Basics of music theory. Part 2.
I continue the series of articles on the basics of musical literacy. The first article was devoted to the intervals. Today we look at building the simplest chords.
Chords
Let's start with the example I gave in the last article:
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Accord C major (C) = major third + minor third = C + m + g
Accord C-minor (Cm) = small third + large third = C + E-flat (or re-sharp) + salt.
It is seen that both chords consist of 3 notes. Actually, that's why they are called chords.
Accord - consonance of 3 or more sounds. In our example, there are three sounds - triad. Moreover, we can call these sounds with a triad because they are located along the third line. This is where the importance of this interval is manifested. Most of the chords are based on the third. But sometimes other intervals are added to them. But more on that later.
What is the difference between these two chords - C major and C minor? I think the answer is obvious to most. Coloring. Mood.
C (C major) solemn, cheerful, positive chord. Cm (C minor) sad, lyrical, thoughtful.
Similar coloring is achieved just by a combination of our favorite third. In the major chord, a major third is built from the note BEFORE it (this will be the MI note), and then a small third (the SALT note) is constructed from the MI. In the minor, on the contrary. First, a small third (MI-Flat) is built first, and then a large third, SALT, is built from MI-flat.
Once again I will bring a drawing from the previous article. According to it, it is very convenient to track the construction of intervals. It is very convenient to track the construction of intervals.
Note:
Between SI and DO, MI and FA distance of half a tone. There are no black keys between them. Why? Determined by the frequency characteristics of the sound. Explained, yes?
Tertium (big or small), in fact, is the basis of major or minor sound in music. Similarly, on the basis of the third the gammas are determined by the majority or minority. But it will also be in the following articles. But C major and C minor are just two of the simplest examples of chords. Due to the various combinations of intervals, you can build a huge number of different chords with different character sounds.
Before proceeding, you must enter the concept of STEPS. A step is, in essence, a pure note. That is, do, re, mi ... etc. If we assume, for example, from DO, then MI will be the 3rd step. And up to the octave above 8th. At the same time in relation to the same MI # will still be the third step. RE-flat will be the 2nd step. And PE # will also be the 2nd step in relation to the DL.
Thus, there are three steps in the DO-MAJOR chord: DO (first), MI (third) and SALT (fifth). And in the DO-MINOR chord, everything is the same: TO (first), MI-flat (third) and SALT (fifth).
IMPORTANT: it is impossible to say that since MI-flat and RE-Sharp are one and the same sound, then in the C major major chord there is a second step of RE-sharp. NOT! There is still the third stage MI flat. Because they are built according to TERTIES. And TERCIA IS BUILT THROUGH THE STEP! This is just a rule that allows musicians to communicate in the same language.
Again:
The third is built in steps: from 1st to 3rd or from 5th to 7th, etc. (minor third from DO always MI flat, not RE-sharp)
The second is built on the next step (the small second from the salt will be A-flat, not G-sharp)
By analogy, a quart is built on the 4th step in relation to the 1st
Quint on the 5th in relation to the 1st.
Sex on the 6th
Septima on the 7th, etc.
This is a very important rule. It must be clearly understood!
I will give examples of the most common. For a change, let's take the F chord as the basis (F-major). So that we can create from it:
Fm
F + (Faug)
F0 (Fm / 5-)
F5 (F (no3))
F flat
F-Sharp (F #)
Fsus4 (sometimes they write just Fsus)
Scheme
The scheme includes both triad and more familiar fingering for guitarists, consisting of a large number of notes. It is important to understand that these are the same notes, simply taken an octave higher or lower. If the chord of F-major includes the notes of F, L and D, then all the other notes are the same F, L and F, taken by other octaves (so you can beat 6 strings at once and you will still have F-major). Chord types are separated by a double clock.
Explanation:
So, from where I took all these chords. Everything is very simple, and you will see for yourself now. If we build a variety of chords F, then we will begin to build them with the main note of this chord - the notes of the FA.
F = large third + small third = FA + LN + TO
Fm = minor third + large third = FA + LL-flat + TO
F + (Faug) (increased fifth level. That is, in F we raise the note to DG. It turns out TO #. And Fm + will also be distinguished from Fm by an increased 5th degree. And this will also be DOP #)
F0 (Fm / 5-) (this is a chord based on a minor, but not a third is added to this minor, but a small third. Or in other words, we lowered the 5th step. (/ 5-)) = small third + small third = FA + A-flat + B-flat
F5 (F (no3)). In this chord, only 2 steps are used - 1st and 5th. The distance between them is equal to the pure quinte (small third + large third = FA + TO). Remember, I said in the last article that they improvise on fifths. This is exactly the case. They improvise on them because the F5 chord does not have a major or minor coloration, since there is no 3rd stage.
F-flat - all components of a triad are shifted down by half a ton (all flat). On a guitar, it's just a transfer of the barre one way lower. And the structure remained from F - b. third + third. third
F # - by analogy with F-flat all notes of a triad are shifted up to half a tone (all sharps)
Fsus4 = quart + big second (4th is used instead of the 3rd stage - SI is used instead of LA) = FA + SI-flat + TO
You can also use many combinations of these chords. For example, F # sus4, Fm5, F # 0. So the field for experiments is very, very extensive.
Now I invite you to listen to the sound of these chords with my explanations.
Audio recording with all these chords on the piano with my explanations.
Examples of the use of some accodrov with explanations.
Listen to the audio recordings carefully to evaluate the character of the sound of various chords and the area of their application. And then try to play them yourself on something.
