JumpStart for Chords - looking for feedback

[Naoise]

JUMPSTART FOR CHORDS V2 - (How to kick-start your chords) [707 words]
By a layman for the layperson [I am looking for constructive feedback, suggestions & on omissions/corrections - Thanks]


So where do you start ? Why use chords, which chords do you use, why so many variations, what is the best way to practice, what chords go together, why cant I get a simple answer to my questions (the Russian Doll syndrome).



The World of 7’s:-
----------------
You have seven days a week, seven primary colours, seven melody notes in a scale (A to G).
You can think of seven groups of chords that go together (depending on the Key).
So from the Key of ‘G’ (KoG) to the Key of ‘A’ (KoA). 80% of folk tunes will finish on a C note and 90% of them will have a group of 3 chords (CFG) for the key of C.
A pattern of Chord relationships with the previous and past chords emerges as follow-
KoA 1-ADE, KoE 5-EAB KB 2-BEF#, KoF# 7-F#BC, KoC 3-CFG, KoG 4 -GCD, KoD 5 -DGA,

This relationship of the 7 groups of chords can be expressed in the circle of chords (12 chords including flats/sharps and minor). Note that some chords are the same (Bb=A#, Eb=D#, Ab=G#, Db=C#0.

In terms of frequency of use: KoC-CFG, KoG-GCD, KoD-DGA, KoA-ADE, KoE-EAB, KB-BEF#, KoF#-F#BC.


Rag Time Chord Progressions usually follow:-
3-6-2-5-1.
For example if in D (1=’D’) – then B7,E7,A7,D7

Folk Music chord progressions usually follow
1-3-2-5-1


Where to use chords:-
--------------------
You use chords to provide backup harmonies/melody to a singer. See the Nashville Numbering system for a systematic approach to playing by ear.
Listen to a recording of a good base player/guitarist and practice against their style. Get a form that you are comfortable with (Thanks to Rick Lee).
Variations of the same chord occur due to ease of chord shapes, harmonies, ascending and descending melodies.

Use of Chord Tones:-
-------------------
You may wish to embellish a melody (especially slow airs) to avoid ‘typewriter’ style by exchanging a few melody notes with chords.
A Triad chord is made of 3 notes, with 4 strings you can have up to 4 notes in your chord.
If your melody note is ‘G’ for example (this becomes =#1 or root), your 3rd note is ‘B’, 5th is ‘D’.

Your chord can have 3 main variations (also others) –
variation1=1,3,5,1octave (as above), variation2=3,5,1octave,5octave and variation3=5,1octave,3octave,5octave.
The chord 7th is another variation with the 7th note (= ‘F’ if in this case if ‘G’=1) and hence ‘G7’.
So from the melody note you can substitute a variation of the notes (1,3,5,7) or octaves.

You will find a sound and configuration that will be comfortable.
You should DRAW out a TAB diagram of the stings with the notes upto at least the 12th fret.
Start collecting the chords you use and note the sequence (1,3,5,7 and other notes).
Google your favorite tune name and chords to find a starting point for the chords.


Chord Shapes and Practice:-
--------------------------
Start with 2 finger chords (see on MandolinCafe). The FFcP/4FcP (four finger closed position –i.e. no open strings) allow you to go up the neck in a Chord scale.
Practice each day starting with 30mins/day.
Relax the fingers and think of where to move.
1st move the ‘Luidin’ (pinkie), then slide along any using the same strings, then place the other fingers on new strings. If a finger is crossing more than one string make sure your thumb is providing the counter pressure opposite the location of that finger (to give it added strength).

Practice the different groupings (starting with the KoC above). Do 4 strums in a steady ‘Tick Tock’ clock rhythm with a steady right hand arm movement and maintaining without a pause while you change chords on the 5th strum.
Practice chord progressions (Mc Cabe and Music theory pages 70 & 71).
Practice your chord variation list to hear the differences in each chord variation.
Practice the Perpetual Motion chords (lessons on MandolinCafe site).
(more on this ?)


Suggested Reading:-
------------------
Reference booklet ‘Music Theory 101’ by Larry McCabe ISBN:0786659491, The Nashville Number System (with cd/cd rom: String Of Pearls)by Chas Williams 0963090674; Mike Marshall Mastering Chords & Theory DVD ASIN: B0013UQUV4;
Chord Tone Soloing (Guitar) by Barrett Tagliarino 0634083651; Folk Harp music Arrangements’ by Silvia Woods ISBN:093666102X



Legend:-
-------
#-Sharp, b-flat, m-minor, maj-Major,

[Naoise]

JUMPSTART FOR CHORDS & CHORD TONES V3 - (How to kick-start your chords) [953 words]
By a layman for the layperson (with a thanks to Rick Lee for proof-reading).

