Difference between revisions of "G Major Chord"
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The V chord is also called the Dominant chord. | The V chord is also called the Dominant chord. | ||
| + | |||
| + | fig 2 | ||
| + | G C | ||
| + | V I | ||
| + | e--3-----------0------------- | ||
| + | b--3-----------1------------- | ||
| + | g--0-----------0------------- | ||
| + | d--0-----------2------------- | ||
| + | a--2-----------3------------- | ||
| + | e--3------------------------- | ||
| + | |||
| + | Here's a piece of tab. Above the tab lines there's the chord names - G and C. Below that are V and I. Tab or sheet music is often marked with these roman numerals to identify the harmonic function of that part of the music. This assumes that we are in the key of C Major. If for instance, we were in the key of G Major, the markings would instead be I and IV. | ||
| + | |||
| + | Given that any piece of music can have multiple ways to interpret the key and even which chords are being sounded, there is no one correct way to interpret the music. However, usually pieces tend to begin or end on the tonic note/chord. We can use that as a starting point, then analyze the harmonic movement we get. For the above example, if we were in the key of G Major, we'd have a I - IV transition, which is considered to build tension rather than relieve it. Using the key of C Major instead we have a V - I cadence, the strongest and most "satisfying" chord progression. So it makes more sense to assume we're in the key of C Major with a V - I chord progression. | ||
| + | |||
| + | == Strumming == | ||
| + | The above example is pretty boring, both to listen and to play. Let's get into strumming. | ||
| + | |||
| + | fig 3 | ||
| + | C |G |C |G |C | ||
| + | q q q q |h q q |h h |h. q |w | ||
| + | |||
| + | So admittedly this isn't the most entertaining chord progression or strumming pattern, but it adds more variety than figure 2. 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 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 is a quarter note in length". | ||
| + | |||
| + | === Swing-Feel === | ||
Revision as of 12:34, 3 April 2014
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.
Open Position G Major Chord
fig 1 Alt 1 1st Inv 2nd Inv |-|-|-|p|-| G |-|-|-|p|-| G |-|-|-|p|-| G |-|-|-|p|-| G |-|-|-|r|-| D |o|-|-|-|-| B |o|-|-|-|-| B |o|-|-|-|-| B |o|-|-|-|-| G |o|-|-|-|-| G |o|-|-|-|-| G |o|-|-|-|-| G |o|-|-|-|-| D |o|-|-|-|-| D |o|-|-|-|-| D |o|-|-|-|-| D |-|-|i|-|-| B |-|-|m|-|-| B |-|-|m|-|-| B |-|-|-|-|-| |-|-|-|m|-| G |-|-|-|r|-| G |-|-|-|-|-| |-|-|-|-|-| 0 1 2 3 4 0 1 2 3 4 0 1 2 3 4 0 1 2 3 4
The first chart shows the classic rock position and fingering. It is rather easy to finger this way, and because you use the D (2nd string, 3rd fret) instead of open string B, you get more of a power chord feel - 3 roots, 2 fifths, and 1 major third.
The Alt 1 is the classical way to play a G chord. Notice it retains strict open position by using your ring finger on the low G on the 3rd fret. This is rather difficult to finger, especially for a beginner. But it's worth trying - once you develop your finger stretching enough to make the shape, it can help open up the left hand to more complex shapes.
Also included are 1st and 2nd inversion.
Harmonic Theory: Dominant Chord
The G is a perfect fifth interval above C. In the key of C Major, the G Major chord is thus called the V chord (that's the roman numeral five, not 'Vee'). It's notes are the perfect 5th, major 7th, and major 9th (2nd) of the key.
The major seventh 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 can move up a half-step to C.
The root note of the V chord is also the fifth of the I chord, making its transition from the V to the I chord seamless. The G in the chord becomes the fifth of the C chord (C E G).
The fifth of the V chord is the 9th or 2nd of the I chord. For G, 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.
This makes the V chord ideal to lead into the I chord. This is called an authentic cadence.
The V chord is also called the Dominant chord.
fig 2 G C V I e--3-----------0------------- b--3-----------1------------- g--0-----------0------------- d--0-----------2------------- a--2-----------3------------- e--3-------------------------
Here's a piece of tab. Above the tab lines there's the chord names - G and C. Below that are V and I. Tab or sheet music is often marked with these roman numerals to identify the harmonic function of that part of the music. This assumes that we are in the key of C Major. If for instance, we were in the key of G Major, the markings would instead be I and IV.
Given that any piece of music can have multiple ways to interpret the key and even which chords are being sounded, there is no one correct way to interpret the music. However, usually pieces tend to begin or end on the tonic note/chord. We can use that as a starting point, then analyze the harmonic movement we get. For the above example, if we were in the key of G Major, we'd have a I - IV transition, which is considered to build tension rather than relieve it. Using the key of C Major instead we have a V - I cadence, the strongest and most "satisfying" chord progression. So it makes more sense to assume we're in the key of C Major with a V - I chord progression.
Strumming
The above example is pretty boring, both to listen and to play. Let's get into strumming.
fig 3 C |G |C |G |C q q q q |h q q |h h |h. q |w
So admittedly this isn't the most entertaining chord progression or strumming pattern, but it adds more variety than figure 2. 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 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 is a quarter note in length".