From The Composer's Chair

Circle of Fifths

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on March 9, 2010 9:59 PM | Permalink | Comments (0)

Since our western hemisphere music is based on the major scale it is essential to memorize the major scale for all fifteen written keys. To do this you must understand the interval construction of the major scale and then apply it to all keys (circle of fifths and fourths)

Lets review the interval construction of the major scale.

Example using the C major scale (this interval formula is the exact same for all keys):

C to D = whole step (two frets distance or a major second interval)

D to E = whole step (two frets distance or a major second interval)

E to F = half step (one fret distance or a minor second interval)

F to G = whole step (two frets distance or a major second interval)

G to A = whole step (two frets distance or a major second interval)

A to B = whole step (two frets distance or a major second interval)

B to C = half step (one fret distance or a minor interval)

Memorize the major scale formula: WS,WS,HS - WS,WS,WS - HS

By moving to the right five scale steps we produce the next key center or key signature.

(the circle of fifths was first described and illustrated by Johann David Heinichen in 1728)

C major = C, D, E, F, G, A, B, C

Count from C (1st scale degree) to the right - five scale degrees - and you get

G (5th scale degree) the next closes key. Only one note difference F#.

G major = G, A, B, C, D, E, F#, G one sharp F#

Notice how the F# is needed to maintain the same interval relationship of:

WS,WS,HS,WS,WS,WS,HS.

In other words G to A = WS, A to B = WS, B to C = HS,

C to D = WS, D to E = WS, E to F# = WS, F# to G = HS.

D major = D, E, F#, G, A, B, C#, D two sharps F# and C#

A major = A, B, C#, D, E, F#, G#, A three sharps F#, C#, G#

(notice how the old sharps are carried into the new key and the newest sharp added is the seventh scale degree)

E major = E, F#, G#, A, B, C#, D, E four sharps F#, C#, G#, D#

B major = B, C#, D#, E, F#, G#, A#, B five sharps F#, C#, G, D#, A#

F# major = F#, G#, A#, B, C#, D#, E#, F# six sharps F#, C#, G#, D#, A#, E#

C# major = C#, D#, E#, F#, G#, A#, B#, C# seven sharps F#, C#, G#, D#, A#, E#, B#

Notice the stating note is the key or key center. So memorize the note names for each key and then later the major and natural minor family of chords for each key).

The circle of fifths covers seven of our keys. Next the circle of fourths will complete our other seven keys. The key of C major has no sharps or flats. This makes a total of fifteen written keys.

All materials copy-write 2010. For personal use only.

Vince Lauria Sun and Earth Music

Intervals

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Vince Lauria

on March 8, 2010 4:17 PM | Permalink | Comments (0)

A interval is the distance between two notes. since there is twelve notes there are twelve intervals. Memorize the name, distance and sound of each interval.

C to C = unison same note in same octave (*see definition below)

C to C# = minor second

C to D = major second

C to D# or Eb = minor third (Enharmonic - Same note written differently this is done for different keys)

C to E = major third

C to F = perfect fourth

C to F# or Gb = flat fifth or diminished fifth

C to G = perfect fifth

C to G# or Ab = minor sixth

C to A = major sixth

C to A# or Bb = minor seventh or sometimes called dominant seventh

C to B = major seventh

C to C = octave. Same note higher or lower in tone by eight scale steps. Like octopus.

Example starting from C now transpose to all twelve notes:

C#(Db), D, D#(Eb), E, F, F#(Gb), G, G#(Ab), A, A#(Bb), B.

*Octave: For example, if one note has a frequency of 600 Hz, the note an octave above it is at 1200 Hz, and the note an octave below is at 300 Hz. The ratio of frequencies of two notes an octave apart is therefore two to one.

All materials copy-write 2010. For personal use only.

Vince Lauria Sun and Earth Music

Slash Chords

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Vince Lauria

on March 5, 2010 6:22 AM | Permalink | Comments (0)

A Slash Chord tells you which one of the notes within the chord will be the lowest tone that is played in that chord.

In the first examples C major is the slash chord. C major = C - E - G

C/C C the C note is the lowest tone in chord

This is a C major chord with C as the lowest tone

This is usually not indicated because it is assumed to be the lowest tone.

