Changes

Let's talk about chords. A <u>'''chord</u> ''' is three or more notes simultaneously. One of the notes is called the <u>'''root note</u>'''. Other notes are classified in terms of the intervals they create with the root note (ie their distance from the root note).

<u>'''Triads</u> ''' are chords composed of a root note and its third and fifth - these are the most common type of chords. There are 4 main types of triads, depending on the which third and fifth intervals are used:

| Minor 3rd || Diminished 5th || Cdim or C{{dim}} or Cdim || (C E{{f}} G{{f}})

A basic '''''major '' chord''' is root, major third, and perfect fifth. For a C Major major chord, that's C as the root, E as the M3 and G as the P5. The C Major major chord is spelled CEG or (C E G) or C-E-G.

Often, a chord spans more than one octave, reusing the same set of notes in a higher octave. For example, C2 E2 G2 C3 E3 C₂ E₂ G₂ C₃ E₃ is 5 notes, but all 5 notes are found in the C major triad. This is still a C major chord.

''Notice a triad is basically every other note from the root in the common 7-note scales.'' A C Major major triad is (C E G). We skip the D and F :* <span style="font- size:1.2em">'''C''' </span> D <span style="font-size:1.2em">'''E''' </span> F <span style="font-size:1.2em">'''G'''. </span>This is helpful to quickly get the notes for a particular chord in the key of C Major. As we learn more about other keys and get more accustomed to the intervalic relationship between each pair of notes in the chromatic scale, we will be able to derive the member notes for any particular chord quickly. ''Building chords by stacking third intervals as described above is called '''tertian harmony''' - alternate harmonic structures exist and are covered later in [[Quartal Harmony|advanced lessons]].''

'''Note: the example tab and chord shapes below are presented here simply for understanding notation. Feel free to play them if you want, but they will be covered in later lessons.''' Usually the short name in the 2nd rightmost -to-last column in the table above is used to denote a chord. This includes the root and an optional quality. When only the root is present, this indicates a major chord. Chord symbols typically appear above sheet music or tab as follows:

Sometimes, minor chords are written as lowercase letters, but I avoid this; as this would make B{{f}} minor appear like b{{b}}, which in a monospace font (often used for tab) is <tt>bb</tt>, which is confusing. Notice tab shows the frets to hold to play each chord. Since chords are often played repetitively, tabbing out chords can be unnecessary and distracting. Also, tab doesn't indicate the preferred fingering to use. Instead, tab or sheet music will usually give '''chord charts''' for all of the '''chord shapes''' used in the song before the song starts. Chord shapes indicate not simply the notes or fingers used, but the pattern of notes across all the strings for a particular voicing, given a certain tuning. Eventually, we will see that chord shapes can be moved all over the fretboard. For the above example, you'd see:

Usually, the root note of the chord is also the lowest-pitched note, or '''bass note'''. This gives a strong harmonic foundation where the intervals created by the other notes can be clearly heard and felt. However, the third or fifth can also be the bass note. This is called an '''inversion'''. Inversions are numbered by the bass note's relation to the root note in the chord.

So what's the point of using an inverted chord vs. root position? This mainly deals with '''[[Voice Leading|voice leading]]''', which can get a little advanced. Basically, even if an instrument is used in a strictly harmonic function, each note of a chord being played should be treated as an individual voice, as though it were one person in a chorus. When changing chords, each voice can keep the same pitch, move higher, or move lower. Classical voice leading has a number of guidelines to make transitions smooth, natural, and pleasant. They highlight the harmonic content of the change moreso than the pitch changes. Let's look at some chord changes, trying to use as little movement as possible for each voice.

Another reason to use inversions is if you want your bass line to consistently ascend or descend or have a melody you want it to follow. If you stick to making the bass note the root note of the chord, many chord progressions will not allow the bass line to do so. Or you may be trying to play a melody as well as accompanying chords, placing the melody line as the highest voice. This limits your chord shape choices; and in some cases, one of the notes would have to be omitted unless using an inversion and placing it lower than the root note.

! !! Root<br />Position<br />''(C E G)'' !! 1st<br />Inversion<br />''(E G C)'' !! 2nd<br />Inversion<br />''(G C E)''

Note: when we cover using chords with 4 or more notes, the total number of numbers here intervals in the chord will expand for those additional intervals. I find that more confusing than the more common "/bass note" notation.

