POP AND JAZZ CHORD PROGRESSIONS #2

PREREQUISITE: Knowledge of the Scale-Tone Seventh Chords and the major scales.

In the last post, POP AND JAZZ CHORD PROGRESSION #1, we discussed how certain chords types tend to gravitate to others. I borrowed from (and took a liberty here and there :-\ ) Randy Halberstadt’s ‘Cosmos’ metaphor for theory discussion.

We focused in on just one of the twelve planetary systems within our harmonic galaxy with the sun being the center —the major (I) chord in the key of ‘C’. We learned that each sun has planets, (green) that surround and are pulled/gravitate toward it—these are the ‘Scale-Tone 7th Chords’—with the (V) planet (G7) having the strongest gravitational pull. Let’s zoom out and take a look at a larger picture; the pop & jazz harmonic galaxy which contains twelve solar systems; representing the twelve key centers. Below is a look at that galaxy. Here's a PDF DOWNLOAD of it for a larger look.

Without getting to scientific, technical, or philosophical, mostly because I can’t :-/ —keep this thought in mind. There is a motion, rhythm and vibration at every point in the entire universe. And what makes music pleasurable are those mechanisms that we hear and feel.

THE CYCLE OF FIFTHS

Looking below, we see that our harmonic galaxy moves counter-clockwise from sun to sun in perfect 5th intervals—what we call the Cycle of 5ths.

It is the natural order of all things musical.

This is your foundation… your everything for learning chord progression/movement, how they pull/gravitate to one another. This chart shows how key centers/solar systems move toward each other.

But, as you will see very soon over the next posts, each key center has its own cycle of 5ths. This is where you begin to put to use how chords move within the key of a song. And I will demonstrate how that will work with many familiar tunes.

Here’s what you need to know, and do, to get the cycle burned into the brain.

Even solar systems/key centers gravitate to one another. If you just have to know WHY it moves in 5ths, you can do a google search for the ‘overtone series’ for an explanation. This is your foundation, your everything for learning and using chord progressions/movement, and how they pull/gravitate to one another. Here’s and exercise for moving around the cycle of 5th galaxy.

BACK TO THE TWO MOST IMPORTANT INTERVALS

We said the two most important scale-tones in any chord are the 3rd & 7th? Even though we only discussed them pertaining to the (V) chord in the last post, which created the tri-tone interval, it does not mean that every 3rd & 7th tone of every chord is a tri-tone. Yet they are still the primary tones for all... chord recognition.

Now there may be sharpie or two out there that will tell me that there ARE chords other than the (V) chord that contain a tri-tone—and you’d be right. But for my purpose right now, I’m only talking about the most important one (the dominant 7th)—with the strongest pull home.

Why I segregate the (V) chord from others will become an ah-ha moment when I talk about chord substitution. OK.... on to the exercise. Let’s move from key center to key center, sun to sun, using only 3rds & 7ths (Are ya still with me? I know, this is a longy)

In the previous post you downloaded and practiced the (V) to (I) exercise. Right? :-) Well, here for the purpose of learning the 3rd and 7th scale-tones on (V) dominant 7th chords only, we’re going to take the (V) planet of every sun, (key center), and move it around the cycle of 5ths using the 3rd and 7ths tones in the right hand and the root/bass note in the left. Download the large PDF here before you go blind.
For any techies out there, some of the spellings are not enharmonically correct. It’s for simplicity sake. And for those that don’t know what I’m talking about... fa get a bout it. Just do the exercise.

Tri-Tone (V Chord/Dom7th) Practice

Through All The Major Key Centers

Here’s the galaxy representation of the above exercise. Check out the green planets. Stop squinting, you’re gonna hurt those eyes. Get the large PDF here.

Ok... one more exercise. We’re going to cycle around just the key centers (the suns) using the same format. Take a look below and also get the large PDF here.

Ok.... I think you’ve had enough. Good job. I hope that this is making some sense to you. I suspect I might be overdoing it a bit. Maybe I’m entertaining myself at the same time learning about all this graphic stuff? Can’t go back now... “straight ahead”, as one of my favorite music teachers used to say.

In the next post, I’ll be covering one of the moon’s that pull toward the planets. This will cycle us back to the first post on the subject. Then, we will have a complete understanding and working modal for the most important chord progression in pop & jazz harmony.... the (II) (V) (I) progression. And....

There will be many, many examples of how all this is used in tunes. I’ll be showing and recording a ton of sound files along with PDF’s so you could follow along. Thanks for listening!

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POP AND JAZZ CHORD PROGRESSIONS #1

PREREQUISITE: Intermediate/Advanced: Knowledge of the 'Scale-Tone Seventh Chords'  This will be a series of posts.

CHORD PROGRESSION(S):

If I have to give it a definition, I would say that a chord progression is a series, or sequence of harmonic (chord & root/bass line) movement in a particular order that "feels and/or sounds right"—a system of movement (voice leading) that seems to make sense to our innate understanding of western music.