And in the next article I will talk about sept chords and chord appeals.
Chords
Let's start with the example I gave in the last article:
')
Accord C major (C) = major third + minor third = C + m + g
Accord C-minor (Cm) = small third + large third = C + E-flat (or re-sharp) + salt.
It is seen that both chords consist of 3 notes. Actually, that's why they are called chords.
Accord - consonance of 3 or more sounds. In our example, there are three sounds - triad. Moreover, we can call these sounds with a triad because they are located along the third line. This is where the importance of this interval is manifested. Most of the chords are based on the third. But sometimes other intervals are added to them. But more on that later.
What is the difference between these two chords - C major and C minor? I think the answer is obvious to most. Coloring. Mood.
C (C major) solemn, cheerful, positive chord. Cm (C minor) sad, lyrical, thoughtful.
Similar coloring is achieved just by a combination of our favorite third. In the major chord, a major third is built from the note BEFORE it (this will be the MI note), and then a small third (the SALT note) is constructed from the MI. In the minor, on the contrary. First, a small third (MI-Flat) is built first, and then a large third, SALT, is built from MI-flat.
Once again I will bring a drawing from the previous article. According to it, it is very convenient to track the construction of intervals. It is very convenient to track the construction of intervals.
Note:
Between SI and DO, MI and FA distance of half a tone. There are no black keys between them. Why? Determined by the frequency characteristics of the sound. Explained, yes?
Tertium (big or small), in fact, is the basis of major or minor sound in music. Similarly, on the basis of the third the gammas are determined by the majority or minority. But it will also be in the following articles. But C major and C minor are just two of the simplest examples of chords. Due to the various combinations of intervals, you can build a huge number of different chords with different character sounds.
Before proceeding, you must enter the concept of STEPS. A step is, in essence, a pure note. That is, do, re, mi ... etc. If we assume, for example, from DO, then MI will be the 3rd step. And up to the octave above 8th. At the same time in relation to the same MI # will still be the third step. RE-flat will be the 2nd step. And PE # will also be the 2nd step in relation to the DL.
Thus, there are three steps in the DO-MAJOR chord: DO (first), MI (third) and SALT (fifth). And in the DO-MINOR chord, everything is the same: TO (first), MI-flat (third) and SALT (fifth).
IMPORTANT: it is impossible to say that since MI-flat and RE-Sharp are one and the same sound, then in the C major major chord there is a second step of RE-sharp. NOT! There is still the third stage MI flat. Because they are built according to TERTIES. And TERCIA IS BUILT THROUGH THE STEP! This is just a rule that allows musicians to communicate in the same language.
Again:
The third is built in steps: from 1st to 3rd or from 5th to 7th, etc. (minor third from DO always MI flat, not RE-sharp)
The second is built on the next step (the small second from the salt will be A-flat, not G-sharp)
By analogy, a quart is built on the 4th step in relation to the 1st
Quint on the 5th in relation to the 1st.
Sex on the 6th
Septima on the 7th, etc.
This is a very important rule. It must be clearly understood!
I will give examples of the most common. For a change, let's take the F chord as the basis (F-major). So that we can create from it:
Fm
F + (Faug)
F0 (Fm / 5-)
F5 (F (no3))
F flat
F-Sharp (F #)
Fsus4 (sometimes they write just Fsus)
Scheme
The scheme includes both triad and more familiar fingering for guitarists, consisting of a large number of notes. It is important to understand that these are the same notes, simply taken an octave higher or lower. If the chord of F-major includes the notes of F, L and D, then all the other notes are the same F, L and F, taken by other octaves (so you can beat 6 strings at once and you will still have F-major). Chord types are separated by a double clock.
Explanation:
So, from where I took all these chords. Everything is very simple, and you will see for yourself now. If we build a variety of chords F, then we will begin to build them with the main note of this chord - the notes of the FA.
F = large third + small third = FA + LN + TO
Fm = minor third + large third = FA + LL-flat + TO
F + (Faug) (increased fifth level. That is, in F we raise the note to DG. It turns out TO #. And Fm + will also be distinguished from Fm by an increased 5th degree. And this will also be DOP #)
F0 (Fm / 5-) (this is a chord based on a minor, but not a third is added to this minor, but a small third. Or in other words, we lowered the 5th step. (/ 5-)) = small third + small third = FA + A-flat + B-flat
F5 (F (no3)). In this chord, only 2 steps are used - 1st and 5th. The distance between them is equal to the pure quinte (small third + large third = FA + TO). Remember, I said in the last article that they improvise on fifths. This is exactly the case. They improvise on them because the F5 chord does not have a major or minor coloration, since there is no 3rd stage.
F-flat - all components of a triad are shifted down by half a ton (all flat). On a guitar, it's just a transfer of the barre one way lower. And the structure remained from F - b. third + third. third
F # - by analogy with F-flat all notes of a triad are shifted up to half a tone (all sharps)
Fsus4 = quart + big second (4th is used instead of the 3rd stage - SI is used instead of LA) = FA + SI-flat + TO
You can also use many combinations of these chords. For example, F # sus4, Fm5, F # 0. So the field for experiments is very, very extensive.
Now I invite you to listen to the sound of these chords with my explanations.
Audio recording with all these chords on the piano with my explanations.
Examples of the use of some accodrov with explanations.
Listen to the audio recordings carefully to evaluate the character of the sound of various chords and the area of their application. And then try to play them yourself on something.
And in the next article I will talk about sept chords and chord appeals.
Source: https://habr.com/ru/post/21760/
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