G Major Chord - Revision history

Meambobbo at 01:34, 12 June 2015

2015-06-12T01:34:40Z

Meambobbo: /* Homework */

2015-04-03T15:12:18Z

‎Homework

Meambobbo at 14:26, 17 March 2015

2015-03-17T14:26:19Z

Meambobbo: /* Homework */

2015-02-26T22:30:48Z

‎Homework

Meambobbo: /* Homework */

2015-02-26T22:30:20Z

‎Homework

Meambobbo: /* Bass/Strum */

2015-02-24T22:21:46Z

‎Bass/Strum

Meambobbo: /* Swing Feel */

2015-02-24T22:19:55Z

‎Swing Feel

Meambobbo: /* Related Lessons */

2015-02-24T03:57:07Z

‎Related Lessons

Meambobbo at 03:49, 24 February 2015

2015-02-24T03:49:24Z

Meambobbo: /* Strumming */

2015-02-23T22:36:15Z

‎Strumming

← Older revision		Revision as of 01:34, 12 June 2015
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	{{Top-Level Crumbs\|1}}		{{Top-Level Crumbs\|1}}
		+	{{Lesson Crumbs\|1}}
	{{Beginner Lesson Crumbs\|13}}		{{Beginner Lesson Crumbs\|13}}

@@ Line 182: / Line 182: @@
 * Practice the open position G major chord shapes including inversions.
 * Know that the G major chord consists of (G B D).
 * Know that the chord based on the 5th note of the major scale is called the Dominant or V chord, and it's primary harmonic function is to resolve to the Tonic or I chord.
 * Practice strumming in swing time, using an upstroke-strum for the shortened backbeat, although at this point the swing is up to you to determine.  It should feel comfortable and musical.
 ** When playing to a metronome, use two strokes per beat, so your down-strum is always on the beat, with the upstrum a bit before the next beat.  This will keep you from having confusing clicks near your upstrum.
 * Practice playing the C and G Major chords using a bass/strum pattern.