It is something that every aspiring pianist (musician) should be skilled in - that is, the understanding of, creating of, and even altering of existing chord progressions (movements) to create new ones. Once again, this is not about HOW the chords are voiced (chord quality) but, how they move and attract to one another.

Randy Halberstadt, is a top flight multi-dimensional pianist who has been a major figure on the Pacific Northwest jazz scene for many years. In his very popular book, ‘Metaphors for the Musician’ Randy explains chord movement through the use of his ‘Solar System’ metaphor. I think it’s ingenious and have asked Randy for permission to borrow parts of his system to incorporate in my teaching of the subject. RANDY’S WEBSITE

I have put some twists on it though. I haven’t made it better, that would be impossible. I’m just putting a few twists and turns on it for my purpose. I highly recommend this book for intermediate and even advanced jazz players. I’m envious of Randy’s amazing and creative mind that has approached the wide spectrum of modern piano playing with such creativity, clarity and innovation.

Put those other books down for a while and dig into this amazing approach. There will be many surprises not seen even in the other industry standard publications. I will be doing a complete and thorough review of Randy’s book very shortly.

Below is a picture of the complete ‘C major Solar System’. I will break it into smaller pieces using it many different ways, then, building it back up to its complete form step by step.

So take a peek at it, but don’t try to decipher or make any conclusions about it yet. I will take you on this fantastic journey slowly. Here’s a PDF DOWNLOAD of the chart.

For the time being, if you have to, you can associate the I chord (the sun) to the key of ‘C. It is the center of our C major solar system—which is only one of the twelve planetary systems in the harmonic galaxy. The planets, (green) that surround the sun,

are pulled

(gravitate)

toward it. These are the ‘Scale-Tone 7th Chords’. But let’s start at the beginning when first there was the sun—and the planet with the strongest gravitational pull towards it… the (V) planet. (G7)

First Steps In Learning (Understanding) Chord Progressions

In order to create, understand, and use chord movement/progressions to sound great or create your own sound, the first step in my opinion is to know the two most important notes (scale-tones) of any chord—and they would be the 3rd and 7th scale-tones of all chords. They are the two most important tones for chord recognition.

When you play a tune with the proper sequence of chord progressions, chord movement, (and good phrasing), a natural flow/pull is created - you take your listener on a journey with you. They get caught up in the flow, the pull toward other chords. They might demonstrate this by singing, humming, clapping, snapping fingers, tapping a toe, dancing, laughing or crying.

Tension and Release

Many times the feelings created in others while listening to music is caused by 'TENSION and RELEASE'. The beginnings of creating 'tension and release' in your music is knowing how one chord/planet naturally moves/gravitates to one another using the 3rd and 7th intervals.

There is NO RELEASE without first TENSION.

Tension and release is found in every part of our everyday life - physically and mentally. In nature, a beautiful warm sunny day (release) feels even more magnificent after a long dark, loud, rainy storm. (tension)

How much better do you feel (release) when the headache (tension) is gone? (release) Why does making up with a loved feel so fantastic (release) after a disagreement? (tension) When watching a frightening scene (tension) in a movie, how do you feel when is done with? A big sigh of relief? (release) There are thousands of tension and release mechanisms that exist.

The Five to One Chord Progression

One of the most common and important examples of tension and release in music is the V - I chord progression/movement. The (V) chord/planet has the strongest gravitational pull to the C Major (Sun) key center. We will discuss why when I post about the ‘Cycle of Fifths’.

G7 (V) to Cmaj (I). Let’s take a look at why and how this works. It is essential to know every V to I progression/movement in every major key center. (solar system)... There are (12) of course.

Look at the graphic below. In Bar 3, notice the 3rd and 7th scale-tones of the G7. (B-F) Play just the B-F in the right hand and notice how un-settled, un-final it sounds by itself. Not until it is resolved to the Root and third scale-tones (C-E) of the (I) chord does the tension release.

From B to F is precisely 3 whole steps in its scale. In a Dominant 7th chord, this is known as a ‘Tri-tone interval.

Looking at the Tri-tone and resolution in reverse.

The 'Tri-Tone' Interval, the B and F tones are exactly one half step away from (they surround) the Root and 3rd of the (I) chord tightly—which is a 'Major Third' interval.

So, ALL of the above is simply about how the 3rd & 7th scale-tones of a V chord, (tri-tone-tension) resolve smoothly to the R & 3 scale-tones of a I chord (major 3rd-release).

So, to summarize…

1. The V chord has the strongest gravitational pull to the key center (the sun). The V to I chord progression.

2. Why? because of the tri-tone contained within the V chord closely surrounds the R & 3 of the I chord… or key center (the sun).

Here’s part of a PDF download I made for you to practice this around the Cycle of Fifths. Download it and take it for a spin.

The next post in this series discusses the Cycle of Fifths

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The Scale-Tone 7th Chords - PRACTICE #1

I've created this post in response to Rob's question regarding practicing the Scale-Tone 7th Chords around the cycle of 5ths remaining within the key you begin.. If you do not know what the cycle of 5ths is, I suggest you read the post 'Cycle of 5ths - Introduction and Theory'.

