Compilation of Music Tutorials from my groups

YOU MIGHT FIND THIS COMPILATION OF NOTES USEFUL


1. Infinite movement.

Let us say we are using the 6 - 2(vi to ii) in any key. infinite chords can fill up spaces. The 6th and 2nd in a major tonality are usually minor. In this progression the vi minor is an imaginary root. Thus we can use the aeolian mode. (VImin, VIIdim, Imaj, IImin, IIImin, IVmaj, Vmaj).from vimin to iimin there are a lot of notes. 1st ; you can wish to use chromatic approaches. eg taking Amin as your 6th, there are four semitones to the 2nd(Dmin) A#,B,C,C#. In quarter notes you could diminish all semitones and walk to Dmin. That would be (Amin7_ A#min7(b5) Bdim, Cdim C#min7(#5)- Dmin7). Although the Bdim and Cdim would share a bar, the #5 is bringing the whole dissonance to a resolution. then back to Amin7 you could turn the Bdim and Cdim to a dom7; the A#min7(b5) to a min7(#5) as you go in reverse. the principle is for you to be able induce constant motion that are all tending towards resolution as you bring up chords(its just for fun actually) its taste dependant.
~counter motion~tritone.


~circle of fourths~ sometimes you can even make use of harmonized melody of popular songs.~coltrane changes like i said earlier it taste dependent. i would try and describe if you actually understand the theory behind reharmonization techniques. but if you still dont understand i would try my best.another concept. which does not involve too much chord changes (quite sweeter)like in the above stated progression (vimin7_iimin7)you could just add altered notes to the already establised PROGRESSION.but the truth about this stuff is that its better done than said..


AUGMENTED

THE AUGMENTED CHORD.

   It is simply the 1-3-5#. on the key of C/ C-E-G#. You can simply extend it to make it advanced, really. So, here it is to broaden your playing and chord dictionary;
C= LH/ E-G#-C-D
RH/ E-G-B
D= LH/ F-Bb-D-E
RH/ F-A-C
E= LH/ G-C-E-F
RH/ G-B-D
F= LH/ A-C#-F-G
RH/ A-C-E
G= LH/ B-Eb-G-A
RH/ B-D-F
A= LH/ C-F-A-B
RH/ C-E-G
B= LH/ D-G-B-C
RH/ D-F-A.
It is your doh, re, mi, fah, soh, la and ti.
We are too gifted and talented to be stagnated.

Scheme of Work for Piano - 1


Most of us are looking for where to start and where to end in music!
Here is the Foundations course curriculum:
.
Chapter 1: Fundamental Fluency
¤Lesson 1: Introduction
¤Lesson 2: Note names, sharps/flats, whole steps and half steps, 12 keys goals
¤Lesson 3: Major scaleMinor scales, relative minor,
Lesson 4: Number System
¤Lesson 5: ​​​​Intervals & Distance
¤Lesson 6: Mastery Summary
.
Chapter 2: Chordal Command
¤Lesson 1: Introduction
¤Lesson 2: Chord Quality vs Quantity
¤Lesson 3: Diminished vs Augmented Chords
¤Lesson 4: Chord Inversions
¤Lesson 5: Chord Classes
¤Lesson 6: Seventh Chord Voicings
¤Lesson 7: Ninth Chord Voicings
¤Lesson 8: Eleventh Chord Voicings
¤Lesson 9: Thirteenth Chord Voicings
¤Lesson 10: Common Altered Chords
¤Lesson 11: Master Summary
.
Chapter 3: Pattern Proficiency
¤Lesson 1: Introduction
¤Lesson 2: Diatonic Chords
¤Lesson 3: Circle of Fifths, Circular
Movement
¤Lesson 4: Stepwise Motion and Other Patterns
¤Lesson 5: Common Circular Progressions
¤Lesson 6: Common Advanced
Progressions
¤Lesson 7: Transposition and Learning All 12 Keys
¤Lesson 8: The Art of Fancy Chords
(Placement)
¤Lesson 9: Mastery Summary
.
Chapter 4: Song Solidity
¤Lesson 1: Introduction
¤Lesson 2: Using Harmony And Combining Common Patterns To Play Songs
¤Lesson 3: From Basic to Advanced:
Learning Song From Scratch
¤Lesson 4: Advanced Song Approaches
¤Lesson 5: Master Summary
.
Chapter 5: Ear Efficiency
¤Lesson 1: Introduction
¤Lesson 2: Mastering Chord Qualities and Common Movements
¤Lesson 3: Mastering Scale Tones, Passing Chords, and Other Movements
¤Lesson 4: Master Summary.


