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  • Cover The Language of Sound – in colour – Volume 3
    The Language of Sound – in colour – Volume 3 (boek)
  • Cover The Language of Sound – in colour – Volume 1
    The Language of Sound – in colour – Volume 1 (boek)

The Language of Sound – in colour – Volume 2

KarrArikh Tor • Boek • hardback

  • Samenvatting
    Music Theory: The Language of Sound, reveals the secrets of the guitar and bass guitar. It can be scary to get into music theory for a guitarist or bassist but this is a great place to start. You will never need another chord book or theory book again. The Language of Sound teaches you how to build chords from the root and play melodies in any Key. The graphics tie the fretboards of a guitar and bass guitar to the piano keyboard and sheet music, making it a valuable tool not just for guitarists and bassists but for every member in a band. Fast and handy for any music theory student. Includes the 'boxes' and repeating patterns on the fretboards, positions for all chords, and positions to play scales in any Key. The Language of Sound teaches how to arrange chord progressions to a melody, and how to transpose any song from one Key into another easier to perform Key. Easy to use and valuable for guitarists, bassists, and keyboard players.

    The Language of Sound - In Colour - Volume 2: contains chapters 4-6 from the full textbook

    Chapter 4 - chords built from the root, enharmonic chords
    Chapter Four defines chords, showing all the chords that can be built from a root note. Introduced in this chapter are: Chords, Note stacks, Triad chords (including Major, minor, diminished and augmented chords), Chord Qualities, Chord Inversions, Seventh chords (including Dominant, Major, minor-Major, minor, augmented, diminished, and half-diminished seventh chords), Suspended chords, Added note chords, Extended chords (including Ninth, Eleventh, and Thirteenth chords).

    Chapter 5 - chords built from Major scale, bar chords, Power chords
    Chapter Five continues from chapter four, defining and building chords naturally found in a Major Key scale. Introduced in this chapter are: Chords built from scale degrees (including all Major, minor, diminished, suspended, added note, and extended chords occurring naturally in a Major Key), Bar Chords for both guitar and bass guitar, Power Chords, How to use bar chords.

    Chapter 6 - Major Keys, Key signatures, Circle of Fifths, modes, modified minor Keys
    Chapter Six examines how to use the 15 Key Signatures and how modes are built from the Major Key scale. Included in this chapter are: 15 Major Keys, Key Signatures, Circle of Fifths, Circle of Fourths, Modes, Ionian mode, Dorian mode, Phrygian mode, Lydian mode, Mixolydian mode, Aeolian mode, Locrian mode, Natural minor Key, Harmonic minor Key, Melodic minor Key.
  • Productinformatie
    Binding : Hardback
    Distributievorm : Boek (print, druk)
    Formaat : 200mm x 280mm
    Aantal pagina's : 78
    Uitgeverij : Dark World International
    ISBN : 9789082853650
    Datum publicatie : 06-2022
  • Inhoudsopgave
    Table of Contents

    Chapter Four
    What is a Chord? 1
    Inversions of C Major 4
    Chords built from the Root 5
    Triad Chords 5
    The Major chord 5 The diminished chord 7
    The minor chord 6 The augmented chord 8
    Seventh Chords 10
    Suspended Chords 14
    Add Chords 15
    Extended Chords 17
    Ninth Chords 17 Thirteenth Chords 20
    Eleventh Chords 19
    Enharmonic Chords 20

    Chapter Five
    Chords built from our Major Key scale 23
    Chords occurring in the Key of C Major 26
    Triad chords in the Key of C Major 26
    Seventh chords in the Key of C Major 28
    Suspended chords in the Key of C Major 29
    Added chords in the Key of C Major 29
    Extended chords in the Key of C Major 30
    Finding Chords on Guitar and Bass Guitar fretboards 32
    Chords for the Guitar 32
    Bar chord Form I 33 Chord Form III 36
    Bar chord Form II 35 Power Chords 38
    Chords for the Bass Guitar 38
    Bar chord Form I 39 Chord Form III 42
    Bar chord Form II 41
    Extended Chords 43
    Chord charts 45
    Using Chord Forms 48

    Chapter Six
    Using Key Signatures 56
    Sharp Major Keys 58
    Flat Major Keys 59
    Circle of Fifths/Circle of Fourths 61
    Modes of the Major scale 63
    Modified minor Keys (Harmonic minor & Melodic minor) 68

    Bibliography / Acknowledgements 71
    Index 72
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We studied Intervals in Volume 1, Chapter Three. These are the foundation of chords with 3 or more notes in them. Triad chords may only use the Major and minor third intervals, but other intervals are needed when we extend our triad chords into Sevenths and beyond. First, we will study the triad chord. Using the Major and minor third intervals we can create four types of triads: the Major triad, the minor triad, the diminished triad, and the augmented triad.