First: Take a quick look at the Scale-Tone 7th Chords post on this subject.







Ok, as we know, the cycle of 5ths, if we start on 'C' will be...
C--F--Bb--Eb--Ab--Db/C#--Gb/F#--B--E--A--D and --G.

So, if we started playing the Scale-Tone 7ths Chord From C,

we can see that if we follow the traditional cycle of 5ths pattern we run into a little trouble trying to stay in the key of 'C'. What follows the IV chord in the chart below is a Bb chord which steps out of the key of 'C'. Now this is ok if you wanted to practice your major 7ths around the complete cycle covering all (12) tones of the keyboard because as you can see it continues to Eb, Ab, etc.







In order to stay in the key of 'C' we need to make a small adjustment to the cycle. Let's change the Bb above to the VIII (Bm7b5) of 'C'. Then we will continue going through the cycle until we get back to the (I) chord. So the Bm7b5 is not a true 5th interval after the Fma7, but this adjustment is acceptable for the purpose of practicing the Cycle of 5ths within a key signature.








So the Cycle of 5ths pattern from with a key signature is this:
I---------IV-------VIII------- III----- VI----- II-------V,------and back to I
Cma7--Fma7---Bm7b5---Em7---Am7---Dm7---G7-------------------Cma7

Practice your Scale-Tone 7ths in a cycle of 5ths pattern starting with different keys. Here they are in 'F' and in 'G'.

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Major and Minor Triad Series - #1 Beginner

This is going to be a series of posts on Major and Minor Triads. Most beginner and intermediate players view them as just simple basic chords. While this is true, it's also true that these simple chords can be used for an advanced level of play creating fantastic fills and and greats sounds. (hear the sound file below)

Beginners, if your plan and desire is to get to an intermediate/advanced level of play, do not... take these simple chords for granted. Master them well and some interesting surprises are in store. If your plan is just to play some simple enjoyable piano tunes, knowing just these will enable you to do so.

FIRST THINGS FIRST: Let's learn a simple non-theory, non-traditional way of learning all the triad chords. We're just going to use 2 simple rules to get you up and running quickly.

MAJOR TRIADS - THE 4-3 RULE:
Put your right-hand thumb (1) on middle 'C'. Using your left-hand pointer finger, count up the very next (4) notes. (4 half-steps which takes you to (E). Now put your right-hand pointer finger (2) on the (E). Using you left-hand pointer finger once again, this time count up the very next (3) notes. (3 half-steps which take you to (G). Now put you right-hand ring finger (4) on the (G). You now have the three notes of the 'C' major chord. Play all 3 notes together using the 1st, 2nd and 4th fingers of the right hand.











Now I know that the fingering 1, 2, & 4 may be a bit different than what you may have learned, or even a bit controversial for others, but I have strong reasons for keeping that (5) pinky free. We'll see why when we start to learn 'Chord Melody Playing' in future posts.

With the 4-3 rule you can immediately find the notes of all major triads. For example, if you needed to play an Eb major chord you would start with placing your thumb on the Eb. THEN... apply the 4-3 rule FROM there. Up (4) to (G). Then up (3) to Bb. You then have Eb, G, & Bb... the Eb major chord.

In the left hand, the fingering is the exact opposite, a mirror of the right-hand fingering.










MINOR TRIADS - THE RULE
This is an easy one, IF, you know your major triads. Just lower the middle note of the major chord (1) half step. C, E & G is a 'C' major chord. Lower the 'E' to and 'Eb' (1 half step) and you have the 'C' minor chord. C, Eb, & G.

Here's a sound file for some further discussion and reinforcement.



Some will listen to that simple musical excerpt and find it hard to believe that absolutely nothing more then pure major and minor triads were used. That's the power they have and why it can't be stressed enough to master them. There's much more that can be done when one knows them well. So much of advanced harmony can be bypassed using triad combinations.

Below are the PDF's of the major and minor triads in the groups you could begin to practice. They are all shown in the root (basic) position. (As opposed to the inversions - I'll explain in a sec) Pick a group per day. Know them well in this position in the left and right hand well. If you do not read piano bass clef (left-hand clef) well, just learn the right-hand then play the exact same notes and octave lower on the keyboard.

Right-Hand Major & Minor Triad Download
Left-Hand Major & Minor Triad Download

And lastly, inversions. Notice below the first chord... the 'C' major chord in the root position. If you take the bottom note 'C' and move on top of the 'E' and 'G', (the 2nd chord shown) you still have a 'C' major chord, but in the 1st inversion. If you the 'E' of the 1st inversion chord and move it above the 'G' and 'C', you now have a 'C' major chord in the 2nd inversion. And finally... back to the root position.






Inversions can be a real challenge to learning chords, but well worth the effort. The PDF download below is of all the inversions for a the groups of triad chords learned is shown only in the right hand. For the hobbyist and intermediate player it's more beneficial to learn them in just the right hand. It's where you will use them most.

Download it here. You'll see in the PDF that you will just play and hold down the left-hand root position chord while the right hand plays the inversions. And it's NOT suggested that you read them as you practice. (the chart is just for reference) Practice them using the rules you've learned with no music in front of you.