C/E the E note is the lowest tone in the chord

This is a C major first inversion

C/G the G note is the lowest tone in chord

This is a C major second inversion

C/B the B note is the lowest tone in chord

This is a C major seventh third inversion

C/D the D note is the lowest tone in chord

This is a C major ninth fourth inversion

Now look at this using the key of C# major:

C#/E# the E# note is the lowest tone in the chord

This is a C# major first inversion

C#/G# the G# note is the lowest tone in chord

This is a C# major second inversion

C#/B# the B note is the lowest tone in chord

This is a C# major seventh third inversion

C#/D# the D note is the lowest tone in chord
This is a C# major ninth fourth inversion

(Now do this for all other thirteen keys -

G, D, A, E, B, F# - Circle of Fifth's

F, Bb, E, Ab, Db, Gb, Cb - Circle of Fourths).

Now look at this using the key of C minor.

In the following examples C minor is the chord above the lowest tone. C minor = C -Eb- G

Cm/Eb the Eb note is the lowest tone in the chord

This is a C minor first inversion

Cm/G the G note is the lowest tone in chord

This is a C minor second inversion

Cm maj7/B the B note is the lowest tone in chord

This is a C minor major seventh third inversion

Cm/D the D note is the lowest tone in chord

This is a C minor ninth fourth inversion

You can pick any note in a chord to be a slash chord. Many times this technique is used to move scale wise or chromaticly in the lowest tone:

"Stairway to Heaven" by Led Zeppelin:

Am/A - Am maj 7/G# - Am7/G - Bm7/F# - F maj 7 /F. This is a chromatic scale descending from A, G#, G, F#, F.

A is the root of A minor, G# is the major seventh of A minor, G is the flat seventh of A minor, F# is the fifth of Bm7, F is the root of Fmaj7.

"In Waltz For Debby" by Bill Evans & Gene Lees

A7/G - D7/F# - G7/F - C7/E - F7/Eb - Bb6/D - Gm7b5/Db - C7/C - C7/Bb - Am7/A.

Again a chromatic scale descending from G to A.

G is the flat seventh of A7, F# is the third of D7, F is the flat seventh of G7, E is the third of C7, Eb is the flat seventh of F7, D is the third of Bb6, Db is the flat fifth of Gm7b5, C is the root of C7, Br is the flat seventh of C7, A is the root of Am7.

Any chord can be made into a slash chord by simply adding whatever note after the slash sign.

As always transpose to all keys!

All materials copy-write 2010. For personal use only.

Vince Lauria Sun and Earth Music.

Chord Substitutions - Part 6

By

Vince Lauria

on February 28, 2010 10:06 AM | Permalink | Comments (0)

Replace a Major, Major Seventh, Minor, Minor Seventh, Diminished, Minor Seventh Flat Fifth with a Diminished Seventh Chord:

Original progression: C //// Em //// Dm //// G7 ////

New progression: Cdim7 //// Em //// Dm //// G7 ////

Original progression: C //// Fmaj7 //// Dm //// G7 ////

New progression: C //// Fdim //// Dm //// G7 ////

Original progression: C //// Fmaj7 //// Dm //// G7 ////

New progression: C //// Fmaj7 //// Ddim7 //// G7 ////

Original progression: C //// Am7 //// Dm //// G7 ////

New progression: C //// Adim7 //// Dm //// G7 ////

Original progression: C //// Fmaj7 //// Bo //// G7 ////

New progression: C //// Fmaj7 //// Bdim7 //// G7 ////

Original progression: C //// Bm7b5 //// Am //// G ////

New progression: C //// Bdim7 //// Am //// G ////

More examples using this technique:

Original progression: Cmaj7 //// Dm7 //// Em7 //// Dm7 //// Cmaj7 ////
New progression: Cmaj7 //// C#dim7 //// Dm7 //// D#dim7 //// Em7 //// D#dim7 //// Dm7 //// Cmaj7 ////

Original progression: C //// Fmaj7 //// Bo //// Em //// Am //// Dm //// G //// C ////

New progression: C //// Fdim7 //// Bm7b5 //// Em //// Adim7 //// Dm // Ddim7 // C ////

(you can also start on the original chord then make it into a Diminished Seventh)

Original progression: C //// Em //// F //// C ////

New progression: C //// Em //// F // Fdim7 // C ////

Original progression: Dm //// G7 //// C ////

New progression: Dm //// Ddim7 //// C ////

Substitute the ii or IV chords with the Neapolitan sixth chord.

