October 1998: Introduction To Chords - Unit 4

ON INVERTING CHORDS

The term CHORD is used to describe any combination of 3 or more notes played either at the same time, or in sequence (an arpeggio). Try out the ones below:

F				E
D	C	D	F	C	F
B	G	B	C	Bb	D
G	E	F	G	G	C

The term TRIAD is used to describe only that type of chord in which there are three notes, each a third apart. Try out the ones below:

D	E	Bb	C	F#	C#
B	C#	G	A	D	A
G	A	Eb	F	B	F#

The triad is the basic form of most chords. The lowest note is called the ROOT. The middle note is the THIRD (because it is a third above the root) and the upper note is the FIFTH (a fifth above the root).

If the order of the notes of a triad is changed, those notes still form a chord but the triad is now INVERTED (turned around) Hence:

G	C	E
E	G	C
C = a C triad	E = the first inversion	G = the second inversion

Inversions can help us to avoid big jumps between chords. For example try playing the following chord progression which consists of all triads:

G	D	C	G	A	G	D	G
E	B	A	E	F	E	B	E
C	G	F	C	D	C	G	C

The bass line (the bottom note of each chord) jumps around a lot. Now try the same chord progression using some inversions as follows:

G	G	F	E	D	C	B	G
E	D	C	C	A	G	G	E
C	B	A	G	F	E	D	C

Now the bass line forms a scale. An interesting bass line can form what amounts to a second melody (often called a "counter melody"). For example try the following:

Melody:	G	A	G	G	E	G	F	E	D	E--
Triads:	G			G			D			G
	E			E			B			E
	C			C			G			C

The bass line (C C G C) is not very interesting. Now try the following:

Melody:	G	A	G	G	E	G	F	E	D	E--
Inversions:	G			C			B			C
	E			G			G			G
	C			E			D			E

The sound is very different even though the chords themselves are the same. This is the one way composers and arrangers create stylistic settings of melodies.

EXPERIMENT:

1. Find a simple melody that you like and would enjoy playing.

2. Learn it really well so you can play it comfortably with your right hand.

3. Find the chords (triads) that fit with the melody and decide where you want them to occur. In the melody shown, the chords were not attached to every note, only to some.

4. Play the melody and add triads with the left hand. Practice until you can play both hands smoothly. Listen to yourself.

5. Write out the note names of each of the triads you are using.

6. Now play only the melody and the "name note" (root) of each triad. Listen to how the two lines (melody and bass line) sound together.

7. By using different notes of same of the triads can you find a more interesting bass line? For instance, instead of the root of a chord could you use the third or the fifth so you would not have to jump so far from chord to chord?

Have fun and don't be afraid to try lots of different ideas. Your ear will tell you which ones are most pleasing. That's how the rules of music came to be in the first place.

See you next month.

Stephanie

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