Again, if you do them in the familiar groups.. C, F, G. -- D, E, A. You will learn them faster, as they have the same look and feel of each other. Your muscles will learn faster. (Muscle Memory - 'for another post')

Just go slow and do a group at a time and over a few short weeks you will begin to run on automatic. Have fun! And if you need some extra help, just give me a shout.

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What's Stopping You From Learning Piano?

I don't think I've ever played piano in public where I didn't have at least one conversation with someone who said to me "I wish I could play". Or, "I always wanted to play". Or, "I played years ago and wished I had never given it up". And my typical response to those statements was, "what's stopping you"?

A typical response from them might be, "I don't think I can at my age" or "It's to late now". I would usually ask them why they wanted to play piano. 99% of the time the answer was that they just wished they could make music and that it would make them feel so good. Never did anyone say they would like to become a professional musician and start a career in music.

That's the typical desire of adults who want to play. So I would put on my psychologist hat and begin asking a series of questions. One question might be, "do you cook"? Many would say "yes". "Do you plan on becoming a professional chef"? Some people learn to drive well into their adult years. I'm sure it's not because they want to run the Indy500. People begin all kinds new skills and learning at all ages, yet when it comes to playing the piano, there's an intimidation factor involved.

I usually tell that I'm sure if you started your lessons, your plan would not be to become a Van Cliburn, or Roger Williams or Oscar Peterson, or Billy Joel. "Right"? And they say, "of course not, I just want to play for enjoyment and relaxation". Then, "time's a wastin. Find the nearest piano teacher and get goin"!

But why is so tough for so many to take the step? What's the intimidation about? Many are all tied up in a couple of myths regarding playing piano at an advanced age. (Advance age meaning 30 to 80) Here a couple of those myths with an argument to dispel it.

MYTH #1: "I don't think I could learn at my age"
As stated above, it's about enjoyment and relaxation... and maybe even health! You see, the problem arises because comparisons are made. They listen to professionals and think that they will never play like that. Well guess what? It's most likely true. But remember, THAT'S not the goal. The comparison of how they think they will play compared to the professional intimidates them. There's an old saying; "compare and despair".

Actually, one can make some pretty nice piano music at any age..... that' right, I said any age. They can reach a level where they could play a variety of song's and styles at a very enjoyable listening level. And that's the goal. To be able to look at some sheet music and be able to transfer the written notes on the page to the keys of the piano. I've had students from 50 to 80 who were thrilled at what they accomplished—because they approached it from the fun, hobbyist point of view...... no pressure to become something they need not become.

MYTH #2: "I'm not musically inclined"
If a person can dance, hum or whistle, or tapped their fingers to a tune they love, then they're musically inclined enough to learn to play at an enjoyable level. The primary ingredients needed to begin playing the piano is their love of music and how it makes them feel. The combination of all of the above is all it takes. Then learn to transfer those feelings to the piano keyboard.

Great piano finger technique is not needed. The majority of my adult students have never performed a single finger exercise throughout their complete learning experience. Whatever technique they needed was developed from within the songs and styles of music they were learning. It was all that was needed to fulfill their goal.

So, if you're a player, encourage any friends or relatives who had expressed a desire to play, to do so. To go for it. To make it fun. To go for it. If you've come across this article and you don't play but want to, find the nearest teacher in your city or town and make the move...... remember; "compare and despair".

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(Cool) Tool - For Finding Lyrics... and more!

Here is great tool for finding the lyrics to virtually any tune... But it's MUCH MORE than that... so hang on a bit. It's at the bottom of the page. Just type the title of the song you want the lyrics to in the last (bottom) field an click 'go'. You'll get a choice to view the lyric, and list of various artists that performed it.

Why am I posting a lyrics tool here? What does it have to do with learning or improving your playing? The answer is in the following question: Why do so many students learning to play an instrument find themselves frustrated by their own playing - their own sound - their own performance? They know the chords and melody to a tune well , there's no hesitation when playing it; but something is "just not right", in their own words.

One of the reasons is that they have no clue as to what the lyrics are and may not have heard it performed many times, or, not payed much attention to it when they HAVE heard it performed. In other words, they have not yet learned to listen to and be aware of what is called 'phrasing'. Being familiar with lyrics will have a beneficial effect on your playing.

This is important; so keep reading to hear audio instruction & demonstrations of what I'm talking about.

Have you ever listened to a speaker giving a lecture that you enjoyed? What made that so? Was the information so interesting that you just loved listening to him/her? Or, (think about this) was it that they were exciting in their presentation? I'll bet they paused after certain sentences, they most likely raised and lowered the volume of their speaking, they sped up and slowed down (changed the pace) at various times? The CREATED INTEREST. In musical terms....... they phrased beautifully.

