One note played alone is termed a“unison.” Two notes played simultaneously (or adjacent to one another) are termed an “interval.” Intervals are named by the distance between them, so there can be intervals of 2nds, 3rds, 4ths, 5^th, etc.  Chords are three or more notes (or pitch classes; strictly speaking, notes are the written form of pitches) played together. But these notes don’t necessarily have to be played simultaneously. Broken chords, or arpeggios, are three or more notes that aren’t played at the same time but closely enough to be heard as a group or whole. Sometimes in rock music the term “power chord” is used, meaning that the 3^rd is left out of a 3 note chord leaving just the root and 5^th.

Chords are most often named based on their number of notes or the type of intervals involved. Chords classified by note number are given names such as trichord (three notes), tetrachord (five notes), and hexachord (six notes). Chords classified by interval are given names such as tertian (third chords), secundal (second chords), and quartal (fourth chords). Sometimes chords are named based on both qualities. Tertian trichords, for example, are chords with three notes, each a third above each other. These type of chords are actually the most common in western music, found frequently in rock and pop.

These chords aren’t the only chords possible, however. There are several specialized chord types that seem to defy strict categorization. Inverted chords are created by turning any root position chord upside down. Seventh chords can be made by adding a fourth note to a triad — a third above the chord’s fifth — which makes the highest note a seventh from the root. Extended chords are those with notes that extend above a seventh, such as a ninth or an eleventh. But it’s important to mention that no extended chord can go above a thirteenth. By that point, the notes included will have already been played somewhere in the chord, taking it back down to an eleventh or thirteenth.

 A “slash chord” is a chord where the root of the chord is not the lowest note, which would include inversions, but also might include non-chordal notes. An example might be C/B.

 A “sus chord” – short for “suspension” – is a chord where the 3^rd of the chord is replaced by the 4^th.

 Watch this short little video and you will understand immediately:

 

The Nomenclature of Music: Unisons, Intervals, Chords from chordman on Vimeo.

Wouldn’t it be great if we could all arrange songs on the keyboard right on the spot? I always thought that would be so great. So when I was in my late teens I went hunting. Not for elk or quail, but for piano styles I could use to arrange the songs I wanted to play and make them interesting. Back then there was no such thing as the internet, or CD’s, or video — it was either in a book or from a private teacher, and I went hunting in both areas — I bought tons of books on piano playing, and took lessons from several different teachers, some of whom were at the very top in the world of piano arranging.      Gradually I learned style after style, but it took a long time. I thought at the time “There must be a better way to learn these styles than chasing down book after book, teacher after teacher.” So when I got a music teaching studio of my own years later, I started putting together a list of the piano styles I had learned. Still later I thought “I could put these styles on cards — one style on each card, and they would show each style by slipping behind the piano keyboard and pointing at the notes to be played!”      Wow! What a breakthrough!      So I started work on the project, and it took me several years to get all the styles down on paper and the bugs worked out. I realized, though, that the cards weren’t enough by themselves — I would need to demonstrate and explain how to use each style. So I painstakingly recorded six CD’s where I demonstrate audibly how each style works and how it can be used in a song.     Still later I thought “A video showing each style close up would be really helpful as well”, so I recorded a DVD that shows me positioning each card on the piano keyboard then playing the pattern myself, so it is crystal clear to the learner. So the result was a set of 6 CD’s and 1 DVD along with the 72 piano style cards. Here’s a 2-minute video that shows how it all works:   If you think you would find this helpful, check out “Keyboard Arranging — How To Do It On The Spot!”

Gospel music is full of history and soul. It comes from a rich tradition of folk songs and church hymns. Gospel stays alive by remaining relevant, taking various aspects of the musical culture of the day and bringing those aspects into the spiritual fold. In modern gospel, jazz has been introduced into traditional songs. This has sparked the musical term “gospel chords.” Gospel chords are extended chords, such as the 9th, 11th and 13th. Maybe you’re not familiar with these chords. If you’re not sure how to form these chords, here’s a brief lesson. Start with a dominant seventh chord. This is a basic triad with a flatted seventh added. For example, in the key of C, the basic triad is C-E-G. This is a C major chord. In the C major scale, the seventh is a B, so the flatted seventh is a Bb. To get a dominant seventh, we’ll add the Bb to the basic triad. This chord can be played in many different ways. You can use the left hand for the root and leave the other three notes for the right hand. You can play all of the notes on one hand. You can switch them around to your heart’s content. When you switch the notes of a chord around like these, you are using inversions. To get the 9th, 11th, and 13th you’ll have to add more notes to the chord. Since the notes of the octave are number 1-7, you must continue past one octave with numbering. The 9th tone is an octave above the 2nd; the 11th is an octave above the 4th, and the 13th is an octave above the 6th. This is where using different hands for different chord tones really comes in handy. A well-played gospel chord shouldn’t sound cluttered. Now that you have studied all those extended gospel chords, when are you going to use them? Now that you have studied all those extended gospel chords, where are you going to use them? To start with, any gospel number can be spiced up with some jazz gospel chords. Try them out and see what works for you. Take a standard like The Old Rugged Cross. In the key of A, the progression is A, A7, D, B7, E, E7, A. To give it some flavor, substitute any of the dominant seventh chords with 9th, 11th or 13th chords. Experiment with them to see what suits your taste. Change the tonalities of the chords. Take the B7 and make it a Bm7. When they are worked into a simple progression, extended gospel chords make things a bit more musical. They give the song more depth and color, creating a rich sonic picture. Gospel music is always evolving, taking different aspects of modern styles and incorporating them into a whole. Practice bringing some extended chords into old arrangements and see what sounds good to you. With a little practice and experimentation, you’ll find yourself livening up any traditional praise song with a series of well-placed gospel chords.

