The goal is to have this information commited to memory. Now that I have posted this, I know everyone is going to jump all over it, so go ahead guys.
When I attended college, I used to run the circle of 5th's over and over again in my mind. Once it becomes second nature, i.e. Eb is 3 flats, G is 1#, then one would do the formula.
maj=1-3-5
min= 1-b3-5
dominant= 1-3-5-b7
Let's take it a step further, a dominant chord is a 7,9,11,13th chord. 9=2,11=4,13=6
So, let's spell an "A13th"chord. The key signature for "A' is 3 #'s, lets lay that "A' major scale out.
A-B-C#-D-E-F#-G#-and to the octave, A again, 3 #'s. A 13th chord is a dominant chord, so the formula is 1-3-5-b7, the 1 is "A", the 3 is C#, the 5 is "E", and the 7 is G#, but we have to flat the 7, so it goes down a half step and becomes "G".
So we have A-C#-E-G as the basic dominant chord, but our 13th chord has more extentions, the 9(2),11(4) and 13(6), that would equate to B(9),D(11),and F#(13)
So our spelling is A-C#-E-G-B-D-F#.
For me it took some time to get this down in my head. It is an example of the process one has to go through to instantly and intimately spell chords .
The first step, again, is to memorize the the circle, then the order of sharps, the order of flats, then the formulas.
The order of sharps can be memorized by thinking the phrase
"FAT CATS GOING DOWN ALLEYS EAT BIRDS'
The order of flats I remembered by simply the word BEAD, then GOOD CHARLIE FRANK= Bb Eb Ab Db Gb Cb Fb
Let's spell another simpiler chord, a "G"major triad, or plain G major.
The key signature for "G" major is 1#, that sharp is F#(fat)
the formula for a major chord is 1-3-5 intervals of the major scale
Let's lay out the G major scale
G-A-B-C-D-E-F#-G, G is the 1, B is the 3, D is the 5. So G major =GBD
Start with this simple formula and run it through your head, in all the keys
Eb=Eb-G-Bb
F=F-A-C
E=E-G#-B
Each example is the 1-3 and 5 of each key , again, commit the circle to memory and play that little mind goaway picking out the 1,3,and 5 of each of the scales, to create major triads. This is common knowledge to many in this forum, Theory also is an endless journey, but it start's here. This is what one would learn in a first semester of college theory. Good luck.
Last edited by kingfreeze on Mon Jun 05, 2006 8:07 pm; edited 2 times in total
Joined: 29 Nov 2005 Posts: 303 Location: Richmond bc canada
Posted: Sat Dec 10, 2005 1:54 am Post subject: This is goaway work
You know when you get this old you learn how to cheat,I know practice practice practice, I thought it was suppose to get easier bu toh well back to work practice practice. and so on.louis
The trick to learning to spell chords is to have the circle commited to memory first, and an intimate knowledge of all the triads. ie=Ab = Ab-C-Eb
Bb-D-F
C-E-G
and so forth,
Start with the triads.
Then minor triads, formula is I-b3-5
Take your major triad, ie. C-E-G
and flat the 3rd
C-Eb-G
A major= A-C#-E
A minor= A-C-E
Eb major= Eb-G-Bb
Eb minor= Eb-Gb-Bb
Do this with all your memorized major triads. Run the information through your head when doing mundane tasks, mowing the grass, driving, walking. Keep the circle in your minds eye, and think the info. If you do this awhile, it becomes second nature. Then you are able to use the circle in your playing, like playing the blues, blue notes are, b5-b3-b7, if you are in a key, knowing which notes are the blue notes, can help flavor your improv.
Lets go ahead and list all the major triads, first in sharp keys...
Again, run the circle through your head, as it is memorized, and the info becomes second nature, you will see results, armed with the goaway of western harmony. Also, knowing the keys, you will be able to identify intervals instantly. This, is paramount when improvising. ie, G7, go up a fifth(D) and play a minor arpeggio. Knowing the intervals will help in your obtaining new improvisational vehicles, and using them to spice up your solos, no matter what style. This is common knowledge to many, but to some it is new, and is a basic first step in learning theory.
Last edited by kingfreeze on Mon Jun 05, 2006 8:34 pm; edited 2 times in total
Joined: 29 Nov 2005 Posts: 303 Location: Richmond bc canada
Posted: Wed Feb 22, 2006 6:45 pm Post subject: Maybe not for you,practice
Thats easier said than done my old friend,Im experiencing the sixties again and it take a while to well you know so its practise practise and more practice,thank god the seventies were better and you didnt have to do as much.louis
I have revamped this topic some, hopfully to one that is interested, will make a little more sense. Remember this a quicky version of a first semester college theory course. _________________ Kingfreeze
i was just trying to figure out what that circle is about, and i noticed it's something i learned in music class, i still remember it, maybe now i'll understand the rest of your post, cuz it's kinda goaway for me. _________________ greetz gert
ow its makin sense for me now, your explaining how to read chords.
but i've never seen a chord with "13th" at the back, does it exist?
and how do you know a chord is dominant? what letters are behind the chord for that?[/url] _________________ greetz gert
ow its makin sense for me now, your explaining how to read chords.
but i've never seen a chord with "13th" at the back, does it exist?
and how do you know a chord is dominant? what letters are behind the chord for that?[/url]
Yes, you see 13th chords in jazz standards and show tunes a lot. You know the chord is dominant because there is nothing between the "letter" of the chord and the number. Hence A13, is dominant, A maj 13 is a major chord. Bb9 is a dominant chord, Bb-9 is a minor chord, the minus sign means minor. It is a worthwile thing to get a variety of different movable chords under your fingers, with different colors, maj 7th, maj 9, 13, and 9 chords, minor 9 chords ect. Funk tunes can use 13th chords. If you learn to finger some, you will recognize the sound. When I have more time, I will post some common voicings to use. _________________ Kingfreeze
If one is playing with a small group, reading a chart. Remember that there are only 3 chords in western harmony, major, minor and dominant. So you could sub a maj 13th chord for a maj7th chord, sub a 9th chord for a 13th chord, sub a minor 9 chord for a minor 7th chord and so forth. As long as you pick a voicing that is in that "family" of harmony, it will work. Now some voicings won't sound good in certain genres, thats where experience and taste come in. Only when playing with a large ensemble, or orchestra, big band, is it more neccisarry to play the exact harmony called for. _________________ Kingfreeze
