An inverted chord when a bass tone is not a root record. Inversion chord is very simple in M3 tuning. The chord is reversed simply by lifting one or two tones with three strings; each raised tone is played with the same finger as the original note. The reversed main and minor chords can be played on two frets in the M3 tuning. In the standard tuning, the inverse form depends on the involvement of the major major major, and can involve four frets.
It is a challenge to adjust the conventional guitars to the new standard tuning, which is based on all-fifth tuning.
Medium chord
After the major and minor triads are studied, the middle guitarist plays the seventh chord.
Harmonization Tertian
- Third interval stack
The guitar-fundamental chord - the major and minor triad and the seventh dominant - is a tertian chord, which combines a third interval, with each of the three as major (M3) or minor (m3).
More triads: Reduced and added
As discussed above, the major and minor triads are constructed by composing three parts:
- major Ã, triad concatenates (M3, m3), complement M3 with the fifth-perfect interval (P5), and
- minor Ã, triad concatenates (m3, M3), add m3 with P5 interval.
Similar tertiary harmonies yield two remaining triads:
- decreases triad concatenates (m3, m3), add m3 with reduced fifth interval, and
- added triad concatenates (M3, M3), equip M3 with a fifth additional interval.
Other seven: Major, small, and (half-) decreased
The three stacks also form the seventh most commonly used chords. The most important seventh chord combines the main triad with a third interval, completing with a seventh interval: the seventh seventh
Four of these five chords - all but the seven eliminated - are built through large-scale tertiary harmonization. As already stated, The seventh
- major-minor has the dominant V 7 function.
- The seventh major plays the role of tonic (I7) and subdominant (IV 7 );
- the minor seventh plays the role ii 7 , iii 7 , and vi 7 .
- the half-reduced seventh plays the role vii ÃÆ'¸ 7 .
Although absent from tertiary harmonization of the main scale ,
- which decreases seventh plays the role vii o 7 in the harmonization of the harvest of the harmonic , Minor scale.
In addition to these five types there are more seventh chords, which are less used in tonal harmony than the general practice period.
When playing the seventh chord, the guitarist often plays only part of the tone of the chord. Fifths are often omitted. When the guitar is accompanied by bass, the guitarist can remove the bass tone from the chord. As previously discussed, the three of the triad are multiplied to emphasize their major or minor qualities; similarly, one-third of the seven are duplicated to emphasize the major or minor qualities. The seventh most frequent is the dominant seventh; minor, half-diminished, and seventh major are also popular.
Chord: The fifth circle
The progress of the I-IV-V acceleration discussed earlier from the main triad is the continuation of the development of the circle, which rises by a perfect quarter and is lowered by a perfect fifth: The perfect and fourth perfect paragraph is the inverse interval, since one achieves the same pitch class as either up with a perfect fourth (five semitones) or fifth perfect fall (seven semitones). For example, the jazz standard Autumn's Leaves contains iv 7 -VII 7 -VIM 7 -ii < soup> ÃÆ'¸ 7 -i circle-from-continuation of chord development; the seventh of which occurred in the tertian harmonization in the seventh of the minor scale. Another addition of the fifth circle chord progression is used in music. In particular, the development of ii-V-I is the most important chord progression in jazz.
Chord Chart Guide for Major Inversions
Primary inversions for guitars in standard tuning. Low E is on the left. The A denotes three of the different moving shapes.
A: xxx655 | A: xxx9 (10) 9 | A: xxx220
B: xxx442
C: xxx553
D: xxx775
E: xxx997
F: xxx211
G: xxx433
Custom settings
Setting default: Minor and major sevenths
In addition to the dominant seventh chords discussed above, the other seventh chord - especially the seventh minor chords and the seventh chords - is used in guitar music.
Minor the seventh chord has the following headings in the standard tuning:
- Dm7: [XX0211]
- Em7: [020000]
- Am7: [X02010]
- Bm7: [X20202]
- F ? m7: [202220] or ([XX2222] Also A/F ? Chord)
Major of the seven chords have the following fingers in standard tagging:
- Cmaj7: [X32000]
- Dmaj7: [XX0222]
- Emaj7: [021100]
- Fmaj7: [103210]
- Gmaj7: [320002]
- Amaj7: [X02120]
Major-thirds tuning
On the major tuning (M3), the chromatic scale is arranged on three consecutive strings in four consecutive frets. The order of these four friks facilitates left-handed technique for classical (Spanish) guitar: For every four-fret hand position, the hands are still and the fingers move, each finger is responsible for one fret. As a result, three hand positions (including frets 1-4, 5-8, and 9-12) partition the classical guitar fingerboard, which has exactly 12 frets.