Chord progressions are simply the way chords want to move. Every musician uses them whether they know it or not. The trick is to recognize them and then use them in other situations and modify them slightly for an original sound. For example, the Happy Birthday song played in the key of F progresses like this: F, C7, F, Bb, F, Cb, F In the key of G it would progress G, D7, G, C, G, D7, G. In other words, the song starts on the I chord (the tonic or root chord of whatever key you are playing it in), progresses to the V7 chord, back to the I chord, then to the IV chord, back to I, then V7, ending with I. In Silent Night the chord progression would be I, V7, I, IV, I, IV, I, V7 I, V7, I. We could go through song after song like that, and what you would find is that the most used chord is the I chord, followed by the V7 chord, and followed by the IV chord. Plus most songs start and end on the I chord. That in itself is valuable information, because you immediately know what the most likely chords are in any song, in any key. Most musicians don’t know that, unfortunately – and it’s not rocket science. So start analyzing what chords occur in the songs you play. If you read music, notice the chords carefully – generally you can figure out the chord even if the chord name is not given simply by adding up all the notes vertically at any given point. For example, if you have a song with D and A in the bass clef, and C and F# in the treble clef, by adding those notes up you can determine you are playing a D7 chord. Same idea when you are playing by ear. Look at your hands and figure out what chord you are playing by adding up the notes at any given point. Soon you will learn that chord progression patterns emerge – time after time the same chords are used, and follow in the same order. Make a list of the songs with similar chord progressions – a great teacher in Hollywood I had years ago taught me that – and it has been worth a great deal to me. If I know the chords in “Blue Mood”, for example, follow the same pattern as in “Heart and Soul”, then I have just learned two song instead of one – and there are literally hundreds and hundreds of songs that follow almost exactly the same pattern. The 12-Bar Blues chord progression forms the basis for THOUSANDS of songs in the blues, jazz, R&B, gospel, rock and other styles as well. Here is the pattern: • 4 bars of the I chord • 2 bars of the IV chord • 2 bars of the I chord • 1 bar of the V7 chord • 1 bar of the IV chord • 2 bars of the I chord • Rinse and repeat as many times as desired. Chord Progressions And How They Work from chordman on Vimeo. If you need some help in this area, come on over to Chord Progressions & The Riffs & Runs That Flow Out Of Them.

George Frideric Handel was born February 23, 1685. While we all have heard the Hallelujah Chorus during Christmas season, many people don’t realize that George Frideric Handel is its world-renowned composer. And at Christmas time we all sing “Joy To The World”, another of his masterpieces. While we all have heard the Hallelujah Chorus, many people don’t realize that George Frideric Handel is its world-renowned composer. He is also the genius behind The Choice of Hercules and Solomon. George Frideric Handel was born February 23, 1685, in Germany, but he spent the majority of his life in England. After living in England for the majority of his life, his love of music and composition was largely influenced by composer Henry Purcell. In his lifetime, Handel eloquently composed 42 operas; 29 oratorios; 16 organ concerti; over 120 cantatas, trios, and duets; and numerous arias, chamber music pieces, odes, and serenatas. Of his over 200 masterpieces, the most famous piece is the Messiah, which features the Hallelujah Chorus. Besides the eloquence of his musical genius, Handel also prided himself in utilizing musical instruments that were, in his time, uncommon. The lute, trombone, harp, double bassoon, clarinets, small high comets, french horn, and bell chimes are just a few of the uncommon instruments Handel used in his numerous works. Handel’s music has captivated audiences for years. He utilized the art of text painting, which is the skilled art of the melody and music imitating the lyrics. This can be best seen in the Messiah’s Every Valley Shall be Exalted, Part One. The story of the Hallelujah Chorus is an interesting tale. First, the name is actually Hallelujah; however, as this portion of the highly acclaimed Messiah is typically played and heard separately, it has adopted the name of Hallelujah Chorus. In 1741, Handel composed Messiah and what we know now as the Hallelujah Chorus. While designing and composing Messiah, Handel was in debt and deeply depressed; however, the masterpiece was completed in a mere 24 days. Despite his mental and financial state, the Hallelujah Chorus’s birth story is a glorious one. After Handel’s assistant called for him for a few moments, the assistant went to Handel’s work area because he received no response from Handel. Upon entering the room, the assistant saw tears emerge from Handel’s eyes. When the assistant asked why Handel was crying, Handel proclaimed, “I have seen the face of God,” while lifting up the composition of the Hallelujah Chorus, which ended up being the crowing achievement of his career. The lyrics in the Hallelujah Chorus are derived from three passages of the New Testament of the Bible, Revelation 19:6, Revelation 19:16, and Revelation 11:15. Revelation 19:6 reads, “And I heard as it were the voice of a great multitude, and as the voice of many waters, and as the voice of mighty thunderings, saying, Alleluia: for the Lord God omipotent reigneth.” Similarly, Revelation 11:15 states, “And the seventh angel sounded; and there were great voices in heaven, saying, The kingdoms of this world are become the kingdoms of our Lord, and of his Christ; and he shall reign for ever and ever.” Lastly, “And he hath on his vesture and on his thigh a name written, King of kings, and Lord of lords,” is from Revelation 19:16. The Hallelujah Chorus has its own tradition that has emerged over time. A standard practice is for the audience to stand while this portion of Messiah is performed. This tradition began by the example of King George II. It was understood that whenever the King stood, everyone else was supposed to as well. For over 200 years, this tradition has remained. Few people know exactly why the King stood at this time. Speculations for this standing ovation range from King George II showing respect for the piece and its importance to the King seeking relief from his gout. Upon his death on April 14, 1759, George Frideric Handel was largely known and recognized by many famous composers, such as Joseph Haydn, Wolfgang Amadeus Mozart, Ludwig van Beethoven. His fame lives on in his masterful compositions.

