![]() ![]() The basic triads and seventh chords are not endless and you can manage them when you constrain and reduce. If you total all of those shape types - and exclude the duplicated triads - you get about 35 unique shapes. When inversions are accounted for, there are only three kinds of diminished seventh chords! So, Bb diminished seventh is the same group of notes as D diminished seventh. Yes, it has a different harmonic function in a key, but in terms of keyboard fingering technique it's only a half-step alteration of the minor seventh.įull diminished seventh chords. Half-diminished chords are the same as a minor seventh chord with the chord fifth lowered. It's not exactly 12 totally different minor triads, it's 6 with duplication. Be aware when practicing that Cm, Fm, and Gm are the same shape and so on. Regarding my idea of reduce and skip, you could do it literally, and it might be helpful at the very beginning to save time and hand fatigue, but it's better to think of it as mental reduction. So there is some reduction to exploit with that too. If memory servers, there are 8 shapes each for the major, minor, and dominant seventh chords. That means 3/5 of the set of seventh chords can be conceived of as the triads you already know with the addition of only two more intervals a major seventh and a minor seventh above the chord root. ![]() When you get comfortable with the reduced set advance to the whole set of 12 chromatic roots.Įvery major seventh and dominant seventh chord contains the set of major triads, and likewise for the minor sevenths and minor triads. So, the "shape" of the C major triad (all white keys) is the same for F major and G major. Chords on the other roots are duplicates in shape. The roots of those major triads are F ascending to Bb, and the minor roots are from Bb ascending to Eb. There are six keyboard shapes for the major triads and another six for the minor triads. There are other seventh chord types, but those above are the commonest. And, there is some theoretical debate if it's a true tonal chord. Start with a reasonable set of basic chords: Triads All those symbols may obscure the fact there is a small set of basic chord types. C6 is an inverted Am7 and Cm6 is an inverted Am7b5. Time to set constraints and look for patterns.įirst, be mindful of chord symbol redundancies. I think you want to "woodshed" on keyboard chord shapes to breakthrough that problem. That's true, but I think the crux of your question is getting over the feeling of bewilderment over too many chords. Others note that you should learn chords in a musical context. ![]() Sorry, couldn't condense this any more! But bit by bit, it'll work. Try to stick to chords in one key when studying, rather than go through all the majors, then minors and so on.That way it'll make more sense, musically. White/black/white translates to AC#E for A, DF#A for D and EG#B for E, so your fingers only change position, but not shape. they often go together to accompany songs. In C major, the 3 main chords happen to comprise of white keys: C=CEG, F=FAC and G=GBD. However, there are several that fall into the same patterns, which can be handy for someone trying to make sense of it. One problem with all this is that each and every chord on keys has a different pattern,so it's daunting. The next step is to realise the formulae that make up the different chords.Basic ones are 135 (maj), 1357 (maj7), 135b7 (dom7), 1b35 (min) and 1b35b7 (min7).Įach formula relates back to the major scale/set of notes in a key.With some chords, an extra note is added, with others, a note is swapped for a different one.ĭon't worry about inversions, as, though they can appear complicating, they merely use the same notes that you play for a chord, "but not necessarily in the same order"Īfter getting this lot under your belt, it's straightforward to sort out 6ths, sus 4s, 9ths and so on, as they follow the same ideas. Up another T finds the next note, etc.On piano, it's pretty clear, and it doesn't really matter which octave you play in, although the middle of the keyboard will sound clearer. Taking the first (root) note of any scale, move up a tone (T) finds you on the next note used from that scale. If you are technically minded, this idea might help: There is a formula for the major scale notes - TTSTTTS. Knowing scales is a good way to make inroads. However, chipping away a bit a t a time is the way to go. It does seem to be a daunting task, looking at all the different varieties of chord. ![]()
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