Continuing our adventure of learning musical concepts
without traditional notation, we’re going to look at chords this month.
I’ll be talking about the note numbering system established in previous
“The Key of One” columns (from the January and February 2015 issues), so those
will be helpful to have on hand, and should be in the “Keyboard 101”
section of our website by the time you read this.
Nearly every song you hear or play uses chords, which, at their most basic, are groups of three notes (triads) with a 1 (the root note) and a 5 on
either side, and either a major or minor third in the middle. These
fundamental building blocks have many relationships based on the keys
and scales in which they are used, and if you know your way around that
chord matrix, you can better acquaint yourself with the variety of
choices you can make as a songwriter and performer. Be sure to check the slide show below for various chord diagrams!
There are three things you can do with triads:
1. Move around in the middle by choosing between major and minor thirds, or suspending use of the third in favor of the 2 (sus2) or the 4 (sus4).
2. Raise (augment) or lower (diminish) the fifth by one
half-step. That’s the closest key on your keyboard to the “regular”
fifth, whether it’s black or white.
3. Build more notes on top of the chord with sixths,
sevenths and the ninth, eleventh, and thirteenth. In fact, these last
three can be thought of as the repurposed 2, 4, and 6 added on top.
I use the analogy of the basic triads being the “cake” and
all the extensions and tweaks being the “frosting.” When you’re in tune
with your basic triads, you can always see the cake through the
frosting. I deal with a lot of students who get lost in the frosting,
and I realize that if they don’t have a grasp of their triads, they
don’t have any comprehension of the structural movements in the
arrangement. I always recommend they dig back into basic triads to
solidify their foundation so that any addition or tweak doesn’t take
their ear away from the triads their understanding. And remember: 12
keys with a major and minor triad in each makes a grand total of 24
basic triads to with which to become familiar. When you look at it that
way, 24 doesn’t seem like such an overwhelming number of chords to get
acquainted with, does it?
Here are some further ways to build your knowledge of
chord theory while also giving yourself a great foundation for soloing
Practice Your Inversions
To become more familiar with chords, practicing inversions
is one of the best things you can do. What’s an inversion? You can
actually play the same basic triad chord with the notes in three
different orders. There’s the root position, which has notes 1, 3, and 5
in ascending order. The first inversion goes 3, 5, and 1 in ascending
order (i.e., the root note is actually an octave up, on top. The
second inversion places the root in the middle, ascending in order of 5,
1, and 3.
Practice with a single hand at a time to focus on what you’re doing. Start with C
major and play through the inversions up and down two or three octaves.
First do it harmonically, then arpeggiate the inversions and play them
Once you are comfortable, add the note one octave up from
whatever the lowest note is in the inversion you’re playing. This will
have you playing two positions at the same time, which will supercharge
this exercise. So, your first position encompasses the root and the
first inversion (1 is the octave), your second position encompasses the
first and second inversion (3 is the octave), and your last position is
second and root inversion (5 is the octave). Do this for each of the 24
chords, and as you get familiar, they’ll fall easily under your
commanding fingers. Because all songs are ultimately based on these
kinds of chord structures, this is one of the most crucial exercises to
Find the Similarities
As noted, there are 24 chords, but many of them share
similar shapes—by which I mean how they look and feel on the piano
keyboard with regard to (a) distance between keys and (b) proportion of
white and black keys used.
How many shapes? Well, if you factor in that Eb minor and Gb
could be the same shape because they’re all on the black keys, then
only then basic types of chord shapes exist. Knowing this, you can focus
on practicing one shape at a time using different chords. Here’s the
breakdown of the ten positions, grouped by similarity.
1. C, Dmin, Emin, F, G, Am.
2. Cmin, Fmin, Gmin.
3. A, D, E.
4. Ab, Db, Eb.
5. Gbmin, Abmin, Dbmin.
6. Ebmin, Gb.
Those last four chords are unique, so each is in a group
by itself. Play through your inversions using these groupings and you
will notice with the first six, the shapes of the chords and their
inversions are exactly the same. This is how we focus on commonalities
to reduce the “size” of music for a more manageable learning experience.
We build on these common shapes to help us become familiar
with chords and how and where we choose to play them. When you do this,
your hands will begin to find the closest inversions intuitively as you
run through chord changes. In fact, with all of the overlap of chords
and inversions on the piano, you could play every single one of those 24
chords without moving your hand off of the middle position. Try that as
an added exercise; you’ll boost your ability to navigate the chord
matrix and make every song easier to play.
In the next “The Key of One” column, we’ll learn tricks
and tips for better improvising, songwriting, and chord choices. See you
Robbie Gennet is a touring keyboardist, guitarist, longtime Keyboard contributor, and educator at Musicians’ Institute in Hollywood, California. His book, The Key of One (Alfred Music) outlines a thorough method for understanding music without learning traditional notation. You can get it at alfredmusic.com, and take private lessons from Robbie at thekeyofone.com.