Also similar to earlier chord substitutions it is a flat II chord in first inversion.

Example given in key of C major:

Original progression: Dm //// G7 //// C ////

New progression: Db/F //// G7 //// C ///

As always transpose to all keys!

Also try any and all of your own combinations then work on them to improve!

All materials copy-write 2010. For personal use only.

Vince Lauria Sun and Earth Music.

Chord Substitutions - Part 5

By

Vince Lauria

on February 27, 2010 9:18 AM | Permalink | Comments (0)

Replace a Minor Seventh chord with a Minor Seventh Flat Fifth chord:

Original progression: C //// Dm7 //// G7 //// C ////

New progression: C //// Dm7b5 //// G7 //// C ////

Original progression: C //// Em7 //// F //// G7 //// C ////

New progression: C //// Em7b5 //// F //// G7 //// C ////

Also start with the original chord then add the Minor Seventh Flat Fifth:

Original progression: C //// Am7 //// G7 //// C ////

New progression: C //// Am7//Am7b5 //// G7 //// C6 ////

The sixth chord gives some extra flavor.

Always work with these principles until they sound right to you.

Original progression: C //// Em7 //// Am7 //// G7 ////

New progression: C //// Em7//Em7b5 //// Am7 //// G7 ////

Replace any chord with a Diminished Seventh one half step (fret) below root:

Original progression: C //// G7 //// Am7 //// F //// G//// C ////

New progression: C //// G7 //// G#dim7 //// Am7 //// F //// F#dim7 //// G//// Bdim7 //// C ////

Original progression: Am //// G //// Dm //// F //// C ////

New progression: Am //// G //// C#dim7 //// Dm //// Edim7 //// F //// Bdim7 //// C ////

Replace the Four Chord (IV) with a minor (iv) four chord:

Original progression: C //// Em //// F //// C ////

New progression: C //// Em //// F //// Fm //// C ////

Original progression: C //// G //// F //// C ////

New progression: C //// G //// F //// Fm //// C ////

As always transpose to all keys!

All materials copy-write 2010. For personal use only.

Vince Lauria Sun and Earth Music.

Chord Substitutions - Part 4

By

Vince Lauria

on February 25, 2010 9:46 PM | Permalink | Comments (0)

A Minor Seventh chord can be replaced with a Dominant Seventh Chord:

Original progression: C //// Am7 //// F //// G7 //// C ////

New progression: C //// A7 //// F //// G7 //// C ////

Also it works the other way a Dominant Seventh chord can be replaced with a Minor Seventh Chord:

Original progression: C //// G7//// F //// Dm //// G7 //// C ////

New progression: C //// Gm7 //// F //// Dm //// G7 //// C ////

Also the Minor Seventh Chord can be replaced by the Dominant Seven/Sixth Chord and then return back to the Minor Seventh Chord:

Original progression: C //// G7//// F //// Dm7 //// G7 //// C ////

New progression: C //// G7 //// F //// Dm7 //// D7/6 //// Dm7 //// G7 //// C ////

Also the Dominant Seventh Chord (V7) can be replaced with the Diminished Seventh Chord starting on the seventh scale degree. Many times this is used to resolve to the (I) Major chord:

Original progression: C //// G7//// F //// Dm //// G7 //// C ////

New progression: C //// G7 //// F //// Dm //// Bdim7 //// C ////

G Dominant Seventh = R, 3rd, 5th, b7th - the notes are = G, B, D, F

B Diminished Seventh = R, b3, b5th, bb7th - the notes are = B, D, F, Ab

The B Diminished also can be thought of as G7b9 first inversion. (3rd in bass)

The A flat replaces the G note.

Also for all scales the Family of Chords within that scale can used in scale-wise order:

Original progression: C //// //// G //// G7 //// C //// ////

New progression: C // Dm// Em// F// G //// G7 //// C //// ////

Same idea not in scale-wise order:

Original progression: C //// //// G //// G7 //// C //// ////

New progression: Cmaj7 //// Am // G// Em //// G7 //// C //// ////

Remember that the bottom line to all these techniques is to experiment and find what YOU like best. They are a path but you must walk that path and work hard to discover the great sounds that await you!

