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13

It is not necessary to double the root when converting guitar chords to piano chords but it could be done if fits better with the music. But there are important distinctions between the guitar and piano that come into play when considering how to notate chords on sheet music. These distinctions center around (and are affected by) the way chords are played ...


10

A chord is defined as a set of pitches. If you are really into semantics you could argue that the notes C4, C5 and C6 meet that requirement and could be considered a chord, but to most people it would not be a chord. There are two big reasons for this. The first is whenever someone looks to define a chord, they look at the collection of pitches by the ...


6

We wouldn't refer to this as a chord. The idea is that you need three unique notes, which would not include octaves. Some definitions of a chord will allow just two notes but the more commonly accepted definition calls for three. You could, however, imply a chord with octaves alone, which requires context. For example, if you have established a key by ...


6

First of all, since this is your composition, you can do whatever you want. Unless you're going for something very specific, like you want to write your song in a certain style, there are no limits. Go nuts. In your example, I assume you're in the G major key, and you have a D major chord, right? If this is the case, then yes you can freely use the D ...


6

I stand with Shevliaskovic on this: You can indeed do what ever you want. Taking your question as written, that is the exact correct response. However, I believe that this is what you really wanted to know: It is true that G Major key has a D Major chord as the dominant (fifth chord of the key), and that D Major key has G Major chord as the sub-dominant ...


4

First thing which comes to my mind is that you get a (rootless) D-9 when you play FM7, so you add color to your chord (the 9th). And if you play the root in the melody, you don't "lose" a voice by doubling a note. The second thing is that playing the rootless chords, especially when playing standards, change the feeling of the chord progression: playing ...


4

If you play CEGC, it won't be parallel eighths. It will simply have the octave doubled. In order to have parallel eighths, you have to have the voices move. If you take guitar chords and put them into sheet music for piano, should you double the root ? There isn't any definite answer here. You certainly have to option to easily double the root (C). So, ...


3

A pianist is very unlikely to want a literal transcription of what a guitarist does. Anyway, guitarists don't spend all their time strumming 6-string chords! The only answer to this is - it depends. The pianist may be playing one, two...up to six notes in the right hand, a bass line in the left. Or he may be playing a melody in the right hand, chords in ...


3

It takes time to get the technique. The best tip I can give if you don't know this already is not to lay your index finger totally flat but to roll it round slightly so that it is the bony side, rather than the fleshy pad of the finger pressing down. For F shape barre chords there is trick for avoiding them altogether (Jimi Hendrix reportedly did this) - ...


3

I would say it's a G mixolydian. I listened to the song, and the G and C both had strong tonality, although the G felt more like tonic, so it's the mode of C starting on G which would be mixolydian. The Bb chord is probably a result of the artist trying to give the song a minor feel, because it modulates to g minor, then promptly back into the G mixolydian. ...


3

Before I answer your question, I think it will be helpful to explain "harmony". The melody of the song is conveyed via single notes. We often refer to chords that are played with the melody notes as the "harmony" part of the song. Dictionary.com has the following for the definition of "harmony": the simultaneous combination of tones, especially when ...


3

My definition of a pad is something that is used to fill in the space of a piece usually with chords. This is pretty much spot on. Like the orchestra uses the string section to play chords, people use synth pads to fill in with chords. I'll borrow the wiki definition: A synth pad is a sustained chord or tone generated by a synthesizer, often ...


3

Adding further to the two existing answers, the notes of MODES will fit slightly better than the notes of each major scale. On chord G, obviously, the G scale notes fit best. Still in the KEY of G, but on a D chord, the notes of D Mixolydian are a (slightly) better fit, and on a C chord, the notes from C Lydian likewise. So, what's happening is that on ...


3

As tempting as it would be to apply a chord-based mentality to Bach's music, fundamentally its the opposite of whats going on, and I think you're missing out on the beauty of what he's doing and how it can benefit you. Bach, and many other great composers, approach composition horizontally via voice leading, rather to vertically (aka with 'chords'). By ...


2

In common practice four part harmony the bass note dictates the inversion. So, first identify the chord by the notes that make it: C#-E-G# --> that's C# min, or iii in A Maj. So C# is the root of this chord, and it's in the bass, so it's a root chord. If E was in the bass, it would be 1st inversion (C#6); if G# was in the bass it would be 2nd inversion ...