So where do you start ? Why use chords, which chords do you use, why so many variations, what is the best way to practice, what chords go together, why cant I get a simple answer to my questions (the Russian Doll syndrome).



The World of 7’s:-
----------------
You have seven days a week, seven primary colours, seven letters ('naturals'- notes without flats/sharps in a scale- A to G - white keys on the piano).
But remember the black keys on the piano, ( with the flats/shaps - there can be upto 11 melody notes, with sharps/flats).
The key of the melody, is the most important note of the melody and is usually the last note and with the chord of the same name.
The Key of G (KoG) there are seven melody notes, without the sharps/flats, the KoA seven notes are A, B, C#, D, E, F# and G.

You can think of seven groups of chords that go together (depending on the Key).
So from the Key of ‘G’ (KoG) to the Key of ‘A’ (KoA), for the KoC 80% of folk tunes will finish on a C note and 90% of them will have a group of 3 chords (CFG) for the key of C, whereas most in the KoG will finish on a G.
In terms of frequency of use: KoC-CFG, KoG-GCD, KoD-DGA, KoA-ADE, KoE-EAB, KoB-BEF#, KoF#-F#BC#.

This relationship of chords is called the 'I-IV-V' chord progression (major chords built on the 1st,4th & 5th note).
A pattern of Chord relationships with the previous and past chords emerges as follow -
This relationship of the 7 groups of chords can be expressed in the circle of chords (11 major chords including flats/sharps and minor).
Note that some chords are the same (Bb=A#, Eb=D#, Ab=G#, Db=C#).

In an alpha order (not the circle of 1/5ths) KoA=1 to KoG=7:-
KoA 1-ADE, KoE 5-EAB KoB 2-BEF#, KoF# 7-F#BC#, KoC 3-CFG, KoG 4-GCD, KoD 5-DGA.



Rag Time Chord Progressions usually follow -
3-6-2-5-1.
For example if in D (1=’D’) – then F#,E7,A7,D

Folk Music chord progressions usually follow -
1 - 3/6(minor) - 2 (minor/major) - 5 - 1


Where to use chords:-
--------------------
You use chords to provide backup harmonies/melody to a singer. See the Nashville Numbering system for a systematic approach to playing by ear.
Listen to a recording of a good base player/guitarist and practice against their style. Get a form that you are comfortable with.
Variations of the same chord occur due to ease of chord shapes, harmonies, ascending and descending melodies.
For the absolute beginner - try 'Fun with the Mandolin' below.


Use of Chord Tones:-
-------------------
You may wish to embellish a melody (especially slow airs) to avoid ‘typewriter’ style by exchanging a few melody notes with chords.
A Triad chord is made of 3 notes, with 4 strings you can have up to 4 notes in your chord.

Your chord can have 3 main variations (also others) –
variation1=1,3,5,1octave (as above), variation2=3,5,1octave,5octave and variation3=5,1octave,3octave,5octave (Remember those Arpeggios ?).
The chord 7th is another variation with the 7th note (= ‘F’ if in this case if ‘G’=1) and hence ‘G7’.
So from the melody note you can substitute a variation of the notes (1,3,5,7) or octaves.

If your melody note is ‘G’ for example (this becomes =#1 or root), your 3rd note is ‘B’, 5th is ‘D’ and 7th is 'F'.
So then with the four strings try various combinations of (Notes: 1,3,5,7 or 'x'-not used) on the strings to see which compliment the melody note being replaced.

You will find a sound and configuration that will be comfortable.
You should DRAW out a TAB diagram of the stings with the notes upto at least the 12th fret.
Start collecting the chords you use and note the sequence (1,3,5,7 and other notes).
Google your favorite tune name and chords to find a starting point for the chords.



Chord Shapes and Practice:-
--------------------------
Start with 2 finger chords (see on MandolinCafe website). The FFcP/4FcP (four finger closed position –i.e. no open strings) allow you to go up the neck in a Chord scale.
Practice each day starting with 30mins/day.
Relax the fingers and think of where to move.
1st move the ‘Luidin’ (pinkie), then slide along any using the same strings, then place the other fingers on new strings. If a finger is crossing more than one string make sure your thumb is providing the counter pressure opposite the location of that finger (to give it added strength).

Practice the different groupings (starting with the KoC above). Do 4 strums in a steady ‘Tick Tock’ grandfather clock rhythm with a steady right hand arm movement and maintaining without a pause while you change chords on the 5th strum.
Practice chord progressions from the Delux Encyclopedia'' (Mc Cabe and Music theory pages 70 & 71).
Practice your personal chord variation list to hear the differences in each chord variation.
Practice the Perpetual Motion chords (lessons on MandolinCafe site).
(more on this ?)


