The Chord Doctor - Expand Your Chordal Command Stockton CA

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.

Keyboards & Kindermusik Conservatory, Inc.
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Adjoa S.
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South Pasadena, CA
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Theatrical Broadway Singing, Speaking Voice, Music Theory, Flute, Singing, Acting, Piano, Music Performance, Dance, Songwriting
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6 to 87
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Over 20 years of experience in the studio as a session vocalist. I specialize in vocal freedom, incorporating the feldenkrais and alexander techniques with exercises also taken from the Jeanie Deva Contemporary Vocalist Series. On piano and guitar I very much focus on the styles that make the students come alive. I stress the importance of reading and ear training, but don't force it to the point of the students dislike for music training. I'd rather they enjoy and experiment with sound than …
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YWAM - School Of Ministry Development - Missions, Christian ministry - 2001 (Degree received) YWAM - School of Music & Worship - Music, Missions - 2003 (Degree received) Belhaven College - Theatre, Voice - 2005-2006 (not complete)
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music, Piano, Voice, Violin, Acting I specialize in musical theater, pop and classical voice lessons. For piano I specialize in working with young children- Music for Little Mozarts (ages 4-6), Prep Course (ages 5-7) and Older beginners (ages 8 and up). I also teach intermediate to early advanced level classical piano. Violin- I teach Suzuki Method (beginners through Book 7) to students age 5 and up. I also teach intermediate and early advanced classical styles. Acting- I teach comedy improv …
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Pepperdine University - Education - 1995-1999 California State University Long Beach - Special Education - 1991-1994 University of Wisconsin-Milwaukee - Music - 1984-1989 Tremper High School - Music/Sciences - 1980-1983
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Pop music, breathing technique, writing meaningful lyrics that tell a story.
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Island Cir,
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Acoustic and Electric Guitar: beg to adv Bass Guitar: beg to adv Piano: beg to inter Electronic Keyboards: synthesizers, software, recording, sequencing I am adept in the following music styles & genres: classic rock, modern rock, metal, pop radio hits from 70’s, 80’s, 90’s, & current top40, blues, r&b. Also have jazz background in these genres: swing, bebop, smooth jazz, fusion, Brazilian, Latin. I like to use different teaching formats: notation, tab, transcribing, ear training, theory, vid…
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Cosumnes River College - Music - (not complete)
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San Diego, CA
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I enjoy teaching techniques in improvisation, building chord vocabulary, employing the use of various scales for a greater grasp of the territory and potential of the keyboard, and helping students to understand the relationships between chords and progressions.
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Point Loma Nazarene University - Music Education - Fall 2006 - Spring 2010 (Bachelor's degree received)
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Bridgeway Cir
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5 to 65
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Drums: beg to inter Guitar: beg to adv singing: beg Piano: beg Singing and Playing Motown R&B Oldies Beatles Pop Guitar and Ukulele (Top 40) Jazz/Blues Guitar Marching/Symphonic Band
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UC Berkeley - Music - Aug. '04-May '08 (Bachelor's degree received) CSU East Bay - Music Teacher Prep Program - Aug. '08-Present (not complete)
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Brian P.
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Culver City, CA
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California State University, Los Angeles - Music (Piano, Classical Guitar Performance) - 1968-71, 1980-86 (Bachelor's degree received)
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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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