The Chord Doctor - Expand Your Chordal Command Cumberland RI

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.

Justin A.
(877) 231-8505
Quinn St
North Attleboro, MA
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Music Theory, Percussion, Piano, Music Performance, Drums
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5 to 99
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I pride myself in being well trained in all styles of music. In attaining each of my degrees, I have put an emphasis on being versatile and well-rounded. For drum set, I like to use method books such as: Stick Control, Syncopation and Future Sounds.
Education
Univeristy of Massachusetts Amherst - Music - 2003-2006 (Bachelor's degree received) Holyoke Community College - Arts with a concentration in Music - 2001-2003 (Associate degree received)
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Stan Munslow
15 Hancock Drive
Coventry, RI
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Composition, Ear Training, Electric Bass, Guitar, Music Business, Other, Piano, Theory
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Blues, Classical, Jazz, Kids, Other, Rock - Alternative
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Advanced, Beginner, Intermediate
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$25
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26 Years

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Kenya C.
(877) 231-8505
Brown St
Hope, RI
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Violin, Music Theory, Piano
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1 to 99
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baroque, classical, romantic periods, 20th century, contemporary music, ragtime and blues
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Kenya C.
(877) 231-8505
Brown St
Hope, RI
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Violin, Music Theory, Piano
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1 to 99
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baroque, classical, romantic periods, 20th century, contemporary music, ragtime and blues
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Kyle B.
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Regal Road
Milford, MA
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Music Performance, Piano, Music Theory, Organ
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1 to 99
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I teach beginning piano students using the Schaum Piano Method Books. The primary genre of music that I teach is classical.
Education
Milford High School - - 2000-2004 (not complete) University of Massachusetts, Lowell - Music Education - 2004-2009 (Bachelor's degree received) University of Massachusetts, Lowell - Organ Performance - 2004-2009 (Bachelor's degree received) University of Massachusetts, Lowell - Music Education - 2009-present (not complete)
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TakeLessons Music Teacher

Data Provided by:
Stan Munslow
15 Hancock Drive
Coventry, RI
Instruments
Composition, Ear Training, Electric Bass, Guitar, Music Business, Other, Piano, Theory
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Blues, Classical, Jazz, Kids, Other, Rock - Alternative
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Advanced, Beginner, Intermediate
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$25
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26 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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