What if they spoke for an hour in a monotone voice at the same speed and volume without taking a breath until necessary? How fascinating would the information they're speaking of be? It wouldn't be... because you'd be sound asleep in minutes. Well, many students of music play that same way.
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What makes the great singers great? It's definitely not just 'a great voice'. Most people tend use that term generically. What really moves people, making them 'love' his or her voice is the way they use it; how they tell a story. They tell it with feeling, creating an emotional response in the listener. Look at Frank Sinatra for example. Did he have a GREAT voice in the traditional sense? Some would say yes, others would say his VOICE, was really... 'not a great one', "but I love the way he sang".

He had a special ability that had millions of worshipers follow him like he was a God. He knew how to tell a story (phrase). I've heard musicians throughout the years say things like, "nobody can phrase like Frank"! Many musicians made listening to him part of their training - as well as other singers like Ella Fitzgerald and Mel Torme. Many an up and coming jazz player would be happy to do on their instruments what these singers could do with their voices. (meaning improvisational and expression wise) I'm sure that if any of the aforementioned sang in a monotone voice with not much emotion, they would have not reached the heights they have.

Now, I know I'm showing a bit of my age and preferences with these analogies, but this is just as true for all the great contemporary artists alike. This is only one aspect as to what makes a better player. An important one. There are others elements; but I'm focusing on this, now, for the lesson of ..... 'paying attention to lyrics' for better expression in our playing.

And here's the best part. One does not have to be virtuoso or have years
of playing to be interesting and listenable to others—just as a singer does
not need a "Great Voice". Just functional technical skills are enough, IF, our
playing has good phrasing.

Let me give you some simple explanations and examples at an intermediate playing level. We'll use the songs 'My Funny Valentine, and 'When I Fall In Love'. Here's a sound files. The left hand is simple, just playing a broken basic triad pattern. (we'll learn these very soon). First: My Funny Valentine.

Now let's see how this works with 'When I Fall In Love'

So, do some lyric listening (or a lot) and you'll see over time how you will begin to play a bit more expressively. And remember; make it fun.

“Silence is the fabric upon which the notes are woven.”

~Lawrence Duncan

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Blues Scale Theory Clarification

Prerequisite: Some familiarity with the Blues Scales. Let me say that this is not a 'how to create and use blues scales, or over what chords they're used, or the use of Blues Scales in tunes—that's coming soon.

Over the years I have come across tons or material teaching the Blues Scale. There are varying opinions where to start, what they're called, how they're fingered. etc. Some individuals even ad or detract notes from the scales—which might be misleading and confusing to the person learning the Blues Scales. In short; from the overly simplistic to overly complex. I hope to clear the confusion now except for the fingering which will be part of 'Learning the Blues Scales' post. (coming soon)

Ok... a student buys a book on the blues or a scales book and may see any one of the following configurations of a blues scale.





This configuration might be labeled the 'C Blues Scale'. Or, It might be called the
'C minor Blues Scale'.

Maybe this is what they'll come across first.





This configuration might also be labeled the 'C Blues Scale'. Or, it might be called the  'C major Blues Scale'.

Then what usually follows are instructions to learn them in all keys. The student now proceeds to learn 12 minor blues scales and 12 major, with all kinds of fingerings—thinking of them as separate entities. (not necessary as we'll soon see) Or, there are some examples of their use in playing the blues or how they can be used against various chords in other types of tunes.

What's very rarely mentioned is the fact that they (the major & minor blues scales) are related. That when looked at from a different perspective, they are actually the same—one scale, with the same fingering. When we know this, we only have to learn only 12. And for the hobbyist, 3 or four will suffice.

Let's see what I'm talking about: Take a look at the configuration of what some call the 'A' blues scale—or, 'A' minor blues scale below.





Do you know your basic scale theory regarding 'relative minors'? If yes, and we call the configuration of the above blues scale 'A minor', and you think of 'A' minor as the 'relative minor' of/to 'C' major, the magic begins. So, we understand the 'A' and 'C' are related, right?

If you do not know your 'relative scale' theory, just think either a 'step and a half up' from 'A', or a 'major 6th down from 'A' takes us to 'C'. So, we understand the 'A' and 'C' are related, right?

OK, take a look at the pic below. 1A is the 'A' minor configuration shown in the graphic above. 2B, the major blues configuration of 'C'; they're the same scale. We just bumped off the 'A', and begin playing from the 'C'—the relative major to 'A'. Of course, this works in reverse.

Or, if you began, or learned the blues scale in the major configura- tion, (C), you would just begin playing from a step and a half down, or a major sixth above, arriving at 'A'.

Marry up these two scales and think of them as one scale. You'll see the benefit in future posts on playing the blues.

Starting on 'A', just one scale - two in one.






Starting on 'C', just one scale - two in one.






LET'S TAKE A LOOK AT ANOTHER ONE.
2A is the 'C' minor blues scale configuration. Follow the above explanation and you arrive at the 'Eb' major blues scale... or, the opposite.

Or, if you began, or learned the blues scale in the major configura- tion, (Eb), you would just begin playing from a step and a half down, or a major sixth above, arriving at 'C'.

Again, marry up these two scales and think of them as one scale.

Please remember so there's no confusion. This is not about how they're used in tunes or what chords they fit. That will depend on other factors; what key are we in, chord quality etc. (All for future posts).

