Royksopp, what else are there piano chords

TAKING CHORDS TO THE NEXT LEVEL - PIANO - 2021

Put a few key notes together and you have one Chord. Basic chords ( Called triads ) are made up of three notes: the Keynote (the name of the chord), the third, and the fifth. These names refer to the step position of the note in the scale with the same name (the third note in the scale, the fifth note in the scale, and so on). Basic chords, however, are just the beginning. The following sections will introduce you to the seventh and sixth chords and how to find out which chords you are actually playing.

Adding a fourth note: the seventh chord

In order to play most styles of music, you need to know the four-note chords marked as Seventh chords are designated. They enrich your game and take you from beginner to professional. While basic triads stack thirds on top of each other (root, third, and fifth), seventh chords continue the next logical step and stack another third on top of the triad that forms the seventh.

Playing and listening to the six basic chords

There are a few different types of seventh chords, each with their own sound quality. Some sound more peaceful; others create tension that adds to the drama and energy of the music.

The major seventh chord

Figure 1: The major seventh chord.

Play the chord and hear how it sounds. It sounds even more peaceful than the great triad, doesn't it? Example 2 in Figure 1 shows the four inversions of the major seventh chord. Inversions are the same notes of a particular chord, rearranged so that there are different notes above and below.

The major seventh chord is usually written as a letter with a capital letter M plus 7 (CM7), but can also be written as CMaj7 and sometimes as C∆7, mostly in jazz charts and Fake books (Jazz songbooks that contain only melody and chord symbols).

The minor seventh chord

Figure 2: The minor seventh chord.

The minor seventh chord is usually written as a letter with a small m7 (Cm7), but it can also be written as C-7, mostly in jazz charts and fake books.

The dominant seventh chord

Figure 3: The dominant seventh chord.

Play this chord over and over and it will sound like rock and roll piano. This chord is important for its function in harmony and chord progressions. The dominant seventh chord is commonly used as a letter with a 7 written afterwards (C7).

The diminished seventh chord

A reduced chord with another note that is a minor third higher (three half steps) is the reduced Seventh chord (see Figure 4). Although the seventh should be written with an apartment, this would make it a B double apartment; For easier reading, you can use the enharmonic Use name A.

Enharmonic means that the same note / pitch can have more than one name, usually the choice of a sharp or flat name (e.g. F sharp and G sharp). Sometimes it can be between a natural note and a note with sharp or flat spots, or even double sharp or flat spots, like in this example.

Figure 4: The diminished seventh chord.

Play the chord; it's even more exciting and exciting than the triad version. It has a strong harmonic function. The diminished seventh chord is commonly used as a letter with a small circle followed by a 7 (C O7 ), but can also be written as Cdim7.

The extended seventh chord

Imagine the extended Seventh chord as the dominant seventh chord, with the fifth increasing a half step (see Figure 5).

Figure 5: The extended seventh chord.

The extended seventh chord is also known as the dominant seventh / sharp five chord, which is commonly written as C7 + and sometimes as Caug7, C7 # 5 or C7 +5 is displayed . It has the same harmonic function as a dominant seventh chord, but is a bit more exotic and not just intended for thumping rock'n'roll. It's an even more colorful way of doing an intro for a singer.

The seventh chords sus2 and sus4

The sus4 chord usually functions as a variation of the dominant September, so it has the lower September tone (three semitones above the fifth). Figure 6 shows the chord and its inversions. The sus chord is sometimes used as an open, floating sound that can imply major or minor tonalities.

Figure 6: The seventh sus4 chord.

The sus4 chord is usually written as a letter plus 7, followed by sus4 or sus with or without brackets: C7sus4, C7 (sus4) or C7sus.

A seventh is rarely added to the sus2 chord, and there are no common chord symbols to indicate it. The sound of a Sus2 chord with an additional major seventh can be interesting, but only in the root and first inversion chord form. See figure 7 for this extra cool chord.

Figure 7: The unusual but cool seventh chord in Sus2 major.

Recognize the seventh chord tones of the major scale

Figure 8: The seventh chords of the major scale.

You can see major seventh chords for chords I (1) and IV (4); The chords ii (2), iii (3) and vi (6) are minor seventh, and the V (5) chord is a dominant seventh.

In a major scale, the VII chord is a variation called a semi-diminished chord , the seventh being a third or four semitones above the fifth. The fully diminished seventh chord comes from the minor scale.

You can play many songs using just these scales. Figure 9 uses a number of chords that were very common in doo-wop songs from the 50s and early 60s. The illustration shows them with tight inversions for smooth movement between the chords and offers two variations of the chord progression: Ex. 1 uses the II chord (Dm7) and Ex. 2 uses the IV chord (F major 7).

Figure 9: The doo-wop chords with added seventh notes.

Not all songs in a particular key follow these chord scales, especially in rock and roll and blues. The usual chord progression for playing the blues uses chords I, IV, and V. If you want to add sevenths to the chords, make them all dominant sevenths. Using major seventh notes for the C (I) and F (IV) chords would sound completely wrong! See Figure 10 for the wrong and correct versions.

