The Chord Doctor - Expand Your Chordal Command Ithaca NY

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.

Tatyana Cherepinsky
42 Dina Ct
Staten Island, NY
Instruments
Piano, Theory
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Classical
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Advanced, Beginner, Intermediate
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$50
Years of Experience
27 Years

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J. David W.
(877) 231-8505
South Oxford Street
Brooklyn, NY
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Singing, Organ, Music Theory, Opera Voice, Music Performance, Piano
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5 to 99
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All, but adept at teaching improvisation
Education
Cincinnati College-Conservatory of Music - 1982 - 1980 (Bachelor's degree received) The Juilliard School - 1984 - 1982 (Master's degree received) The Manhattan School of Music - 1989 - 1986 (Degree received)
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Melissa D.
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W 73rd St.
New York, NY
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Violin, Music Performance, Singing, Classical Guitar, Piano, Fiddle, Guitar, Songwriting, Mandolin, Music Theory
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4 to 40
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Violin- Suzuki Method and supplemental scale & theory books.. also supplemental pieces based on student's interest and goals Piano- Alfred's Basic Piano Method: Lesson book, Theory book, Ear Training.. as well as supplemental theory books, and supplemental pieces based on student's level of ability and goals Guitar- Mel Bay's Modern Guitar Method (for classical guitar and note reading on a guitar), chord sheets, pieces either charted out or written out by me. Again, also, supplemental music t…
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Liberty University - Music & Worship Arts - 2002-2005 (Bachelor's degree received)
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Glen F.
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113 Street
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I have been trained as a teacher at the Manhattan School of Music and by Madeline Bruser, author of the highly acclaimed book, The Art of Practicing. There was tremendous focus put into communication with the student and listening to his/her needs, reading music fluently, playing with minimum tension/maximum efficiency (knowing how to move with ease while achieving the sound the student desires), listening techniques at the piano, and learning to play with confidence and joy. I have a profess…
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Manhattan School of Music - Piano Performance - 9/05-6/10 (Bachelor's degree received) SUNY Stony Brook - Piano Performance - 9/03-12/04
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Aaron Shragge
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Brooklyn, NY
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7 Years

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Andriy L.
(877) 231-8505
Menahan st. ap
Brooklyn, NY
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Piano, Music Theory, Songwriting
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I am very familiar with the method that was invented by Rahmaninoff, since his youngest student taught me personally at Mannes.
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Higher State Music Institute - composition - 1989-1994 (Bachelor's degree received) Mannes College of Music - composition - 2008-2010 (Master's degree received)
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E 76th St,
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5 to 99
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Jazz, classical, R+B, blues, virtually any genre (as I've performed them all) Highly studied and accomplished in music theory, composition, and orchestration, ear training and arranging
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Adam K.
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New York, NY
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I specialize in teaching jazz/pop/rock/improvisation. I can teach beginner/intermediate classical piano lessons as well. I teach composition/theory/ear training for all instruments.
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Manhattan School of Music - Jazz Piano Performance - Fall 2007-Spring 2011 (not complete)
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Nina R.
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W 157th
New York, NY
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Theatrical Broadway Singing, Opera Voice, Piano, Singing
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I specialize in classical voice, Broadway, and pop singing. I can do any style because I focus on healthy technique. My main singing is classical, but I also sing different styles. For piano, I teach beginners piano.
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Interlochen Arts Academy - voice major/piano minor - 1999-2001 (High School diploma received) Manhattan School of Music - voice - 2001-2005 (Bachelor's degree received) Manhattan School of Music - voice - 2005-2007 (Master's degree received)
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Taiwan Green
120-33 194 St
St Albans, NY
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Blues, Classical, Electronic, Folk - Country - Bluegrass, Jazz, Kids, Rock - Alternative, World
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Advanced, Beginner, Intermediate
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$30
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10 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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