Hello all! Now that the holidays are coming to a close and I’m sort of settling in to life with a new baby I’ll be resuming blogging full-bore next week.
And due to overwhelming response to the music theory series, I’m going to keep going with more practical music theory tips. Thanks for the links and comments everyone, I’m so glad you’ve found these posts helpful.
Upcoming posts:
Hey all, I will be taking another short break from blogging over Christmas and possibly until the new year. I need to focus my attention on my new little girl and my wonderful wife and the rest of my family.
Since this last week’s series on music theory went so well, I’m going to continue posting on music theory when I’m back from the break. We’ll look at things such as:
Have yourself a very merry little Christmas and a fantastically happy new year!
So, we’ve looked at basic triads. We’ve looked at inverting those triads. We’ve also looked at weird chord suffixes that can help us extend our chords a little bit. Let’s look at the other most common chord in popular music: the relative minor or vi (six) chord.
Each major key signature has a corresponding (relative) minor key with the same signature. You can find the relative minor of a major key in two ways: count up six steps beginning with the tonic (first note) of the scale. So, in the key of C, we would start with C and count up six steps to A. Building our basic triad (A, skip, C, skip, E) gives us a minor chord now, instead of the major chords we looked at earlier in the week. This chord is root chord of C’s relative minor key, A minor. A minor has the same key signature as C major, no sharps or flats.
The other way to find the relative minor is count down a minor third (or 3 half steps) from the first note of the scale (not including the first note). In the key of C major we would count down B to Bb/A# to A. We’ve landed on A, which tells us that A minor will be the relative minor of C major.
So why do we care, as worship leaders? For one thing, the vi (six) chord, which is the same as the root chord in the relative minor key is found in almost every single worship song there is. It is good to know how to play it. Secondly, the vi (six) chord can act as a sort of “trick” ending (the fancy term is “deceptive cadence”).
Because the I (one) chord (in C, C-E-G) and the vi (six) chord (in C, A-C-E) share two notes, they can often be used interchangeably. If the song ends on the root note of the key (in our case, C), either chord could be played. If the vi (six) chord is played, the ear realizes that the song is not done yet, because the music did not end on the root chord of the key, even though the melody ended on the root note of the key.
This is especially helpful when a worship leader wants to repeat the last phrase of a song, but wants to add some variety. Instead of ending on the I (one) chord and repeating the exact same thing, the worship leader has the band “trick” end on the vi (six) chord and then repeat the last phrase, ending on the I (chord)
Whew. That was a lot of info! Hopefully it all made sense. Leave questions and comments if it didn’t. Also, for more visual learning and some fantastic training excercises, visit musictheory.net. I highly recommend this great, free site for training yourself in music theory.
One of the most common questions I get when working with musicians who aren’t used to playing chords is “what does that ‘sus’ or number mean after the chord?” Let’s take a look:
Most of us are used to playing the basic chords that we looked at in the last two days, but what happens when you run up against something like Csus or Cmaj7 or C2?
Those three suffixes (sus, 2, and some type of 7) are probably the most common suffixes you will see in most praise and worship music. The easiest way to figure out these chords is by looking at the numbers.
If you see the chord C2, think logically. In the C scale, find out the second note of the scale, which is D, and add it to your C chord. You now have C, D, E, G. It’s that simple. In order to make the chord sound more open, however, eliminate the E from the chord, leaving you with C, D, G. This chord gives a nice, warm sound to the music.
So, if C2 means that you add the second note of the scale to the chord, a chord with a 7 in the suffix must mean what? You got it! This does get a little bit tricky as there are several types of 7 chords that can be played. I will go into much more detail in a future post, but for simplicity’s sake, let’s stay within the key signature and figure out how this works.
When you see Cmaj7 written out, do the same thing as C2. Count up to the 7th note of the scale (B) and build the chord accordingly. C-E-G-B. You now have a maj7 chord. One caveat to this is that maj7 chords can only be build on the I (one) and IV (four) chords if you are staying within the key signature.
So what about ‘sus?’ There’s no number there! Fortunately, most of the time ‘sus’ is used, it is shorthand for ‘sus4.’ There are exceptions to this, but this is the most common use of ‘sus.’ So, just as before, count up to the fourth note of the scale and add that note. C-E-F-G. Here, however, you must eliminate the middle note, E, from the chord. ‘Sus’ is short for suspended, telling you that a note is suspending and wanting to resolve. By playing C-F-G, the chord now wants to resolve itself to C-E-G. Sus4 chords are a great way to add some interest to the end of a phrase. While staying in the key signature, this chord works with the I (one) and V (five) chords.
Experiment with inversions with these chords as well! Tomorrow we will look at the relative minor chord, or the VI (six) chord, the fourth most commonly used chord in popular music.
Yesterday we looked at very basic ways to build the basic triads in any key. Now, playing those basic triads all the time could make yourself bored and your music extremely boring. Let’s add some color by learning how to invert the triads.
So, looking back to yesterday we had built the basic C or I (one) chord as C, skip a note to E, skip a note to G. So, C-E-G. We now want to invert that chord to add some interest. So, now, instead of making C the bottom note, make E the bottom note. Now the chord is built, from the bottom up, as E-G-C. It uses the same three notes, only in a different order.
You’ll notice that the chord sounds incredibly different. Why is this? Before, when the chord was built by only skipping one note in between, the notes were built tightly together. By inverting the chord, the G and C are spaced farther apart, creating a more open sounding chord.
Now invert the chord one more time so it is built as G-C-E. This chord also sounds slightly different, even though it is built with the same three notes.
Experiment with other keys, remembering to always follow the key signature. Also, for piano players especially, experiment with playing the root note (C) in the left hand and then playing each inversion with the right hand. Then play the next note in the chord with the left hand and play each inversion with the right hand. See how different each inversion sounds! When you see chords written on music like C/E, this means that the bass note is an E, calling you to play that first inversion of the C chord (E-G-C). So, in a band setting, the bass player would play the E, and the keys and guitar players would play any type of C inversion on top of that.
Tomorrow we’ll look at weird chord suffixes that you might see like “sus” or “min7” or “dim.”