Figure 10: The blues progression with additional sevenths.

Play two-handed seventh chords in a pianistic approach

If you're using an acoustic or electric piano sound, it sounds great to have your chords split between both hands. Not every chord has to be a seventh; sometimes it's nice to mix them up with some triads for a change. See Figures 11 and 12 to see what this can sound like. Work out your own fingerings for these examples.

Figure 11: Three rock seventh chords.

Figure 12: The doo-wop chords.

Playing chords with four notes in your left hand

When playing an arranger keyboard or an auto accompaniment digital piano, you can play quarter note seventh chords in your left hand. With other keyboards, care must be taken that they are not played too softly, otherwise they will sound muddy and indistinct. It also depends on what sound you are using. Figure 13 shows some of the operations from the previous sections for the left hand.

Figure 13: Some chord progressions for the left hand.

Understand a few basic rules of harmony

Regulate? Rock'n'Roll doesn't stick to the rules! However, a little knowledge of harmony can really help you. The most common and important rule is that the V chord should be resolved back into the I chord. This principle applies especially when the V is uttered as the dominant seventh. A tension in the dominant seventh chord wants to transition to quieter notes in the I chord. And that I chord can be major or minor. See Figure 14 for examples.

Some intervals, like the octave, sound good on their own; they sound open and peaceful, what Is called consonance . Other intervals sound more restless; The best example would be the flattened fifth (six half steps). You should be dissonant. In a particular key, you can move these dissonant notes to neighboring notes to remove the tension and return to a calm sound. When these intervals occur within a chord, the same thing happens. The more tones you add that create this tension, the more the chord tears on your ear to return to scales that sound consonant. This movement is called resolution .

Figure 14: A dominant seventh wants to dissolve (V7 to I).

The 3rd and 7th of the dominant chord (in this case the B and F of the G7 chord) go into the root and the 3rd of the I chord (the E and C of the C chord). Or the E flat major and C in the case of a C minor chord. Play it and hear how natural and familiar this movement is.

With this knowledge, you can observe and understand times when a song in a particular key contains some chords (and notes) that are out of the key signature. A great way to set up the next chord or make a transition between two chords is to use this guideline. Find the dominant seventh chord that would resolve into the next chord and use it between the two chords. See Figure 15 for some examples.

Figure 15: Using additional dominant 7th chords as passing chords.

In example 1, the C goes to an Am. The V chord in the key of A is an E so you can use an E7 to set up the Am nicely. In example 2, a C7 acts as a V to lead into the F chord. So if you change the Cmaj7 to C7 this is the trick.

Another important idea is that the diminished chord should also be resolved. Since this is a VII chord, it wants to resolve a half step. In Figure 16, Example 1, you have a Bdim7 that resolves to a C. It has the same B and F notes as the G7 and they want to resolve into C and E to resolve an E and G respectively. So it has a kind of double tension that makes it even more dramatic than the dominant seventh.

Figure 16: Use reduced 7th chords as overtaking chords

In Example 2, a C triad becomes a Dm triad. You can use an A7 to set it up, but compare this to a C♯dim7. It has a different sound which is exactly what you need.

Sixth: Use a different quarter tone type

The major sixth chord

Figure 17: The major sixth chord.

The major sixth chord is commonly used as a letter plus one 6 written afterwards (C6). Play the chord and hear how it sounds. It sounds a lot like the great triad of being happy and peaceful, but it also has a bit more color.

The major sixth chords work well as an I and IV chord in a major key (e.g., C6 and F6 in C major).

The minor sixth chord

Figure 18: The minor sixth chord.

It sounds similar to the minor triad, only with a little extra "color". The minor sixth chord is usually written as a letter with a small m6 (Cm6).

The minor sixth chord works well as an Ai and IV chord in a minor key (for example, Cm6 and Fm6 in C minor).

Which chord is correct?

The major sixth chord has exactly the same four notes as a minor sixth chord formed on the sixth note. Therefore, C6 (C, E, G and A) uses the same notes as Am7 (A, C, E and G). See Figure 19 for an example. This similarity can create confusion when you start using inversions: what is the correct bass note? Your chords will always sound good, but what is the root note? The answer usually comes from the key signature or the key center. If you want to resolve the I chord you can add the sixth, but you want this C root to say, “This is the end.” Using the A makes it sound like you're still moving the harmony and wouldn't be finished yet.

Figure 19: Is it a major sixth or a minor seventh?

The problem occurs when you play either of these two types of chords on an arranger or other auto-accompaniment keyboard. The system doesn't always know how to interpret what you are giving it to get the right bass note. To solve this problem, arrangers typically do not allow sixth chords until you select a particular setting for Finger, Multi-Chord, and Standard Chord Recognition mode. And playing sixth chords is never supported with the simple fingering option.

Please refer to your owner's manual for information on selecting finger chords. Each mark usually has a setting that lets you use sixth chords and others that always treat sixth chords as related minor seventh chords.