2

In rock music it is not uncommon for the root notes of chords to follow a scale, while the chords all are major chords (or distorted fifths, i.e. power chords which have an overtone series much like a major triad). Therefore it can be more meaningful to analyze the harmony of a rock song by considering what scale/mode the root motion implicates. Many of the ...


2

I'd recommend taking a step-by-step approach: Figure out what the notes are. You can't know what chord it is without knowing what notes there are. From top to bottom, the notes are: G♯, E, C♯ (twice) Figure out what chord it is. You can't know what the chord inversion is without knowing what chord it is. There's only one way to arrange the ...


2

Working from your example: C and F are both part of the F major chord, so you can hold one F major chord for both of those notes. G and D are both part of the G major chord, so you could just hold a G major chord for both notes. So you would have F major, then G major. Another way to do it: F and D are both part of a D minor chord, so you could hold D ...


2

If the strings buzz on the frets when you play the chord you should check a few things: Are you applying enough pressure on each string? Are you applying the pressure in the correct location? Is your finger pushing down straight? 1. As Tetsujin mentioned in his comment, you might not have the strength to push hard enough. This will come given enough ...


2

As you say, it's something that 'pads out' the mix to fill space. Often the word 'pad' is used when talking about synthesized sounds, and refers to how a specific sound 'sits in the mix'. So you wouldn't really say that 'organs are pads' in general, because there are a lot of different organ sounds, some of which are very cutting upfront sounds (hence not ...


2

Way back. Do you need sources earlier than Bach? I suggest you are cautious about considering music as "evolving". The Blues uses dominant 7th shape chords in a non-functional way. I don't think it's particularly illuminating to trace them back to a Bach chorale harmonisation.


2

If you Google dominant seventh and ninth chords wikipedia gives a good overview of the early usage of those, i.e., they did appear in classical music. This wasn't obvious perhaps, since the classical composers used those chords as harmonic devices among many others, where their use in blues is pretty insistent. As far as harmonic forms, I believe harmonic ...


2

There is no key which contains both G major and Bb major. Because that would require both B and Bb notes. It could be voiced as an A#, to fit the standard rule that a scale has each lettered note name exactly once. The Chords describe these notes (although they may be 'spelled' differently, meaning Bb can be expressed as A#) G, A, Bb, B, C, D, F No ...


2

The intervals might be the same, but they start off from a different frequency. You can see here the different frequencies for the notes. For instance, the C major that starts from C1 will have these frequencies: C1: 32.70 E1: 41.20 G1: 49.00 And similarly, for the first three tones of F major from F1: F1: 43.65 A1: 55.00 C2: 65.41 You see that ...


2

I don't know of any clear-cut fully worked out published approach, but there is a lot of research out there. Here are some pointers. David Temperley's is a leading researched in this field and his paper An Algorithm for Harmonic Analysis his the most in depth approach I've seen so far (although very heavy on the music theory side). His book The Cognition of ...


2

This would better described as tone tripling than as chord since the question is dealing with notes separated by an interval of one octave and each note is basically twice as fast as the previous in frequency. The Harvard Brief Dictionary of Music states "... the octave is the most perfect consonance, so perfect indeed that it give the impression of being a ...


2

Simply put you analyze the score. You need some rudimentary knowledge of non chord notes and the like. Let me give you an example to aid your comprehension. This is an excerpt from the piano piece La Romanesca by Franz Liszt. They key is a minor. In the first bar we have the melody in the right hand and the harmony in the left. The left hand jumps from A ...


2

C# major's relative minor key is A# Minor. These two keys both contain the same notes but a different tonic (in this case the tonic being C# and A#, accordingly) C♯(i) D♯ E♯ F♯(iv) G♯(v) A♯ B♯ A♯(i) B♯ C♯ D♯(iv) E♯(v) F♯ G♯ This doesn't really have any bearing on how you write a song in a major key, but it does help us to understand the relationship ...


2

Something that's related to your question is the mode theory. Here's a nice article on that! It boils down to: > If you play your scale (e.g. C major [C D E F G A B]) on a set of chords with a tonal centre of C major, and you focus on the relative position of the notes towards the C in the scale, it will sound happy (Ionian) > If you play your scale ...


1

In popular music, the most common chord positions are the root and the second inversion. First-inversion chords tend to sound rhythmically "weak". In any case, doubling the third of a major chord between the bass and treble is probably not a good idea, unless you really want that sound for some reason. Try it, and some alternatives, and use your ears! If ...



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