TRY THIS

   I use this voicing a lot for my one chord
3 5 13 7 1 9 5'. For those who don't understand my use of numbers try using these tonic solfas in a chord to replace the doh triad ie doh mi soh. Make sure voicing uses these tonic solfa in this order
mi soh lah ti doh re soh'
Since I have moved to the key of C#/Db this would be F Ab Bb C Db Eb and Ab' or F G# A# C C# D# and G#'(It is wrong to write out chords this way cos it would be breaking some basic rules) for those who get confused with enharmonic equivalents.
I will upload a video on this soon
Left Hand -mi soh lah to
Right Hand- doh re soh
Make sure you accent the doh and soh in the right ie they should sound louder than other notes in the chord.


KEYBOARD SYLLABUS

 STEP 1

 *Introduction to the piano[Speakers, white and black notes, functions, definition]

 *Identifying and naming piano keys
[Insight on enharmonism, natural and neutral keys,flat sharp and accidental keys, difference between sharp and flat keys]

 *Introduction to piano terminologies [Octave­, Note,timbre,dynamics­ etc]

 *Intervals[Concord and discord intervals,semitone,t­one ditone,tritone,tetra­tone etc]

 *Diatonic scale[major and minor scales, diatonic scale fingering]

 *Introduction to staff[Clef, Time signature, key signature]

 *Basic finger exercises[Running pentads, chromatic finger exercise]


 STEP 2

 *Playing Triads in the 12 keys[major,minor,dim­inish and augmented]

 *Chord Inversion [Inverting triads in the 12 keys]

 *Running diatonic scales in their right fingering in The 12 k keys

 *Chord progression[Ways of writing chord progression, solfas, numbers, etc]

 *Learning Simple songs[1-4-5, 2-5-1, 1-4-6]

 *Introduction on How to name and identify chords[Tetrads and triads in their inversions]

 *Extended and Altered chords [Pentad, sextad, heptad etc]

 *Circle of 5th and 4th[learning cyclic progressions]



 STEP 3

 *Melody and Harmony[Quartal chords, quintal etc, Arpeggios]

 *Tension and Resolution[Consonant­ and dissonant chords, how to identify them in their intervals]

 *Voice leading[Voice leading rules]

 *Phrases and cadences[Authentic, plagal or Amen, perfect etc]

 *How to find key[Ear training exercises]

 *Staff lesson[Playing songs in common time]

 *Introduction to piano styles[Blues,Jazz,go­spel etc]

 *Chord voicing[Open,close,n­ested, drop etc]

 *Scales and modes

 *Naming and harmonizing modes[Creating chords from modes]

 *Tonal and Atonal music[Jazz]

 *Chord Harmonization and Reharmonization [Bringing life to a dead progression]

 *Application of scales and modes[Patterns, introduction to improvisation]

 *Hanon exercise[Jazz exercises]

 *Phat/Fat/Steroid/­Urban Voicing

 *Tritones and Ditones Voicings

 *Licks and runs

 *How to create and use Grace notes

 *Improvisation

 *Blues exercises [12 bar blues, Boogie Woogie]

 *Transposition and Modulation demystified

 *Feeling the beat[playing with understanding and dynamics]

SOLFA BEATS AND THEIR DURATION

1) , (¼ beat)
2) . (½ beat)
3) : (1 beat)
4) :- (2 beats)
5) : :- (3 beats)
6) : : :- (4 beats)
So you don't get lost if you see something like this.


   Dim7(Full diminish) Vs min7b5(Half diminish) Chords.

-The word diminish means to make smaller. To reduce in size of an object. To compress.