Keith Jarrett was born in Allentown in Pennsylvania on the 8th of May, 1945. A prodigy at a very young age, he had his first public appearance when he was six years old. He had lots of support to the extent that he was offered a chance to study and learn composition with Nadia Boulanger, the revered French piano teacher, in Paris. He admitted once that what ticked on his interest in the jazz was a Dave Brubeck performance that he attended. He took to jazz when he was a teenager and soon started becoming good at it. As he played more of jazz, he had the strong urge to join the local jazz scene. After he graduated from school, he shifted base to Boston, Massachusetts. It was here that he did a stint at the Berklee College of Music. He also had a gig playing cocktail piano while studying at Berklee. Upon finishing his tour, he went to New York and where he had a regular gig in a club - Village Vanguard. What followed was his association with many groups. One of the first groups on that list is The Jazz Messengers. He met his future long time collaborator Jack DeJohnette while playing for another group Charles Lloyd Quartet. The group recorded one of the most important jazz recordings of the 60’s – their 1966 album Forest Flower. He was leader in a trio with Paul Motian and Charlie Haden and He made his debut recording as leader the following year Life Between The Exit Signs which was followed by another in 68’ – Restoration Ruin. It was one of the most impressive in the list of works that he is known for. Restoration Ruin was unique mainly because he did everything except play the piano – including playing every single other instrument and the vocals – in the album which was anything but jazz. It was by any definition folk rock hence different from most of the work that he has recorded so far. The trio had one last release – a live album titles Somewhere Before. The next stint that Keith had was with Miles Davis playing with the legend in the Miles Davis group. After Miles saw Keith play, he was so impressed that he invited him to play along with the group. When he joined the group, the playing of the Contempo electric organ and Rhodes electric piano was shared by him and band mate Chick Corea. After Chick Corea left the band, he handled both the instruments at times playing both at the same time. Playing an electric instrument was not an option that he preferred to exercise. Despite this, he stuck with the band out of a stronger wish to play with Miles Davis and also with Jack DeJohnette who was a part of the group at the time. His long time association with Miles Davis resulted in him playing with the genius on five of his releases including The Cellar Door sessions recorded live at the Washington DC nightclub, Miles Davis at Fillmore: Live at the Fillmore East, The Cellar Door and Live-Evil which consisted of edited recording of live performances at The Cellar Door. More extensive recording from live performances there were put together as The Complete Cellar Door Sessions. Another similar series of compositions had Miles and Keith sharing company – The Complete Jack Johnson Sessions – which was recorded for a documentary on boxing champ Jack Johnson. The Haden – Motain – Jarrett continued to play for six years from 1971 to 1976. They had Dewey Redman on the saxophone after which they became the American Quartet. They had sidemen play with them at times on guitar and percussion. One common feature of the original trio members was that they were multi – instrumentalists. You’d hear each one playing different instruments on their recordings and live shows. Jarrett’s versatility went as far as the saxophone and percussion in addition to the piano, Redman as far as a Chinese double reed instrument – musette and the remaining two members on various forms of percussion. They group experimented with their sound a lot. Hayden devised a way to play the acoustic bass producing from it new percussive and plucked sounds. He played it through a wah-wah pedal on the track Mortgage On My Soul. Jarrett achieved a lot more with groups like the European Quartet and his solo piano outings. His solo piano concerts had him leaving the audience at suspense. The extreme point of this habit was when he didn’t play for minutes while the audience got restless. Then someone shouted “D Flat” after which he immediately hit an improvisation in D Flat.