Stacking a minor third interval over a Major third interval creates a Major chord. Stacking a Major third interval over a minor third interval creates a minor chord. Stacking two minor third intervals creates a diminished chord and stacking two Major third intervals creates an augmented chord. These are the four basic types of triad chords with which we begin. The suspended 2nd chord and the suspended 4th chord are also three-note chords, but their notes are not stacked like our basic triad chords. We will get back to suspended chords later in this chapter. To discuss our chord possibilities fully, we need to understand how we number our chords. We number two consecutive octaves beginning with our tonic note.


Root 2nd 3rd 4th 5th 6th 7th 8th 9th 10th 11th 12th 13th

Numbers used to name the notes in a chord come from counting two octaves in a row. The 2nd and 9th notes are the same note (shown in different octaves on the staff). So are the 4th and 11th notes, and the 6th and 13th notes. This is important to remember in understanding chord notation.

We called the first note in our Major scale the tonic note. Like the Major scale, a chord is also built from a single note. We call the first note in our chord the “Root” of the chord. Looking at scales and chords can get confusing. Here is where we can no longer use a number placed next to our letter to represent the octave that the note appears in. The Grand Staff will have to be used to represent the octave of a note. A chord is named by a letter which is sometimes followed by a number. The number of a chord should be written in superscript font, as in the notation C7. When there is no superscript available, normal font size numbers can be used, using a C7 instead of the C7. This looks like an octave number from Volume 1, Chapter One, which is why the octave number of a note needs to be represented by use of a staff with a clef stating the octave.

When we look at a chord, we always discuss the chord quality from the Root note, regardless of the Key scale which accompanies the chord. This gives us two ways to approach examining our chords. There are chords that naturally appear in a Major Key scale, using the scale degrees to define each chord. This is one way, but it does not represent all the possible chords we can build from our root. If we examine all the possible chords that we can build using one Root note, we can create dozens of chords which would apply to many different Key scales. This is where we will begin.

We studied the Key of C Major to learn about Major scales because all the scale degrees were natural notes. Keeping the same starting point in studying chords will help reinforce the pattern of the chord. Therefore, we will first study all the C chords. When a guitarist plays these chords, it is never as obvious which fret is sharp or flat from the natural notes in our Key. We will use the piano keyboard to help see the overall patterns to building chords. A pianist would not necessarily play all the notes of a chord in the order this text will show. It is more likely they will play an inversion of a chord. An inversion of a chord is playing all the notes in a chord, but not in the order we will first study them. When stacked, the first order of a chord begins with the root on the bottom. When the C note is played higher and the E note is the bottom of the chord, we call the chord a C/E. This means the chord is a C Major chord, but the E note is the bass of the played chord. This is the 1st Inversion of the C Major chord. When both the C and E notes are higher than the G note on the staff, we write the chord as C/G as the G note is now the bass note of the chord. This is the 2nd Inversion of the C Major chord.

Guitarists play chord inversions regularly. A standard guitar has six strings, and a triad chord only needs three of them. When we use all six strings to play a Major or minor chord, notes get doubled. Our chord now has added unison intervals. This makes the chord sound fuller, adding harmonic resonation into our chord. A guitarist or bassist can play up to three unison notes of the same octave. A pianist cannot do this. A piano can only add a unison note from another octave. There is nothing wrong in adding unison notes to our chords, but we also need to remember that the chord only needs three separate notes. We will examine how chords look on the guitar and bass fretboards later in this text.

To summarise What is a Chord, a chord is the harmony of two or more notes played at the same time (resonating simultaneously creating added harmonics). Two notes combined are called an Interval (which we introduced in Volume 1). Three notes stacked are called Triad chords. These common chords are built by stacking 2 intervals on top of each other. Combinations of Major third intervals and minor third intervals are used to create our four basic triad chords: Major chords, minor chords, diminished chords, and augmented chords. The notes in a chord are numbered and spaced in the same manner as scale degrees are. The first note in a chord is called the Root of the chord (where scale degrees begin with the first note called the tonic note). We will learn these chords in order as they are stacked on the staff, with the root on the bottom of the chord.