I think putting some info about the chords here would be so helpful.
................

As you know there are 12 major triad chords and 12 minor triad ones in the major scale or its modes (with considering all of the keys and omitting the repetitions and some inversions of course). This sheet shows all of them. If you'd notice, you'd be discover that every chord has just 1 note differing from the previous one. Odd ones are major and the evens are their relative minor. Without repeating. This is good for practicing with just one finger repositioning in every change.

I got it by circulating around the circle of fifth on the counter clockwise direction. Flatting and sharping have been selected based on it.

 

Last edited by a moderator: Oct 28, 2015

cant even read it, but my ears so most of the work. nice CS

http://postimg.org/image/h8ljga2y9/

 

http://www.looknohands.com/chordhouse/piano/

 

Awesome hushiwuschi
love this retro NEON BLUE,

 

As you know, general info exists every where. Please post the materials that stream lines the learning. Being lost in the chord world is so easy.
If you look at the original post, you'd see it's so tricky. Some of your intelligent experiences please!

 

Major: R 3 5
Minor: R b3 5

Substitute R for the 12 notes.


IMO, more important than that chromatic list of chords would be to relate where major or minor chords happen within the diatonic framework.

 

Slash chords are inversions.

To simplify things I transpose my keyboard to C = Tonic (A for relative minor), and I studied all about the key of C, chord variations and inversions etc.

Yes, I'm lazy but I can easily compose in any key.

Try to think in terms of I ii iii IV V vi and R 2 (b3) 3 4 5 (b6) 6 7 R etc.


Also checkout http://www.hooktheory.com/theorytab

 

Last edited: Oct 28, 2015

Yes, That's right. Formulas are the simplest one like the act of f..king (push, pull .Sorry for that ) but the problem is when you are sitting behind the keyboard, tricks help more than formulas and are quicker. I mean visual memory is more immanent than formulas. I think most of the time formulaicly but when I'd start to play, my memory is not comfortable with it and takes time to find something and I don't know why. Specially when you deal with the inversions.

 

Last edited by a moderator: Oct 28, 2015

Thank Yiiiioooouuuuuuuwwww

 

How's that stuff in your first a trick to play?

If you know your intervals, they will always be in the same place in any situation and you don't need tricks.

Dude, don't post that kind of stuff or "they" will think you are me.... and don't even get near that other topic with that kind of info/workflow/mindset.

 

@foster911,

Remember that chord formulas are like this: R - b3 - 5

The formulas for the inverted chords are the same. If you want to write them to reflect the inversions, simply adapt them as a different voicing: b3 - R - 5

 

This is the roll equivalence. Regular pattern is obvious. In every proceeding to the next chord, just one note is changing. I think this is the only unique regular progression that you could play all of the Major and minor chords without repetition (24 ones). Good for play.

The letter inside the colored note shows that bar's Chord name disregarding the inversions. This means that by changing your finger to the new note you're actually playing the new chord similar to that note's name.

Major, relative minor, Major, relative minor,.....



For getting the relative minor chord, you just need to know the relative minor key of any major key and raise the nearest note up to that note.

For example: As it's clear from the pattern, A Major chord's notes are : A C# E. A relative minor key is F# (A - 3 semitones). So for getting the F#m chord we just need to change the E note (the nearest) from the A chord to F# (E+2 semitones).

 

Last edited by a moderator: Oct 28, 2015

@foster911,

Still, those aren't tricks, only observations. Be mindful of the difference.

Apply that to the diatonic scale like I've told you many times already, then you'll begin to have a framework instead of random info and curiosities.

 

I personally think that music theory is like a black box with lots of ambiguities. Decoding it is needed. I admit that my way is vague. Knowing the possibilities with examples is required.

I try to scape from randomness by finding the newfangled methods. Knowing mathematics is a need but just shape the generalities. It would be so operational when you apply it to the events by considering the reality.

 

No need to reinvent the wheel, just do what I said.

With that kind of ear/mind foundation you'll be able to build the mental workflow that suits you best. If you don't dabble first on the basic diatonic framework, then you'll be only dealing with purposeless maths and patterns.

 

Could anyone please post good materials about inversions? Why should we use them? How to find out which 3 or 4 notes belong to which chord considering their inversions? Why do they sound different?
Do all of the above questions relate to fingering during live play or their sounding or what?

Example:
Suppose we have 3 notes: Gb, Eb, Bb. Which triad chord includes these notes? We have to apply the intervals one to one to them for comparison or there is better way?

Without inversions everything is simple.

Btw, where are you duskwings? We all love you here. Please come back!

 

Last edited by a moderator: Oct 29, 2015

It seems Duskwings became exhausted by frog power...

 

Inversions are often used to eliminate parallel or consecutive 5ths and octaves... a no-no in classical harmony.

 

Before you start another table, try playing chords (major and minor triads) with 4 or more notes, then remove the lowest note. Hear what you play. Come out with your conclusion and then I'll explain that if needed.

Charts can't make you listen, that's your problem.

Edit: Do this within a key. If you were doing that already as I've told you many times, maybe you wouldn't ask that..

 

Are all of the tertian degrees commonly used in 5, 6 and 7 notes chords (extensions) constructions omitting the synonyms?

In most tutorials I have seen sentences like this a lot but never ever explain why:
"They are rarely used or not used."

For example a chord like: "m11b5" = "1 b3 b5 b7 9 11" -------> b5 degree should not be used here. I mean we do not have m11b5 chord. why?

Does that mean they are dissonant and unpleasant or they're sounding like other chords regarding the required degrees?

Thanks so much for your attention!

 

Last edited by a moderator: Nov 13, 2015