The Chord Doctor - Expand Your Chordal Command Dalton GA

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.

Jennifer D.
(877) 231-8505
Martin Luther King, Jr. Parkway
Griffin, GA
Subjects
Piano
Ages Taught
5 to 99
Specialties
Classical, pop, church/sacred, Suzuki method, traditional methods, Yamaha keyboard music instruction; I tailor to the student.
Education
Georgia State University - piano performance - 8/85 - 5/88 (Bachelor's degree received) Georgia Southwestern State University - early childhood education - 9/92 - 8/94 (Master's degree received)
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TakeLessons Music Teacher

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Betsy Fitzgerald
5243 Riverside Drive No. 2004
Macon, GA
Instruments
Chorus, Conducting, Ear Training, Early Music, Harp, Music Business, Musicology, Piano, Theory, Voice
Styles
Classical, Folk - Country - Bluegrass, Jazz, Kids, Other, World
Experience Levels
Advanced, Beginner, Intermediate
Rate
$45
Years of Experience
16 Years

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Ronald B.
(877) 231-8505
Hwy 41 South
Barnesville, GA
Subjects
Piano, Music Performance, Music Recording, Singing, Music Theory, Songwriting
Ages Taught
5 to 99
Specialties
I specialize in teaching pop, jazz, r&b, neo soul, hip hop, and gospel.
Education
Christopher Columbus High School - general - 9/71-9/75 (High School diploma received)
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TakeLessons Music Teacher

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Karin B.
(877) 231-8505
Delowe Dr
Atlanta, GA
Subjects
Music Theory, Piano, Singing
Ages Taught
5 to 99
Specialties
My method strongly emphasizes fundamental concepts in theory, technique and history. Over time, students learn common chord progressions leading to fundamental concepts of harmonization, transposition, improvisation and lead sheet reading. Sight-reading as well as fundamental techniques such as scales, arpeggios and other strengthening exercises are important areas of instruction. Moreover, students learn to develop sound practice strategies and techniques emphasizing arm weight, good posture…
Education
Georgia State University - Music - 2003-2006 (Master's degree received) University of North Texas - Music - 1988-1992 (Bachelor's degree received) Bishop Dunne High School - Diploma - 1983-1988 (High School diploma received)
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TakeLessons Music Teacher

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Ashlee C.
(877) 231-8505
Aristocrat Court
Loganville, GA
Subjects
Violin, Piano, Singing, Music Theory, Opera Voice
Ages Taught
5 to 99
Education
Pensacola Christian College - church music - 2004-2006 (not complete) Bob Jones University - Piano Pedagogy - 2006-2008 (Bachelor's degree received)
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TakeLessons Music Teacher

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The Cynthia Kaelberer Piano Studio
Valdosta, GA
 
Judy Huang
203 Rocky Creek Drive
Griffin, GA
Instruments
Composition, Ear Training, Early Music, Electronic, Musicology, Other, Piano, Recording, Theory
Styles
Classical, Electronic, Jazz, Kids, Other, World
Experience Levels
Advanced, Beginner, Intermediate
Rate
$32
Years of Experience
6 Years

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Norman T.
(877) 231-8505
McGinnis Ferry Road,
Suwanee, GA
Subjects
Banjo, Bass Guitar, Piano, Saxophone, Flute, Music Theory, Guitar, Classical Guitar, Clarinet
Ages Taught
5 to 99
Specialties
I have used many of the published methods for all of the instruments over the years. I am always open to any approach that will work for any given student.
Education
Columbus State University - Music Education - 9/1973-6/1977 (Bachelor's degree received) Southwestern Seminary - Pastoral Ministry - 8/1991-12/1994 (Master's degree received)
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TakeLessons Music Teacher

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Calista W
113 Lotus Point Dr
Macon, GA
Instruments
Ear Training, Guitar, Harp, Music Therapy, Piano, Suzuki Method, Theory
Styles
Classical, Folk - Country - Bluegrass
Experience Levels
Advanced, Beginner, Intermediate
Rate
$50
Years of Experience
15 Years

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The Music Box Piano Studio
Valdosta, GA
 
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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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