If I was put into a corner and forced to say what the most common vernacular musicians and teachers use regarding the blues scales; I would say that when hear or read the words, "hey, play a 'C' blues scale here", the minor configuration is what is meant.

And if just the minor form is mastered, you will automatically know all the major forms. (a major 6th below or minor 3rd above) So when you study various periodicals that may refer to the major form, or talk to musicians who use major form vernacular for various reasons of there own, (theoretical or personal) you will have a clear understanding and easier way to know the scale.

Here are the more common blues scales that should be married up.... two in one.
E minor blues scale / G major blues scale
A minor blues scale / C major blues scale
D minor blues scale / F major blues scale
G minor blues scale / Bb major blues scale
C minor blues scale / Eb major blues scale

If you have any questions, either use the 'comment' link below or feel free to contact me personally. If I could help you further or solve any confusion, I'll do my best.

And as usual. there will be complete Piano Blues Booklets covering various blues subjects in depth sometime in the near future.

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(Cool Tool) For Scales & Chords

I thought that this might be a handy (and interesting) tool for anyone beginning to study chords, scales and their theory from the basics right to the advanced stuff. This tool is brought to by' Erik van der Neut' which is on his website. It's a guitar site, but the tool is for all. Head on over and bookmark the page where this tool is. He calls it the 'piano room'. Have some fun with it. It's really terrific!

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Scale-Tone 7th Chords -- INTRODUCTION

PREREQUISITE: You've got to know the MAJOR scales and the major & minor triad chords. If you need a quick refresher, you can download a Major Scale Reference Chart here and a Major & Minor Triad Chord Chart here.

It is highly suggested that you go through the 5-quality jazz 7th chords from the static 5-Quality 60 Chord System post first to learn how to build the basic 5-quality 7th chords. When one begins the study of the 5-quality jazz 7th chords from static position, (here) it's natural to view each chord as a separate entity. You will soon learn that they are not—they have as function... they are part of something larger then themselves.

The study of the 'Scale-Tone 7th Chords' will put the 5-Quality 60 Chord System post' into perspective. This is the basis, the foundation of modern jazz and pop harmony. When you understand this theory, you will look at sheet music from a totally different then before.

For example: These posts are the start of learning and understanding the relationship of one chord to another, and how chords function in chord progressions. When we know the function of a chords we can then determine which notes are appropriate to play with (fit over) a particular chord for improvisational purposes. And...how to create and further develop two-hand chord voicings. The term 'chord function' will become clear as we continue through this series of posts.

An important thought... Merely learning them as a dry theory exercise will not help you implement this knowledge in your playing—yet it's imperative that you gain a basic understanding of this theory. Unfortunately it can be a bland exercise... The good news is... that I will follow up with a much of information on its application. And, as always, on real tunes.

Also: I'm not trying to re-invent the wheel here. This information is readily available from may resources. This is a quick reference and introduction. My goal in future posts is to show you how they're used... how to apply!







Chords are built by adding notes a major or minor 3rd above the starting note (root) using only the notes/tones of the scale. Do not be concerned whether it's a minor or major third... just play a 'C' for example... skip the next note of the scale, 'D', and play (ad) the next note (E). Skip the next of the scale, 'F', and play (ad) 'G', You now have a 'C' major chord. C, E, & G.

Now, if you do the same, beginning on a different note of the C major scale, you will be building a chord on that tone. So, now we know that each note (tone) of the scale has a particular type (quality) of chord that corresponds (belongs or attached) to it.

These are known as Scale-Tones 7th Chords. The lowest note in the chord is the Root, or Tonic, and the chord will be named after it. The middle note is the 3rd. And the top note is the 5th.

Here are the Diatonic Scale-Tone Triad Chords. Each one starting from each note of the 'C' major scale.






We also label them with from I to VI. (see below).
This is VERY IMPORTANT for further studies.

Here's a small audio file demonstrating this in a couple of keys

And here is a reference chart with the rest of the major scales/keys.

NOW, LET'S BUMP IT UP TO MODERN POP AND JAZZ HARMONY
By adding one more note (a 3rd interval) above the triad, we create a 7th chord. Pop & Jazz Harmony is primarily concerned with 7th chords. All Scale-Tone 7th Chords consist of 4 notes. If we remove the 7th interval, (the top note) from the chord, we have only a simply triad chord which is rarely used in jazz voicings.

We form the Scale-Tone 7th Chords using ONLY the tones/notes of the major scale. And...we think of being in the key of root name of the scale we're using. So... if we're using, and building the Scale-Tone 7th Chords with/on the 'C' major scale, we will be thinking that we are in the key of 'C'.

THE FIRST SCALE-TONE CHORD WE LEARN IS A MAJOR 7th CHORD. Formed by starting with the first note of the major scale, (the Root) then continuing to play every other note going up on the scale for a total of 4 notes. These would be the 1st, 3rd, 5th & 7th intervals from the bottom to the top of the chord. And, it is addressed as the one (I) chord. Here's how the (I) chord is built.