As always transpose to all keys!

All materials copy-write 2010. For personal use only.

Vince Lauria Sun and Earth Music.

Chord Substitutions - Part 3

By

Vince Lauria

on February 22, 2010 8:22 AM | Permalink | Comments (0)

Flat Five Substitution:

Substitute a Dominant Seventh Chord with another Dominant Seventh Chord

where the root is a flat fifth (diminished) apart:

Original progression: Dm7 //// G7 //// Cmaj7 ////

New progression: Dm7 //// Db7 //// Cmaj7 ////

The D Flat Dominant seventh was substituted for the G dominant seventh. The D Flat Dominant Seventh is a flat fifth interval distance from the G seventh. Also called a tritone interval. A distance of three whole steps. Tri means three, Tone in this case means three whole step. G to A, A to B, B to D flat.

Original progression: Em7 //// Dm7 //// Cmaj7 ////

New progression: Em7 //// Dm7 //// Db7/6 //// Cmaj7 ////

Original progression: Em7 //// A7 //// Dm7 //// G7 //// Cmaj7 ////

New progression: Em7 //// Eb7 //// Dm7 //// Db7 //// Cmaj7 ////

Original progression: Em7 //// A7 //// Dm7 //// G7 //// Cmaj7 ////

New progression: Em7#5 //// A7#9 //// Dm7 //// G11 //// Cmaj7 ////

Notice how the C note is used as a pedal tone throughout the cord changes.

Em7#5 = R, b3, b7, #5 = E, G, D, C

A7#9 = R, 3, b7, #9 = A, C#, G, C

Dm7 = R, b3, 5, b7 = D, F, A, C

G11 = R, b7, 9, 11 = G, F, A, C

C maj 7 = R, 3, 5, 7, R = C, E, G, B, C

Notice how the C note remains throughout each chord change.

Chord Substitutions - Part 2

By

Vince Lauria

on February 19, 2010 10:55 AM | Permalink | Comments (0)

Any dominant seventh chord can be preceded by a minor seventh chord a fifth higher in tone.

(C major, C maj and C are the same thing)

Original progression: Cmaj //// Am //// F //// G7 ////

New progression: C //// Am //// F //// Dm //// G7 ////

Any major, minor or dominant seventh chord may be preceded

with a dominant seventh chord a fifth higher in tone.

Original progression: C //// Am //// F //// G7 //// C ////

New progression: C //// Am //// C7 //// F //// G7 //// C ////

Original progression: C //// Am //// F //// G7 //// C ////

New progression: C //// E7 //// Am //// F //// G7 //// C ////

Original progression: C //// Am //// F //// G7 //// C ////

New progression: C //// Am //// F //// D7 //// G7 //// C ////

Original progression: G //// G7 //// C ////

New progression: G //// Dm7 //// G13 //// G7#5 //// C ////

(or you can end with any diatonic substation for C major like C maj 6/9)

Now lets combine both techniques:

Original progression: C //// Am //// F //// G7 //// C ////

New progression: C //// E7 //// Am //// F //// Dm7 //// G7 //// C ////

Original progression: C //// Am //// F //// G7 //// C ////

New progression: C //// E7 //// Am //// C7 //// F //// G7 //// C ////

As always transpose to all keys!

All materials copy-write 2010. For personal use only.

Vince Lauria Sun and Earth Music.

Chord Substitutions - Part 1

By

Vince Lauria

on February 17, 2010 10:44 AM | Permalink | Comments (0)

Any chord can be preceded using a dominant seventh chord a half step above its root.

Original progression: C maj //// Am //// Dm //// G7 //// C maj ////

New progression: C maj //// Bb7 //// Am //// Eb7 //// Dm //// G7 //// C maj ////

Also you can combine diatonic substitutions with this half step dominant technique.

Original progression: C maj //// Em //// Dm //// G7 //// C maj ////

New progression: C maj add9 //// F13 //// Em7 //// Eb7 //// Dm11 //// G9 //// C maj9

Any chord can be preceded using the same chord type a half step above its root.

Original progression: C maj //// Am //// Dm //// G7 //// C maj ////

New progression: C maj //// Bbm // Am // Ebm // Dm // G7 //// C maj ////

Now combining all three techniques.