@@ Line 2: / Line 2: @@
 {{Beginner Lesson Crumbs|13}}
-The G Major chord consists of the G, B, and D notes.  Again, the major chord consists of a root note and its major third and perfect fifth above.
+The '''G major chord''' consists of the G, B, and D notes.  Again, the major chord consists of a root note and its major third and perfect fifth above.
 == PreReqs ==
@@ Line 62: / Line 62: @@
 |G Major Chord#Strumming|Strumming}}
-In the key of C Major, G is the 5th note of the scale, and the G Major chord is thus called the <u>V chord</u> (that's the roman numeral five, not the letter 'v').  Its notes are the perfect 5th, major 7th, and major 9th (octave of the major 2nd) above the tonic note of the key.  ''Note: like all major chords, it consists of a root and the M3 and P5 above the root.  G is the root; B is a M3 above G; D is a P5 above G.''
+In the key of C Major, G is the 5th note of the scale, and the G Major chord is thus called the '''V chord''' (that's the roman numeral five, not the letter 'v').  Its notes are the perfect 5th, major 7th, and major 9th (octave of the major 2nd) above the tonic note of the key.  ''Note: like all major chords, it consists of a root and the M3 and P5 above the root.  G is the root; B is a M3 above G; D is a P5 above G.''
 That last paragraph may be confusing.  Rather than try to do all the distance math in our heads, it's simpler to say that the root of the V chord is a P5 above the tonic note, and that the V chord is a major chord.  That is enough to quickly determine its member notes.  And given that the V chord is diatonic to the major scale and that all basic triads consist of every other note from the root, we can simply skip the A and C to get (G B D).  At this point it may be easier to simply memorize the notes.  Later, you'll see why the intervallic relationships matter, start to understand all the patterns, and see how multiple methodologies point to the same results.
@@ Line 75: / Line 75: @@
           |---P5----|    /
-The V Chord is unambiguously a <u>dominant function</u> chord, also called the <u>dominant chord</u>.  This means it produces a large amount of tension and "wants" to resolve to a tonic-function chord, such as the I chord.  The 7th note of the major scale is called the leading tone because it naturally "wants" to resolve up a half step to the tonic note.  The B note in the G major chord is the leading tone of the key of C Major and wants to resolve up a half-step up to C.  The root note of the V chord is also the fifth of the I chord, making its transition from the V chord to the I chord seamless.  The G in the G chord becomes the 5th of the C chord (C E G) without changing.  However, it can alternatively descend from G to the E of C major.  The 5th of the V chord is the 9th or 2nd of the scale, which isn't in the I chord.  For a G chord, this is the D note.  It can descend one whole-step to the root note of the I chord (C) for a very peaceful resolution or ascend one whole-step to the major 3rd of the I chord (E) for a richer harmony.
+The V Chord is unambiguously a ''dominant function''' chord, also called the '''dominant chord'''.  This means it produces a large amount of tension and "wants" to resolve to a tonic-function chord, such as the I chord.  The 7th note of the major scale is called the leading tone because it naturally "wants" to resolve up a half step to the tonic note.  The B note in the G major chord is the leading tone of the key of C Major and wants to resolve up a half-step up to C.  The root note of the V chord is also the fifth of the I chord, making its transition from the V chord to the I chord seamless.  The G in the G chord becomes the 5th of the C chord (C E G) without changing.  However, it can alternatively descend from G to the E of C major.  The 5th of the V chord is the 9th or 2nd of the scale, which isn't in the I chord.  For a G chord, this is the D note.  It can descend one whole-step to the root note of the I chord (C) for a very peaceful resolution or ascend one whole-step to the major 3rd of the I chord (E) for a richer harmony.
-The V - I progression is called an [[Music_Theory_-_Diatonic_Chord_Progressions#Authentic_Cadence|<u>authentic cadence</u>]], which the harmonic equivalent of the leading tone to tonic note in melody.  It is the strongest way to establish tonality, moving from the strongest tension to the strongest resolution.
+The V - I progression is called an [[Music_Theory_-_Diatonic_Chord_Progressions#Authentic_Cadence|'''authentic cadence''']], which the harmonic equivalent of the leading tone to tonic note in melody.  It is the strongest way to establish tonality, moving from the strongest tension to the strongest resolution.
      G           C
@@ Line 106: / Line 106: @@
 So admittedly this isn't the most entertaining chord progression or strumming pattern, but it adds more variety.  The chord changes each measure.  The first measure is just 4 quarter notes - there is no rhythmic variation, just a direct on-beat strum.  The 2nd measure mixes it up a little, using a half note for the first two beats, then 2 quarter notes to finish the measure.  This gives a bit more emphasis to the downbeat.
-The third measure has a note duration we haven't talked about yet.  This is a <u>dotted half note</u>.  ''Any note that has a dot behind it gets 1.5x its normal lengh.''  So a dotted half note lasts as long as one half note + one quarter note.  A dotted quarter note lasts one quarter note + one eighth note.  In this case, the dotted half note takes up the first 3 beats of the measure.  The final measure is just a whole note on the C Major chord.
+The third measure has a note duration we haven't talked about yet.  This is a '''dotted half note'''.  ''Any note that has a dot behind it gets 1.5x its normal lengh.''  So a dotted half note lasts as long as one half note + one quarter note.  A dotted quarter note lasts one quarter note + one eighth note.  In this case, the dotted half note takes up the first 3 beats of the measure.  The final measure is just a whole note on the C Major chord.
-''NOTE: I'm saying quarter '''note''' and half '''note''', but really you are strumming multiple notes that make up the chord.  Saying "quarter note" is really just short-hand for saying "each note of the chord has the same duration as a quarter note".''
+''NOTE: I'm saying quarter "note" and half "note", but really you are strumming multiple notes that make up the chord.  Saying "quarter note" is really just short-hand for saying "each note of the chord has the same duration as a quarter note".''
 {{top}}
@@ Line 118: / Line 118: @@
 |G Major Chord#Inversion Bass/Strum|Inv Bass/Strum}}
-Sometimes to make simple rhythms a little more interesting, musicians employ a <u>swing feel</u>.  Basically, it takes two notes of equal duration and makes the first one a little longer and the second one shorter.  The most typical rhythm uses a triplet, which we will cover [[Applying Rhythm to Chords|later]].  However, a swing feel does not have to be strict.  For now, consider a swing feel as though two quarter notes sound more like a dotted quarter note and an eighth note.  This creates a rhythm similar to an accented downbeat with a leading upbeat rhythm, but it does so for ''every'' beat.
+Sometimes to make simple rhythms a little more interesting, musicians employ a '''swing feel'''.  Basically, it takes two notes of equal duration and makes the first one a little longer and the second one shorter.  The most typical rhythm uses a triplet, which we will cover [[Applying Rhythm to Chords|later]].  However, a swing feel does not have to be strict.  For now, consider a swing feel as though two quarter notes sound more like a dotted quarter note and an eighth note.  This creates a rhythm similar to an accented downbeat with a leading upbeat rhythm, but it does so for ''every'' beat.
 There are no strict rules to a swing feel.  You may choose places where you abandon the feel and play strict time.  You may overemphasize or underemphasize the swing feel by making the first note far longer than written or just a touch longer.
@@ Line 141: / Line 141: @@
 |G Major Chord#Inversion Bass/Strum|Inv Bass/Strum}}
-Another way to make simple chord progressions more interesting is to play a <u>bass/strum pattern</u>.  This is where you play the bass note on one beat, then strum the rest of (or whole) chord on the next.
+Another way to make simple chord progressions more interesting is to play a '''bass/strum pattern'''.  This is where you play the bass note on one beat, then strum the rest of (or whole) chord on the next.
     C           G           C

← Older revision		Revision as of 22:30, 26 February 2015
Line 180:		Line 180:

	== Homework ==		== Homework ==
−	* Practice the open position G ~~Major~~ chord shapes including inversions.	+	* Practice the open position G major chord shapes including inversions.
		+	* Know that the G major chord consists of (G B D).