All (I) chords are major. Therefore it is never necessary to address a (I) chord as,(I) major. It is assumed. When in a major key and we say (I) chord, it IS major. Now... keep this in mind... this is important.... I said all (I) chords are major. Not, all major chords are (I). You'll understand this as we move on.

THE SECOND SCALE-TONE CHORD WE LEARN IS A MINOR 7th CHORD. Formed by starting with the second note of the major scale, (D), continuing to add every other note.






THE THIRD SCALE-TONE CHORD WE LEARN IS A MINOR 7th CHORD. Formed by starting with the third note of the major scale, (E), continuing to add every other note.






THE FOURTH SCALE-TONE CHORD WE LEARN IS A MAJOR 7th CHORD. Formed by starting with the fourth note of the major scale, (F), continuing to add every other note.






THE FIFTH SCALE-TONE CHORD WE LEARN IS A DOMINANT 7th CHORD. Formed by starting with the fifth note of the major scale, (G), continuing to add every other note.






THE SIXTH SCALE-TONE CHORD IS A MINOR 7th CHORD. Formed by starting with the sixth note of the major scale, (A), continuing to add every other note.






THE SEVENTH SCALE-TONE CHORD WE LEARN IS A m7b5 CHORD. Formed by starting with the seventh note of the major scale, (B), continuing to add every other note.


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HERE'S THE SUMMARY CHART OF THE SCALE-TONE 7th CHORDS

So... the (I) & (IV) chords are major.
The (V) is Dom7th (dominant 7th)
The (II), (III), & (VI) are m7 (minor 7th)
And the (VII) is m7b5 (minor 7th with a flat 5th) - This is also referred to as a half-diminished.

Here's a PDF download copy of the above chart.
Here's a PDF download of all the rest of the Scale-Tone 7th chords keys for
reference and practice.

Now someone out there is saying..."hey, that's only 4 qualities of 7th chords, where's the diminished 7th? Remember: the Scale-Tone 7th chords ONLY USE the notes of the scale - none of these notes are altered. In order to play a diminished chord we would have to lower (alter) the 3rd (E) a half step to Eb. That would take us off the strict rule of using ONLY the tone/notes of the major scale. We will learn how diminished chords are used in conjunction with this harmony study in the near future.

Now, let's discuss how to practice these so we get these numbers into our head. If you're fairly new to this theory, one of the best ways to practice these and really get them into your head and hands is the 'SAY & PLAY' method. The SOUND FILE below will demonstrate exactly how to become familiar with this. I suggest your ultimate goal should be to be able to do this in all keys. Once you're pretty comfortable, you can do away with the 'say & play'.

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The 5-Quality Jazz 7th Chords From a Static Position

Prerequisite: You've got to know your major & minor triads well... and know your major scales. (check out the posts on these subjects) This post is primarily for intermediate players who wish learn and play more advanced chord voicings. This is the foundation on which all those modern, beautiful voicing's are based. In some circles it's called the '60 chord system'. What follows is the steps for 'voicing' them with two hands and then applying those voicing's to tunes. I'll be posting examples of that.

What follows is readily available from a variety of sources; but I have a problem with most of them... there's no follow-up on the application of this info. (or I just can't find it) Just the theory and presentation of this chord system will note be of much help. I will be posting HOW to use these chords on real tunes.

This is just 'One Way' of looking at... approaching... the jazz 7th chords. Another way would be the Diatonic 7ths. This is where we learn the relationship of one chord to another. This will be the subject of many more posts. But for now... I think this might be a good intro into the learning of the 7th chords.

Also, no highly technical or theoretical explanations here. I'll leave that to the academics. I just want you to have the basic foundation so we could move on. At the end of the post are a couple of links for some PDF reference charts that I have created. You can download them gratis.

Jazz Harmony is primarily concerned with 4-note chords called 7ths. With 3-note chords, we have only a simple triad chord. Triad chords are rarely used in jazz voicings. The 4-note 7th chords are formed from major scales.








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THE 1st QUALITY 7th CHORD WE LEARN IS THE MAJOR 7th CHORD.

We build/form the Major 7th chord by playing the 1st (Root), 3rd, 5th, & 7th intervals of the major scale or, (Every other note of the scale starting with the root)

I'm showing Cmaj7 as the 'Chord Symbol', but other common symbols might be CM7, Cma7, or just 'C' which is always interpreted as more than just a 'C' major chord.

THE 2nd QUALITY 7th CHORD WE LEARN IS THE DOMINANT 7th CHORD.

We build/form the Dominant 7th chord by lowering (altering) the 7th interval one half step - thereby playing the ROOT (1), 3rd, 5th, & b7th intervals.

THE 3rd QUALITY 7th CHORD WE LEARN IS THE MINOR 7th CHORD.

We build/form the Minor 7th chord by lowering (Altering) the 3rd & 7th intervals one half step - thereby playing the ROOT (1), b3rd, 5th, & b7th intervals.

THE 4th QUALITY 7th CHORD WE LEARN IS THE MINOR 7b5 CHORD.