Original progression: C maj //// Am //// Dm //// G7 //// C maj ////

New progression: C maj7 //// Bbm7/11 //// Am9 //// Eb9 //// Dm add9 //// G6 // G // C6 ////

As always transpose to all keys!

All materials copy-write 2010. For personal use only.

Vince Lauria Sun and Earth Music.

Diatonic Substitutions - Part 2

By

Vince Lauria

on February 12, 2010 8:30 PM | Permalink | Comments (0)

Any of the twenty eight modes or the other scales covered can be replaced with any chord in its own family of chords. Example the C major scale (Ionian mode) can be replaced with its other chords created from the same scale.

See examples:

3 notes = C, E, G, = C major

4 notes = C, E, G, B = C major seventh

5 notes = C, E, G, B, D = C major ninth

6 notes = C, E, G, B, D, F = C major eleventh

7 notes = C, E, G, B, D, F, A = C major thirteenth

Other common major chords:

(Major also written as Maj or triangle)

C maj 6th = C, E, G, A

C maj add 9th = C, E, G, D

C maj 6/9 = C, E, G, A, D

C maj 7/6 = C, E, G, B, A

C sus = C, F, G

C sus 2 = C, D, G

C maj sus 2/7 = C, D, G, B

Any of these chords can replace the C major chord (C/R, E/3rd, G/5th) with the above chords.

This also applies to minor chords. See example with the A minor chord: (The Aeolian mode is also known as the relative minor to C major)

3 notes = A, C, E = A minor (Am)

4 notes = A, C, E, G = A minor seventh (Am7)

5 notes = A, C, E, G, B = A minor ninth (Am9)

6 notes = A, C, E, G, B, D = A minor eleventh (Am11)

7 notes = A, C, E, G, B, D, F = A minor eleventh add thirteenth (Am11/b13)

Other common minor chords:

(small m means minor - also / means to add those

additional notes to the original 3 note chord)

Am/9 = A, C, E, B

Am/11 = A, C, E, D

Am7/11 = A, C, E, G, D

Am7/b13 = A, C, E, G, F

Am9/b13 = A, C, E, G, B, F

Am7/11/b13 = A, C, E, G, D, F

Am/b6 = A, C, E, F

Am/b6/9 = A, C, E, F, B

Am/b6/11 = A, C, E, F, D

Am/b6/9/11 = A, C, E, F, B, D

Am7+ = A, C, F, G

Am7+/9 = A, C, F, B

Am7+/9/11 = A, C, F, B, D

Any of these chords can replace the A minor chord (A/R, Eb/b3rd, G/5th) with the above chords.

This also applies to dominant chords. See example with the G dominant chord: (These chords are created from the C major scale also. Based on the fifth degree of the C Major scale)

3 notes = G, B, D = G major (G)

4 notes = G, B, D, F = G dominant seventh (G7)

5 notes = G, B, D, F, A = G dominant ninth (G9)

6 notes = G, B, D, F, A, C = G dominant eleventh (G11)

7 notes = G, B, D, F, A, C, E = G dominant thirteenth (G13)

Other common dominant chords:

(dominant also written as 7)

G7/6th = G, B, D, F, E

G maj 6th = G, B, D, E

G maj add 9th = G, B, D, A

G maj 6/9 = G, B, D, E, A

G sus = G, C, D

G sus 2 = G, A, D

G7 sus = G, C, D, F

G7 sus 2 = G, A, D, F

G7/6 sus = G, C, D, F, E

G13 sus = G, D, F, A, C, E

(remember 6 functions also as 13)

Any of these chords can replace the G dominant chord (G/R, B/3rd, D/5th, F/b7) using the above chords.

As always transpose to all keys!

All materials copy-write 2010. For personal use only.

Vince Lauria Sun and Earth Music.

From The Composer's Chair

Guitar tips from a professional musician in Las Vegas

Circle of Fifths

Intervals

Slash Chords

Chord Substitutions - Part 6

Chord Substitutions - Part 5

Chord Substitutions - Part 4

Chord Substitutions - Part 3

Chord Substitutions - Part 2

Chord Substitutions - Part 1

Diatonic Substitutions - Part 2

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