The Chord Doctor - Expand Your Chordal Command Duluth MN

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.

Schroeder S.
(877) 231-8505
W. 60th St.
Minneapolis, MN
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Songwriting, Music Performance, Flute, Music Theory, Saxophone, Clarinet, Piano, Music Recording
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1 to 99
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Beginning to Advanced piano, keys. Beginning to Advanced Saxophone. Flute, Clarinet. Professional recording, and Theory. Classical, Jazz, rock & roll II-V-I, tritone subs, reading a real book, why chords do what they do, how to understand chords, how to read a chord chart, scales, the math involved in music, etc.
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U. of MN - Premed, Business, music - 1979-1984 (Bachelor's degree received)
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Jason H.
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Russell Ave. S.
Minneapolis, MN
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Piano, Bass Guitar, Classical Guitar, Music Theory, Music Performance, Music Recording, Guitar
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5 to 89
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Music theory and classical piano and guitar, funk bass, Motown style, Hip Hop, House & Dance music, Electronic Music - synthesizers, samplers, music software, production, arranging, engineering...awarded the Peter Gabriel Production Award at Berklee College of Music by the Music Synthesis faculty for a partial scholarship, 1994. Featured on iTunes Store - Jason/ Roomsa feat: Lady Sarah, Dance Music Top 20 charts. Awarded Top 100 Electronic Artists of the Year, URB magazine, 2004.
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Berklee College of Music - 1994 - 1989 (Bachelor's degree received)
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Thomas C.
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Saint Paul, MN
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Violin, Piano, French Horn, Trombone, Speaking Voice, Drums, Music Performance, Music Recording, Songwriting, Tuba, Singing, Saxophone, Percussion, Clarinet, Trumpet, Opera Voice, Theatrical Broadway Singing, Acting, Music Theory, Flute
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1 to 99
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Kodaly and orff methods
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Sonoma State University - music - 9/76-6/84 (Bachelor's degree received)
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Lucie Shores
249 Water Street First Floor
Excelsior, MN
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Blues, Classical, Electronic, Folk - Country - Bluegrass, Jazz, Kids, Other, World
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Advanced, Beginner, Intermediate
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$45
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30+ Years

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Allison B.
(877) 231-8505
W 84th St
Minneapolis, MN
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Flute, Music Theory, Piano
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5 to 99
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Beginning to advanced piano and keyboard, beginning to advanced flute and music theory such as scales, chord structures, chord progressions, math behind the music, history behind the music, etc., etc.
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Normandale Community College - fine arts in music with an emphisis in piano - 2005 - 2009 (Associate degree received) Normandlae Community College - music - 2001 - 2005 (Associate degree received)
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Kathryn G.
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Orchid Street Nw
Minneapolis, MN
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Concordia College - Music, History - 2004-2009 (Bachelor's degree received)
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Amy W.
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Ripley Avenue
Saint Paul, MN
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5 to 99
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I have a lot of experience teaching students who are brand new to their instrument. I believe the beginning is a very important time to start building a solid foundation for all future musical growth. I love being able to help my students establish good habits from the beginning and influence the overall direction of a new student’s musical experience. I love music of all kinds and have fun playing and teaching all the instruments that I listed. However, the two instruments that I have the mo…
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Northwestern College - Music Education - 1987-1992 (Bachelor's degree received)
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Azra Halilovic
5217 Beachside Drive
Minnetonka, MN
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Piano
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Classical
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$25
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1 Year

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Galina I.
(877) 231-8505
Niles Ave
Saint Paul, MN
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Music Performance, Piano, Music Theory
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5 to 99
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Traditional classical piano
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Leningrad Conservatory - Piano Pedagogy and accompaniment - 1975-1979 (Bachelor's degree received) Leningrad Conservatory - Piano Pedagogy and performanc - 1979-1983 (Master's degree received)
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First Star Music Studios Llc
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Apple Valley, MN
 
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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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