We build/form the Minor 7th(b5) by lowering (Altering) the 3rd, 5th & 7th intervals one half step - thereby playing the ROOT (1), b3rd, b5th, & b7th intervals. Another common 'Chord Symbol' for this chord is seen above the Cm7b5.

THE 5th QUALITY 7th CHORD WE LEARN IS THE DIMINISHED 7th CHORD.

We build/form the Diminished 7th by lowering (Altering) the 3rd, 5th intervals one half step, and lowering the 7th interval by a two half steps. Thereby playing the 1st (ROOT), b3rd, b5th, & 6th intervals.

When the 7th is lowered (2) half steps shown with the symbol (bb) it just becomes the 6th. It simpler just to think of this chord as the 1, b3, b5, and 6th. As you can see, another common symbol for this is the small subscript circle next to the name of the chord. You may also just see (dim) after the name.

EVERYTHING ABOVE ALL COMES DOWN TO THIS 5-CHORD SUMMARY

THERE ARE TWO MORE CHORDS USED QUITE OFTEN THAT ARE NOT IN THE 7th FAMILY. They would be the C6 and Cm6 - Let's just say they're in the family. We build/form the Major 6th by playing the 1st (ROOT), 3rd, or (b3rd for minor) 5th, & 6th intervals of the major scale.







HERE ARE THE C6 & Cm6 INTEGRATED INTO THE 5-CHORD SUMMARY






Here's the link for a complete summary in all keys..........
Here's the link for a complete summary of all inversions.....

Now, how do you practice these? The audio above used the 'C', 'F', and 'G'. Practice these on one session. On another practice session pick 2 more... maybe 'Bb' and 'D'. And another time maybe 'Eb and 'A'. I just picked them by thinking in keys...... 'F' & 'G' have (1) accidental. 'Bb' and 'D' have (2). And 'Eb' & 'A' have (3) accidentals.
Don't overdue it, don't overload the brain. Just take a couple a day and it will all sink in over weeks. You have to allocate 'x' amount of time to each category of study. Organization is the key. I'm in the middle of writing some practice articles that discuss this very important factor. Ok... see ya shortly.

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Beginner Piano Booklet #1 Sample

I know that beginner piano stuff is done and overdone all over the net. So why am I adding to it? I guess because I really want to cover the full spectrum. If it works for some, great! I'd be the first to say that this is REALLY not the way to go (or any self-learn system) as an absolute beginner. But some folks just want some basic info for a hobby type enjoyment; or may not being able to afford lessons presently is why some might go this route. In that case, I'll also point you to some other great beginner resources that I find.

So, here's a sample of 'BEGINNER BOOKLET #1 that I'll be giving to all beginners. It will be ready soon for download. Then #2 and #3 will follow. Remember; any questions you have, feel free to ask for help.


Go Slow... Grab a Cup of Something... Relax & Take Your Time.

1. The Piano Keyboard: The piano keyboard is a combination of white & black keys. The white keys are laid out one after another—while the black keys alternate in groups of two & three..Count 7 white keys up from the white key just below a group of two black keys. The next key after the 7th, finds you back on the same key you started with, only at a higher position. This group of 7 white keys and the black key groups in between, repeat themselves for the complete length of the keyboard.

2. The Music Staff: Various Symbols, called ‘notes’ & ‘rests’ are placed on the ‘musical staff’ (staff, for short) indicate which keys on the piano keyboard are to be pressed down, and, for how long. It is the language of music.

3. Your Fingers Have Names: The fingers of the hands are numbered 1 through 5 from the thumb to the pinky. It is important to remember this as we will be referring to the fingers by their assigned numbers—their New Names. i.e. “Put the 1 on this note” or, “Play that note with the 4th finger” or, “Use the 3 & 5 instead” etc.

Now we have the ‘Keyboard’, ‘Music Staff’, and ‘Hands”.
All we need now are ‘Notes/Symbols’, to place on the ‘Music Staff’
so that the ‘Hands’ can play them on the ‘keyboard’.

LET'S GO GET SOME!
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4. Note and Time Values: The first type of note we learn is called a ‘Quarter (¼) Note’—a solid oval with a line (called a Note Stem)pointing upward or downward. Notes receive time values called ‘Beats’ or ‘Counts’.

A ‘Quarter (¼) Note’ receives, or is ‘Heard’ for ‘One Beat/Count’. And a Beat/Count is said like this: “One And”. The terms ‘Beat’ & ‘Count’ are interchangeable. We’ll just use the Term ‘Beat’ from here on.

Exercise #1: (Read the complete exercise explanation below before performing it)

Take the index finger (pointer finger) of either hand and press down one key around the middle of the keyboard. As you press & hold down the key, say out loud, “One And”. At the end of the “And”, release the note. You’ve just played a Quarter (¼) Note. Press down a few more random keys while at the same time saying, “One And” for each key - releasing the key only after you’ve said the “And”.

This is how ‘Quarter (¼) Notes’ will look on a measure of the Music staff.
A solid oval with a stem pointed either up or down. We’ll learn note names and more are very soon... Patience....




As I said, the full booklet will be available soon...... and plenty of other beginner stuff... have fun!

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