The Chord Doctor - Expand Your Chordal Command Bloomington IL

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.

Paul C.
(877) 231-8505
Addison Road
Riverside, IL
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Trumpet, Piano, Ukulele, Bass Guitar, Guitar, Music Performance, Classical Guitar, Singing, Music Theory, Opera Voice, Flamenco Guitar
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10 to 99
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My experience has been concentrated in classical guitar. However, I was a voice minor for all three degrees, and have sung in professional choirs (His Majestie's Clerkes, now Bella Voce) and paid church choirs (St. Luke's in Evanston as well as St. Chrysostom's and St. John Cantius in Chicago) for the past 26 years. My first instrument was trumpet, which I played in high school and college. I also studied piano in high school and college. In graduate school I performed in early music ensemble…
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Indiana University - Musicology - 1969-1973 (PhD degree received) Indiana University - Music Theory - 1963-1967 (Master's degree received) Georgetown College - Music Education - 1958-1962 (Bachelor's degree received)
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Rick Kissinger
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Chicago, IL
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Bassoon, Clarinet, Flute, Oboe, Other, Piano, Piccolo, Saxophone
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Blues, Classical, Jazz, Kids, Other
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Advanced, Beginner, Intermediate
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$60
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10 Years

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Alejandro F.
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W. 19th st.
Chicago, IL
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Piano, Guitar, Bass Guitar
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7 to 21
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Guitar: beg to adv Piano and Bass: beg to inter I specialize in rock, heavy metal, and jazz.
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Florida International University - Liberal Studies - 2003-2007 (Bachelor's degree received)
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Jason Peterson
21723 W Halifax Dr
Plainfield, IL
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Piano
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$25
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12 Years

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Yusef M.
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Sibley Blvd
Calumet City, IL
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Speaking Voice, Music Performance, Songwriting, Music Recording, Saxophone, Organ, Piano, Music Theory, Singing
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5 to 99
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Gospel Jazz Play by Ear
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University of Dayton - Psychology - 94-98 (Bachelor's degree received) Keller Graduate School - Business Administration - 02-04 (Master's degree received)
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Tessa H.
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South Street
Dundee, IL
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Cello, Music Theory, Piano
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5 to 99
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I teach in a slower method so everyone can understand the instrument. If the student wants to go faster, I have no problem with that. I teach for mostly cello in the classical style, but can also teach in other different styles. When it comes to genres the sky is the limit.
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Elgin Community College - Music Education - 2007-2010 (Associate degree received)
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Akilah W.
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Clarendon Ave
Richton Park, IL
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Music Theory, Trombone, Piano
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Classical Piano/ Classical Trombone
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University of Arkansas at Pine Bluff - Music Education - 08/2005-12/2009 (Bachelor's degree received)
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Kwanwoo L.
(877) 231-8505
W. St. James Pl.
Chicago, IL
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University of Illinois - Electrical Engineering - 2005-2009 (Bachelor's degree received)
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Christian R.
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W. Mclean
Chicago, IL
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Music Theory, Piano, Percussion, Music Performance, Speaking Voice
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5 to 99
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Rock and Jazz drum-set studies and performance. Afro-Cuban and Southern Indian hand-percussion studies and performance. Symphony percussion studies and performance. Classical piano studies and performance. Alternate drum-set and hand-percussion arrangement and instrumentation designed for recording and performance.
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Jacobs High-school and Dundee Crown High-school - General ED. and Music - 1995-1999 (High School diploma received) Berklee College of Music - Professional Music - 2002-2005 (Bachelor's degree received)
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Kristin Paxinos
525 N Main Street Suite 26
Elburn, IL
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Flute, Piano
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$48
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18 Years

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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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