-A Major triad 1-3-5 is diminished by reducing the Major 3rd and Perfect 5th a half step each, I.e b3 and b5 respectively to form a diminish triad 1-b3-b5.

-A diminish7 chord(Fully diminished) is symmetrical in nature. A full diminished chord has a formula 1-b3-b5-bb7(6) and the intervals between each note in the chord are stacks of minor 3rds. A Cdim7[CEbGbBbb(A)] for example is stacked in minor 3rds as shown, CEb(Cm 3rd), EbGb(Ebm 3rd), GbBbb(A) I.e Gbm 3rd.

-The Half diminish(min7b5) is another type of diminish7 chord but with an half step raised 7th of a fully diminished, I.e in a Cdim7(CEbGbBbb), where the Bbb(A) is raised a half step, to have Bb. The chord becomes CEbGbBb(1-b3-b5-b7), a Cmin7b5 chord. The intervals of the notes from the root to the b5 are equal(in minor 3rds), except for the b5b7 interval which is a Major 3rd. In our Cmin7b5 chord, CEbGbBb, CEb(Cm 3rd), EbGb(Ebm 3rd), GbBb(GbM 3rd).

-A fully diminished chord is a symmetrical chord as earlier stated in such a way that a diminish7 chord is built on each note in the chord. A Cdim7(CEbGbBbb) can produce Ebdim7(EbGbBbbC), Gbdim7(GbBbbCEb) and Bbb/
Adim7(BbbCEbGb)..lol They are just inversions of Cdim7 chord!

-Every min7b5(Half diminish) is a 7th degree chord in a Major key or a 2nd degree chord in a minor key.

-A dim7 chord resolves to a min chord a half step below it. For instance in CMaj, Cadd9>C#dim7>Dmin7. Another example, Cadd9>Bmin7b5>Abdim7/E>Amin9. One more, Cadd9>Edim7>A7>Dmin9. Resolving to a Major chord, FMaj>Gbdim7>G6_4/G.

-There are only THREE possible diminish7 chords in music.

-Diminish chords are both applied in Gospel and as well as Jazz.

-Apply them in your piano routines. They make you sound nice.

-Diminish chords, though they are made smaller, but sound fuller.


Peacher chord all keys

1. C / E G A C
2. F# / E Ab Bb C
3. F / Eb G A C
4. F# / Eb F# A C
5. G / F A Bb D
6. C / E A Bb D
7. F / Eb G A C
8. F# / Eb F# A C
9. C / E G A C


DO YOU KNOW?

   That there are rules guiding diatonic scales. Here are the rules to follow in writing the Major or minor diatonic scales of every key...

(1.) There must not be repetitions of notes either in its natural or accidental form. E.g CC#, DD#, FF#, GG# etc.
(2.) There must not be mixture of accidentals in a diatonic scale. E.g. writing the C#Maj diatonic as C#EbFF#AbBbC. This scale has violated the no mixture of accidentals rules..C#Eb..F#Abetc. Repetition of notes..CC#, FF# etc. It's therefore invalid scale of C#Maj.
(3.) The scale must follow the 'CDEFGAB' scale format. CDEFGAB is a CMaj diatonic scale. Every diatonic scale must follow this format of CDEFGAB and must be about the degree same with the TONIC of the diatonic scale. For instance, A DMaj scale must follow the 'CDEFGAB' format but from the 2nd degree, DEFGABC, so that DMaj diatonic scale would be written as DEF#GABC#/drmfslt. Again, F#Maj scale in the format FGABCDE(because it's F#Maj scale and must be written from the 4th degree of CMaj CDEFGAB), so that F#Maj would be F#G#A#BC#D#E#/drmfslt.
(4.) Double accidental notes not allowed in a diatonic scale. E.g. Bbb, G##, Ebb, Abb, F## etc.

NOTE!!!!!
ANY SCALE THAT VIOLATES THE ABOVE RULES CEASE TO EXIST AND THE KEY IN WHICH SUCH SCALE IS BUILT WILL NEVER EXIST AS A KEY BUT WOULD RATHER EXIST AS A NOTE IN SOME OTHER VALID SCALES.