'''E/''' o|-|-|-|-| '''C''' ||i|-|-|-| '''G''' o|-|-|p-|-| '''E''' ||-|m|-|-| '''C ''' ||-|-|r|-| '''E''' o|-|-|-|-|| '''E''' o|-|-|-|-| '''C''' ||i|-|-|-| '''G ''' o|-|-|-|-| '''E''' ||-|m|-|-| '''C''' ||-|-|p|-| '''G''' ||-|-|r|-||} The first chord chart is the most common voicing, in root position with a triad and and additional root and third above. The other charts show inversions, using the E and G on the 6th string. Below are alternates to these shapes that spring up from time to time. They use a high G on the E string instead of the open E. The high G on the 1st string can be used to give the chord a less tense feel, since a fifth is more consonant than a major third. {|! Root Pos. !! 1st Inv. !! 2nd Inv.|-| '''G''' ||-|-|p|-| '''C''' ||i|-|-|-| '''G''' o|-|-|-|-| '''E ''' ||-|m|-|-| '''C''' ||-|-|r|-| ''' ''' ||-|-|-|-|| '''G''' ||-|-|p|-| '''C''' ||i|-|-|-| '''G''' o|-|-|-|-| '''E''' ||-|m|-|-| '''C ''' ||-|-|r|-| '''E ''' o|-|-|-|-|

'''E/G''' o||-|-|p|-| '''C ''' ||i|-|-|-| '''G ''' o|-|-|-|-| '''E ''' ||-|m|-|-| ''' ''' ||-|-|-|-| '''G ''' ||-|-|r|-|

The other charts show inversions, Take a look at 2nd inversion above. We are using the E and pinky for the high G , so we can't play the low C on the 6th 5th stringanymore. The high G on How do we avoid sounding the 1st string can be used ? We allow part of the ring finger and possibly part of the middle finger to give rest against the string without fretting it. That will mute the chord a less tense feelstring, so that when we strum that string, since a fifth is more consonant than a major thirdit does not resonate an open A.

'''You'll notice that you have to curl your fingers pretty well to accurately fret a chord.''' For the basic root position C Major chord above, every finger can potentially run into this issue. The ring finger must fret the 5th string but cannot touch the 4th string. The middle finger frets the 4th, but cannot touch the 3rd. The index finger must fret the 2nd string, but cannot touch the 3rd or 1st strings. This adds to the difficulty on top of stretching your fingers to fret the correct strings and frets.

In any given key, the chord with the same root note as the first note in the scale is the '''I chord''' (that's roman Roman numeral 1, not the letter "eyei"). This Roman numerals are typically used in analysis or composition to indicate a diatonic chord grounds for a common 7-note scale, with the number matching the '''scale degree''' (the tonality of number at which the note appears in the piece, and often occurs as scale). Their usage translates to any key - C major is the first and/or last I chord in the song and/or smaller passageskey of C Major, while A major is the I chord of A Major.

In The I chord grounds the key tonality of C Majorthe piece, and often occurs as the C Major first and/or last chord is in the I chordsong and/or smaller passages.

[[Music_Theory_Basics#Do_Re_Mi_Fa_So_La_Ti_DoThe_Major_Scale|Earlier]] we began to talk about tonality, calling it the musical equivalent of gravity. We saw that certain melodies felt unresolved and that a few notes within the major scale relieved tension, with the root note providing the fullest resolution. '''Tonality''' describes music that is centered around one particular note, called the '''tonic note'''. This cannot exist in a vacuum - it requires a melody or harmonic progression to ''establish'' the tonic note. Some scales or keys are better suited to doing so than others, while some do not establish a tonic note at all.

Harmony can also establish tonality through chord progressions. In this context, chords tend to have a '''harmonic function'''. They can reinforce or represent the tonic note (called '''''tonic'' function'''), strongly seek resolution to a tonic ('''''dominant'' function'''), or can transition from tonic to dominant ('''''pre-dominant'' function'''). These will be covered a few lessons down the road; however, they are mentioned now to more fully understand tonality.

* Learn about chords above. Make sure you know the major triad consists of root, major third, and perfect fifth. * Know that the C major chord consists of (C E G).* Know that the C major chord is the I chord of the C Major key, called the tonic chord.* Know what tonality is.* Know what inversions are. * Finger and play the C Major chord. Get more and more comfortable with it, so you can finger it more quickly each day.* Focus on your strumming technique - make sure you can strum through all the strings easily without getting caught on any strings or having to push really hard to get through each string.** Play through each note in the chord slowly, using one continuous slow motion to strum. Do not individually pick each string.** Play through all 5 or 6 strings quickly as a single motion, trying to sound the entire chord all at once.** Practice strumming the chord to the beat of a metronome over and over. Make sure your right hand aligns to the beat and doesn't fatigue easily.

{{crumbs|red|12top}}|Guitar Parts and Functions|Parts{{Beginner Lesson Crumbs|Holding the Guitar and Pick|Playing|Basic Technique|Technique|Tuning and Harmonics|Tuning|Music Theory Basics|Theory|Position|Position|1st String|1st String|1st and 2nd Strings - Intervals|Intervals|2nd and 3rd Strings|2nd/3rd Strings|4th, 5th, and 6th Strings|Other Strings|C Major in Open Position and Alternate Picking|Alt. Picking|C Major Chord|C Major|G Major Chord|G Major|F Major Chord|F Major|E Minor, D Minor, and A Minor Chords|Minor Chords|Music Theory - Diatonic Chord Progressions|Progressions12}}