Suggested Reading:-
------------------
Reference booklet ‘Music Theory 101’ by Larry McCabe ISBN:0786659491;The AB Guide to Music Theory Vol 1 by Taylor, Eric ISBN1854724460;
The Nashville Number System by Chas Williams 0963090674;
Mel Bay Deluxe Encyclopedia Of Mandolin Chords by John Baxter 0786647973
Mike Marshall Mastering Chords & Theory DVD ASIN: B0013UQUV4;
Niles Hokkanen's GUIDE TO MANDOLIN CHORDS (AND HOW TO USE THEM) by Niles Hokkanen . ... ISBN:
Mel Bay Deluxe Encyclopedia Of Mandolin Chords by John Baxter 0786647973;
The Mandolin Chord Book by James Major 0825622964(possible chord sets for each key);
'Fun with the Mandolin' by Mel Bay (9780871664501-without the CD);

Also -
Folk Harp music Arrangements’ by Silvia Woods ISBN:093666102X;
Chord Tone Soloing (Guitar) by Barrett Tagliarino 0634083651;



Jargon:-
-------
#-Sharp, b-flat, m-minor, maj-Major,


From the end of the Middle Ages to today, composers and performers in western Europe gradually developed widely accepted standards for tuning, melody, harmony, meter, notation, form, counterpoint and other music basics (grammer of music with the terms listed below).

Root-note (i.e. "key"). The root note is the note that the music is centered on or built from. You could say its the "main note" in a song.
Tonic - The note on which the major scale is based. The major chord built on the tonic, designated I, is the eventual goal of any song.
Diatonic scale - Scales played on the white keys of a piano keybord
Pentatonic - This is a type of scale using 5 different notes. Penta means 5 and tonic means tone. So a pentatonic scale is a "five tone scale".
Transpose - Transposing to another key or root simply means to move our scale, etc to another key or root note. It will be the same scale, but now centered on a different key.
For example, if you have C, F, and G (I, IV, and V), and you want to transpose to the key of G, then use the I, IV, and V of G, which are G, C, and D.


Melodic-interval - A single note.
Harmonic-interval - Two notes at a time.
Chordal-interval - Three or more notes at a time.

Major - Type of scale or chord that sounds bright, happier, and more upbeat. It has no flats in it. T
Minor - Type of scale or chord that sounds darker, maybe more sad, gloomy. Minor scales or chords do use flats.
Major chord - A chord consisting of a major third and a perfect fifth. For example, a D major chord (D) contains D, F#, and A.
Major scale ('Ionian mode') - A group of eight notes with the following whole step/half step pattern between them: W-W-H-W-W-W-H. For example, the A major scale consists of A, B, C#, D, E, F#, G#, and A.

Circle of Fifths - A circle or tool showing the relationships graphicaly of keys.
Seventh chord - A chord consisting of a major third, a perfect fifth, and a minor seventh. For example, a D seventh chord (D7) contains D, F#, A, and C. Major seventh chords (notated maj7) contain a major seventh instead of a minor seventh.
Suspended chord (Sus) - A chord containing either the root, second, and fifth (sus2), or the root, fourth, and fifth (sus4)


Mode (i.e. scale)- applies to a group of seven note scales starting on the following tones -
The first tone = 'C'('Ionian');2nd tone ='D' ('Dorian');3rd ='E' ('Phyrigian');
4th ='F' ('Lydian');5th ='G' ('Mixoydian');6th ='A' ('Aelolian');7th ='B' ('Locrian')
In terms of frequency - Dorian - Ionian - Aelolian - Mixolydian
The most common Irish major mode is Mixolydian where the 7 is flatted.
Mode, modal, modality -is often applied only to music that follows rules other than Western classical music's rules of harmony ('tonal')
Modal - a piece of music was not in a particular key based on a major or minor scale. Instead, it was in a particular mode.
Mode - usually a collection of melodies/phrases - may look like a scale, since it lists the notes that are "allowed" in the piece of music and defines the tonic of the music.
Modulation -
Tonal music is music in which the progression of the melody and harmony gives the strong feeling that the piece has a note and chord that are its "home base" (returns to it's final chord)

[Jim Broyles]

3-6-2-5-1 in D would be F# B E A D. You left out the B.

[MandoSquirrel]

I assume you meant "good bass" player,rather than "good base player"?
("constructive feedback, suggestions & on omissions/corrections")

[Naoise]

Muchos muchos - Go Rob My Hat (Phonetic 'Go Raibh Maith Agat' i Gaelic) thanks

An interesting overview of 'How Music Works' by Howard Goodall see the following sites -

http://www.youtube.com/watch?v=PnbOWi6f_IM

http://www.howardgoodall.co.uk/presenting/HMW.htm