(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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Some Thoughts on Piano Practice

ATTITUDE: Approaching piano practice. Are you the serious type—a perfectionist? When learning new skills, are you tough on yourself? Do you feel frustrated if you think something's not going the way it should? Are any of these traits helpful in learning to play piano? Let’s just say, yes...up to a point! I repeat, “up to a point”. It’s OK to be serious, but, not at the expense of enjoying the instrument. I've met too many students that take playing the piano waaaayyy too serious. They create tension, frustration, anxiety each time they sit down to practice. This builds barriers and slows progress. A little pressure, a little of these feelings at times are quite natural—and occasionally helpful. But there's a line we don't want to cross.

At some point in the near future, I'll be reviewing a great book called 'Effortless Mastery' by Kenny Werner, a great performing and in demand studio and workshop pianist. In the mean time, give it a look up. It might be for you.... I would say that it's really not for the beginner though—but I could be wrong about that... I think it depends on the personality of the student. He has some fascinating thoughts and techniques on practicing the piano. His thing is leans towards a philosophical/new age approach rather then a 'how to' thing. And oh yeah.... it works! Just one quote from the book is...

"...if you've constantly pointed to other players and thought that they possessed something you didn't, or if you've practiced for years and never really improved, or if you always play great but your music lacks depth and meaning for you, read on."

Fact is, most people are not studying to be a concert pianist or a jazz/pop pianist. They begin studying piano to be able to sit at the piano and play their favorite music; to make music. So, keeping this in mind, relax, feel excited, go slow, and enjoy your progress over the weeks and months to come.

Music is wonderful. It can be therapeutic, energizing, and revitalizing—and... there’s some thing special about a piano itself, it can be almost spiritual with its capability of creating beautiful music - even at the simplest playing level. We don’t need to be Chopin, Oscar Peterson or Elton John to play piano.With the right attitude, you'll find yourself progressing much faster.

Kenny Werner explains it like this: "when you sit down at, and touch the piano, you should have the same feeling as sinking slowly down into a warm bath”— “aahhhhh”

He has his students practice this feeling by having them slowly rest their hands on the piano keys, closing their eyes, and imagining this feeling while taking a deep breath, exhaling, and vocalizing the sound...“aahhhh.....”. This has them relax and feel good about what they’re about to do on the piano. It works! So, relax, enjoy, sink into the warm tub, feel good, and have fun! Get that "aahhh......" feeling going. By-the-way... this applies to all instrumentalists...... whom he teaches.

PRACTICING PIANO
How long? How often? Here’s a suggestion. (for beginners) Shorts periods at a time, a couple times a day in the beginning. There’s no need to sit down and practice one or two hours at a time, forcing, or thinking, “I’m gonna get all of this stuff down fast”. It doesn’t work that way! You can overload the mind. The mind tires more quickly for some people and concentration fades. Also… playing piano is not just a mental activity. The muscles are also learning. The mind has to work together with the muscles. You may understand something intellectually and therefore move to fast for the muscles to learn it… to… catch up to the mental.

Forcing yourself to practice piano for long periods of time in this beginning stage may be unproductive. You might even cause yourself to practice wrong, creating bad habits. Do a couple of 10 or 15-minute sessions in the beginning studying one thing well. During the day or night if you find yourself with a few minutes of spare time, such as waiting for the coffee to brew, sit down at the piano and review the past practice session. Follow this regiment for your beginning studies. In time it will become natural to practice for longer sessions without tiredness—the excitement of what you’re accomplishing will push you forward.

TEACHER: At what point should you consider getting a teacher? If you find over time that you wish to progress a bit faster, gain a more thorough understanding of the materials, and have past the stage of leisurely playing as a pastime, then seek out a teacher. See the ‘Finding a Teacher’ article.
What you cannot learn from self-study materials; are certain nuances such as ‘touch’, ‘expression’, ‘interpretation’, a sense of musical timing, and various other pianistic techniques. So, if that piano bug is bites hard, get a good teacher— you’ll be glad you did. And keep the fun factor, and the love of it... strong!

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