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The Chord Doctor - Expand Your Chordal Command Akron OH

The chord chart for what I play could be the same for accompanying a number of different artists, but how I voice those chords may be radically different depending on the music. To illustrate that, Examples 1-5 present the same eight-bar chord progression in a variety of contexts — proof positive that the same chord can sound completely different depending on how you voice it.

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I am classically trained but also adept in improvisation. I play and teach all styles of American and Western European music, including but not limited to rock (classic, alt, metal), r&b/soul/funk, latin and Afro Cuban, popular/show, and contemporary Christian.
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I am primarily a classically trained musician, and the methods that I specialize in are as follows: I use various method books for teaching violin including Essential Elements string series with additional etude books, Galamian scale method and Basics by Simon Fischer. For piano, I use the Faber and Faber method. For organ, I use the Davis Method book. For bassoon, I use the Weissenborn method.
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I am primarily a classically trained musician, and the methods that I specialize in are as follows: I use various method books for teaching violin including Essential Elements string series with additional etude books, Galamian scale method and Basics by Simon Fischer. For piano, I use the Faber and Faber method. For organ, I use the Davis Method book. For bassoon, I use the Weissenborn method.
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University of Alabama - Music Composition - August 2008 - May 2010 (Master's degree received) Samford University - Violin Performance - August 2004 - May 2008 (Bachelor's degree received)
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I am very highly trained in performance practices of the Baroque era, especially on the organ. I am also very specialized in body movement and efficient keyboard technique. I also have a lot of experience in the Romantic repertoire of the piano. Lastly, I am also well trained as an accompanist on both the organ and the piano.
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The Chord Doctor - Expand Your Chordal Command

by Clifford Carter

You hear that the government is contemplating another multi-billion dollar stimulus package. That’s an intimidating number I can’t even digest. A much kinder, gentler number is 12 — the number of notes in the chromatic scale. This month, we’ll scratch the surface of combining those notes into chord colors appropriate for different styles of music.

The chord chart for what I play could be the same for accompanying a number of different artists, but how I voice those chords may be radically different depending on the music. To illustrate that, Examples 1-5 present the same eight-bar chord progression in a variety of contexts — proof positive that the same chord can sound completely different depending on how you voice it. Example 6 gives you hands-on practice material to start expanding your chord comfort zone. The ultimate goal is that regardless of whatever curve the music throws you, you can choose your next voicing without overthinking.

One last thing: Notice the simple left hand parts in the bass clefs throughout. It’s good to practice more than one thing at a time, and you don’t want an idle hand. By playing a bass line, you give the right hand a musical context, while developing hand independence. You’re also working on your timing, and making what could be a somewhat tedious exercise a bit more fun and musical.

Click the sheet music thumbnails for super-size versions suitable for playing! Click the example headers for audio clips.

kb0210 Plat It Chord Doc 1 Ex. 1 - click for audio. Here’s an eight-bar progression I’d play on, say, the first verse of a Patti Scialfa song. It’s simple and sparse with not a lot of movement — a nice bed. All chords are either triads or four-note chords with one of the triad’s notes doubled. The exceptions are bars 3 and 6, where I’m just playing the root and fifth in each hand. Why? Because Nils Lofgren is next to me playing some fat, soulful chords unique to the guitar, and I want to get out of his harmonic space. By eliminating thirds at that moment, it avoids any clashes or unnecessary doubling.

0210 Play It Chord Doc 2 Ex. 2 - click for audio . I’d play in the second verse with more character and rhythmic action. By simply using the ninth of each chord, we get a new sound, moving the piano a little more to the forefront.

0210 Play It Chord Doc 3 Ex. 3 - click for audio . In this variation on Example 2, I add the fourth in addition to the ninth. It’s similar in style but adds new harmonic identity. This style of adding fourths and ninths (or “twos and fours”) is very guitar-like, and a signature sound of guitar bands like the Byrds and Tom Petty and the Heartbreakers. Many pianists have taken cues from guitar-oriented voicings when playing triad-based music. Listen to Elton John, Billy Joel, Matt Rollings, and the E Street Band’s Roy Bittan to get these new sounds into your hands and ears.

0210 Play It Chord Doc 4 Ex. 4 - click for audio. Here’s the same basic progression, played with a gospel or R&B style. I recently played in the Baltimor...

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