8,720
edits
Changes
m
→Table Conventions
Here are some charts of complimentary chord shapes that mostly follow good voice leading principles. Leading tones resolve up to the tonic. Contrary motion is preferred. Movement in parallel 5ths and octaves is avoided. However, we are not retaining strict unique voices - we may choose to add or drop a voice (although we could consider a single note two voices on the same note). Each set of two chords are written in the same position, as large as necessary to accommodate both chords. To actually finger the chords will likely require a positional shift in some occasions. These will work for any position, with the key indicated by where the root note of the tonic chord falls. I am picking a couple examples, but there are actually far more possibilities, especially when we consider 7th, 9th, 11th, 13th, and other complex chords.
== Examples on Guitar ==
==== Table Conventions ====
* '''?''' - Indicates that the analysis is questionable due to there being more notes in one chord than the other. We assume that the chord with less notes uses two voices on the same note. For example, if the first chord has less notes than the destination chord, we could say that we get contrary motion from the bass note ascending a M2 '''and''' descending a P4 to form a small power chord as the two bass notes of the next chord.