Now, a CMaj scale is CDEFGAB/1234567 is therefore a valid scale because it obeys the above diatonic rules and therefore CMaj exists as a key. Assuming all the notes in CMaj scale are sharpened so that we have C#D#E#F#G#A#B# which eventually becomes our C#Maj scale. Taking each of these notes as tonic....
C# is C#D#E#F#G#A#B#(Valid scale and valid Major key)
D# is D#E#F# # G#A#B#C##(Invalid scale and Major key)
E#, G#, A#, B# are invalid keys and are therefore are invalid Major scales. Let's assume once again that all notes in CMaj is flattened...
CbDbEbFbGbAbBb
The above is a CbMaj scale which obeys the diatonic scale rules and is valid as a CbMaj key. Now, taking each note as tonic...
Db is DbEbFGbAbBbC/1234567 (Valid scale and valid Major key)
Eb, Gb, Ab, C are valid as scales and keys. Note that FbMaj is invalid...FbGbAbBbbCbDbEb because of the double flat note Bbb in the scale.
In summary, it's proven that D#Maj, G#Maj, A#Maj, B#Maj, E#Maj, FbMaj do not exist in music. Likewise, Dbmin, Cbmin, Gbmin do not exist. The irony of this is why C# and its enharmonic, Db both stand as separate Major keys and D# and its enharmonic, Eb don't. EbMaj exist but D#Maj failed to obey the rules. How ironic. Music is indeed a course of study on its own. Arguing about stuffs in music isn't worth it. We need to do researches to stand out. Like I always say, study music theory so that you will be able to relate with fellow professional musicians professionally. Thanks.

Hints On Chording In Ninths.


My fellow beginners, we need not to be scared on how to voice up those scary and stretchy chords anymore. Lately, I saw a message in my inbox saying how can he possibly voice NINTH chords with this dwarfy fingers of his..lol. Am glad to tell you it is possible to voice up even the most stretchy chord ever imagined. All you need to do is to share the constituent notes in the chords on both hands, I.e Left hand(LH) and Right hand(RH). The usual way, me, myself, and I, voice up ninth chords is by SLASHING them up. How do I mean by slashing them up?? Here it is.

Slash Chords.

A chord is said to be slashed when the RH chord root is not same with the LH bass note. This means that a CMaj7 chord, C-E-G-B, can be slash-voiced as RH/LH Emin/C so that the RH root note(E) clashes with the LH bass note(C). That means Emin chord(EGB) is played over the C bass note, an octave lower. Therefore, in the same manner, a CMaj9 chord, C-E-G-B-D, can be slashed as RH/LH Emin7/C(EGBD/C) where the C bass is an octave lower the root of Emin7 chord. A Dmin9 chord, D-F-A-C-E, would be slashed as RH/LH FMaj7/D(FACE/D). This chord gives you a Jazzy feeling as chord 2 in key of CMaj. The LH can though be voiced as POWER chords as FMaj7/D5(in the case of Dmin9 chord). Note that POWER chords are 2 notes chord consisting the root, R, and the 5th, 5. A power chord of any key is therefore the root of the key and its 5th. It is usually denoted as R5(R+5). In Key D, the power chord would be D5(D+A). In key Gb, Gb5(Gb+Db).
Now, let's take a view of the diatonic ninth chords in the key of C.

Legend: Chord/RH/LH

CMaj9/EGBD/C
Dmin9/FACE/D
Emin9/GBDF/E
FMaj9/ACEG/F
Gdom9/BDFA/G
Amin9/CEGB/A
Bmin9b5(DFAC#/B)

NOTE!!!! These chords can be voiced ROOTLESSLY on the keyboard while the bass guitarist plays the roots. In a Gdom9 chord for example, the RH BDFA(Bmin7b5) chord can be voiced as Rootless Gdom9 on the piano as LH/RH BD/FAD while the bass guitarist plays the omitted root, G.
A good way to start playing in ninths, right?
Then, let's get it on!

NOTE: None of these tutorials were written by me. Credits go to Mr Bello, Mr Popoola, Master Henry and others.

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