Only two or three frets are required for the guitar chords - major, minor, and dominant sevenths - which are emphasized in introductions to guitar playing and the basics of music. Each major and minor chord can be played on two consecutive frets on three consecutive strings, and therefore each requires only two fingers. Other chords - seconds, fourth, seventh, and ninth - are played only with three consecutive frets.
Advanced chord and harmony
The order of three thirds and seconds
The fifth circle is discussed in part on the middle-guitar chord. Other developments are also based on the sequence of third intervals; Progression is sometimes based on the second interval order.
Extended chord
As their category name indicates, the expanded chord indeed extends the seven chords by stacking one or more additional third intervals, successively building the ninth, eleventh, and ultimately thirteenth chords; the thirteenth chord contains all seven tones of the diatonic scale. In a closed position, extended chords contain a dissonant interval or may sound saturated, especially thirteenth chords with their seven notes. As a result, extended chords are often played with the removal of one or more tones, especially the fifth and often third, as recorded for the seventh chord; Similarly, the eleventh chord often removes the ninth chord, and the thirteenth or ninth thirteenth. Often, the third raised an octave, mimicking its position in the order of harmonic roots.
The dominant ninth chord used by Beethoven, and the eleventh chorus appeared in the Impressionist music. The thirteenth century appears in the twentieth century. Extended chords appear in many music genres, including jazz, funk, rhythm and blues, and progressive rock.
Chord Guide for Major and Minor 9 Chords
(Standard setting, read left to right, low E to high e)
Mayor 9
AM9: xx7454
BM9: xx9676 ||| BbM9: xx8565
CM9: xx (10) 787 ||| C # M9: xx (11) 898
DM9: xx0220
EM9: 099800
FM9: xx3010
GM9: xx5232
Small 9
Am9: 575557
Bm9: 797779
Cm9: x3133x
Dm9: x5355x
Em9: x7577x
Fm9: x8688x
Gm9: 353335
Alternative harmony
Scales and modes
Conventional music uses diatonic harmony, major and minor keys and major and minor scales, as illustrated above. The jazz guitarist should be conversant with jazz chords and also with many scales and modes; "Of all the forms of music, jazz... demands the highest level of music - both in terms of theory and technique".
The tone of the tones is used by King Crimson for the title track on the album Red in 1974; Tone scales are also used by King Crimson guitarist Robert Fripp on "Fractured".
Beyond harmonious harmony
In popular music, chords are often extended also with additional tones, especially adding sixth.
Quartal and quintal harmony
Chords are also systematically constructed by stacking not just three, but also a quarter and a fifth, complementing major minor coronal harmony with quartal and quintal harmonies. Quartal and quintal harmonies are used by guitarists who play jazz, folk, and rock.
Harmoni Quartal has been used in jazz by guitarists like Jim Hall (especially on Sonny Rollins The Bridge ), George Benson ("Skydive"), Kenny Burrell ("So What"), and Wes Montgomery (" Small Sun ").
Harmony based on the number four and fifth also appeared in folk guitar. On her debut album 1968 Song to a Seagull, Joni Mitchell uses quartal and quintal harmony in "Dawntreader", and she uses quintal harmony in "Seagull".
Quarter and quintal harmonies also appear in alternative tunings. It's easier to finger a chord based on the perfect fifth in a new standard tuning than in standard tuning. The new standard tuning was created by Robert Fripp, guitarist of King Crimson. Prefer basic chords at perfect intervals - especially octaves, fifths, and fourths - Fripp often avoids small thirds and especially large thirds, sharp in equal temperament equations (compared to three in intonation).
Alternative harmony can also be generated by accumulating a second interval (major or minor).
Sample
- Guitar Chord
Professor at the Department of Guitar at Berklee College of Music wrote the following books, which like their colleagues Chapman (2000) and Willmott (1994) are Berklee-textbooks courses:
- Goodrick, Mick (1987). Advanced guitarist: Applying guitar concepts and techniques . Hal Leonard Corp. ISBNÃ, 0881885894.
- Goodrick, Mick (2003). Mr.The Goodchord's almanac from the leading voice-guitar: The chord's name . Mr.The Goodchord Almanak from leading voice guitar: For 2001 and beyond. 1 . Liquid Harmony Book. ISBN: 0971185808.
- Goodrick, Mick; Miller, Team (2012). Creative chordal harmony for guitar: Using generic modal compression . Berklee Press. ISBN: 0876391285.
- Peckham, Rick (2007). Berklee jazz guitar dictionary . Berklee College of Music. Ha Leonard. ISBN: 0876390793.
- Peckham, Rick (2009). Berklee rock music dictionary . Berklee College of Music. Hal Leonard. ISBN: 0876391064.
External links
- Guitar on Curlie (based on DMOZ)
- Guitar Lessons on Curlie (based on DMOZ)
Source of the article : Wikipedia
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