@@ Line 180: / Line 180: @@
 == Homework ==
-Practice the open position G Major chord shapes including inversions.
+* Practice the open position G Major chord shapes including inversions.
-Practice strumming in swing time.
+* Know that the chord based on the 5th note of the major scale is called the Dominant or V chord, and it's primary harmonic function is to resolve to the Tonic or I chord.
 Practice playing the C and G Major chords using a bass/strum pattern.
 ==Q/A==

@@ Line 129: / Line 129: @@
      2     3     4
-The above tab demonstrates visually how a swing feel impacts timing.  Strict time plays directly on the beat, while swing time delays every other note a bit.  Swing feel 3 is the dotted quarter/eighth note feel, which really emphasizes the swing.  Feel 2 is the triplet approach - dividing the beat into 3rds and playing on the 1st and 3rd divisions.  Feel 2 falls somewhere in between this and strict time and would actually be a bit difficult to notate.
+The above tab demonstrates visually how a swing feel impacts timing.  Strict time plays directly on the beat, while swing time delays every other note a bit.  Swing feel 3 is the dotted quarter/eighth note feel, which really emphasizes the swing.  Feel 2 is the triplet approach - dividing the beat into 3rds and playing on the 1st and 3rd divisions.  Feel 1 falls somewhere in between this and strict time and would actually be a bit difficult to notate.
 Similarly, sometimes musicians play ahead or behind the beat (even on the 1 and 3 beat, not just the 2 and 4).  This means they are technically off-time, but if done very subtly, it sounds musical instead of sounding like a mistake.

@@ Line 196: / Line 196: @@
 * [[Other Open String Chords]]
-{{crumbs|red|13
+{{top}}
-|Guitar Parts and Functions|Parts
-|Holding the Guitar and Pick|Playing
+{{Beginner Lesson Crumbs|13}}
 [[Category:Guitar]]
@@ Line 222: / Line 208: @@
 [[Category:Open Position]]
 [[Category:Rhythm]]

@@ Line 2: / Line 2: @@
 {{Beginner Lesson Crumbs|13}}
-The G Major chord consists of the G, B, and D notes.  Again, the major chord consists of a root note, and major third and perfect fifth above.
+The G Major chord consists of the G, B, and D notes.  Again, the major chord consists of a root note and its major third and perfect fifth above.
 == PreReqs ==
@@ Line 62: / Line 62: @@
 |G Major Chord#Strumming|Strumming}}
-In the key of C Major, G is the 5th note of the scale, and the G Major chord is thus called the <u>V chord</u> (that's the roman numeral five, not the letter 'v').  It's notes are the perfect 5th, major 7th, and major 9th (octave of the major 2nd) above the tonic note of the key ((G B D) for the key of C Major).  ''Note: like all major chords, it consists of a root and the M3 and P5 above the root.  G is the root; B is a M3 above G; D is a P5 above G.''
+In the key of C Major, G is the 5th note of the scale, and the G Major chord is thus called the <u>V chord</u> (that's the roman numeral five, not the letter 'v').  Its notes are the perfect 5th, major 7th, and major 9th (octave of the major 2nd) above the tonic note of the key.  ''Note: like all major chords, it consists of a root and the M3 and P5 above the root.  G is the root; B is a M3 above G; D is a P5 above G.''
-That last paragraph was probably quite confusing.  Rather than try to do all the distance math in our heads, it's simpler to say that the root of the V chord is a P5 above the tonic note, and that the V chord is a major chord.  That is enough to quickly determine its member notes.  And given that the V chord is diatonic to the major scale and that all basic triads consist of every other note from the root, we can simply skip the A and C to get (G B D).  At this point it may be easier to simply memorize the notes.  Later, you'll see why the intervallic relationships matter, start to understand all the patterns, and see how multiple methodologies point to the same results.
+That last paragraph may be confusing.  Rather than try to do all the distance math in our heads, it's simpler to say that the root of the V chord is a P5 above the tonic note, and that the V chord is a major chord.  That is enough to quickly determine its member notes.  And given that the V chord is diatonic to the major scale and that all basic triads consist of every other note from the root, we can simply skip the A and C to get (G B D).  At this point it may be easier to simply memorize the notes.  Later, you'll see why the intervallic relationships matter, start to understand all the patterns, and see how multiple methodologies point to the same results.
      C    G    B    D    - Notes
   B--1----8----12---15-
      |-P5-|              \
-     |---M7----|          } distances from the tonic note of the C Major key
+     |---M7----|          > distances from the tonic note of the C Major key
      |------M9------|    /
           U              \
-          |-M3-|          } distances from the root note of the G major chord
+          |-M3-|          > distances from the root note of the G major chord
           |---P5----|    /