Music theory - help with triads?
955257
The diminished triad has a flatted fifth interval. It is not really a fifth but a tritone interval, such as C and F#. It has a dissonant sound which makes the diminished triad easy to distinguish from the minor triad, which has a fifth interval, which has a consonant (pleasant) sound. The minor third interval is easy to distinguish from the major third interval. The minor sounds sad and the major sounds happy.
787048
It should not be hard to write a piano part for it. Just write the melody line and then put the guitar chords at the top. Then spell out the chords below the melody. Or you could move the melody to the alto, tenor or bass line . or switch the melody to different parts. There are rules to follow . I found some sites that list the rules.\nChecklist for four-part writing:\n\nI. Chord construction issues.\n \n·        Check key signature, identify key, leading tone (7), and 7th of V7 (4).\n \n·        Is spacing between S and A, A and T ok? < 8ve for S/A, A/T in chorale style; < 8ve for all three upper voices in keyboard style. B/T up to two 8ves apart in chorale style.\n \n·        Is the range of each voice ok?\n \n·        Is the doubling ok?\n \na)     if the chord is incomplete, is the 5th the only thing missing? For incomplete triad: triple the root, leave out the 5th. For incomplete root-position 7th chord, double the root and leave out the 5th. Inverted 7th chords are always complete.\n \nb)     be sure neither the LT nor the chord's 7th is doubled.\n \nc)      in a diminished triad, double the third (the only element not involved in the dissonance). 5th is also possible.\n \n·        If chorale style is used, make sure that soprano and alto occupy treble staff and tenor and bass occupy bass staff; soprano and tenor stems go up, alto and bass stems go down.\n \n·        If keyboard style is used, make sure that the top three voices occupy the treble staff and the bass occupies the bass staff. Bass should follow normal stemming conventions, while top three voices have two options: stem them all together, with the stem following the direction of the majority of notes; or stem top voice up, lower two voices together and down.\n \n\n \n\nII. Voice leading issues.\n \n·        Is the melodic behavior of each voice, particularly the soprano, appropriate and pleasing? Are leaps approached and left properly, recovered by step, or by as small an interval as possible?\n \n·        RLT(7)­­BS (resolve LT up by step) in S or B (soprano or bass).\n \n·        R7th(4)¯BS in any voice.\n \n·        Are there any illegal dissonant skips in any voice, such as any augmented skip?\n \n·        Check each pair of voices for forbidden parallel 1s, 5s, and 8s: SA, ST, SB, AT, AB, TB (6 pairs of voices to check!).\n \n·        Check for bad hidden 5ths and 8ves -- that is, between outer voices, with the soprano leaping. If soprano steps, or if the hidden 5th or 8ve involves an inner voice, don't worry about it.\n \n·        Check for voice crossing.\n\nhttp://cnx.org/content/m12746/latest/\n\nhttp://www.musicianuniversity.com/courses/piano_keyboard_music_theory.html
85187
I don't really know what you need help on....\n\nCheck out some of the sites below in the source section, or you could just post what in particular is troubling you...\n\n(I can sympathize if you're having trouble with Matrices though... those always have so many places to go wrong.. ugh.)\n\n(PPS: Wikipedia can be very useful for finding out more information, as you can tell from the number of links below.)
456569
The best way to do so is to memorize what each line and space is. On the treble clef, the lines are (from bottom to top):\nE,G,B,D,F\nThe spaces are (from bottom to top):\nF, A, C, E\nMany people use a little word association with the letters of the lines. One of the most common I know is Every Good Boy Does Fine, and the spaces spell FACE.\nFor the bass clef, the lines are (from bottom to top):\nG, B, D, F, A\nThe spaces are (from bottom to top):\nA, C, E, G\nThe word association I know are:\nGradma Brown Dances Friday Afternoon\nand\nGood Boys Do Fine Always\nOther than ACE G I never learned any trick to the spaces.\nAs for guitar tabulature, I don't know any tricks to learning what note is which spot on the neck of the guitar as I don't play it. Send me an email and I might be able to find some resources to help you learn all of this better.
844846
Try these links below-\n\nhttp://nephele.kulichki.net/eng/index.php?ind=downloads\nhttp://musiced.about.com/od/freestuff/a/freesheets.htm\nhttp://www.qualitysheetmusic.com\n http://mrpiano.bestmusicpages.com\nhttp://www.youtube.com/results?search_query=piano+chord+\nhttp://www.musicnotes.com\nhttp://www.sheetmusicfox.com\nhttp://www.music-scores.com/piano/composer.php\nhttp://tabcrawler.com/\nhttp://www.911tabs.com/tabs\nhttp://www.freshsheetmusic.net\nhttp://www.8notes.com \nhttp://www.freehandmusic.com\nhttp://www.sheetmusic.com \nhttp://www.sheetmusicplus.com
793199
I'm sorry to say that I came up short. After searching numerous sheet music resources I could only find regular sheet music, no tablature.\n\nI did find a resource that may help though. Tabwiki.com is a branch of wikipedia.com and they have a forum there where you can request the tablature for it. Good luck in your search. I wish I could've had better news for you.\n\nhttp://www.tabwiki.com/forums/index.php?board=2.0
446650
Hi there, the tabs are shown on 6 lines.\n\nEach line corresponds to each of the guitar strings.\n\nE ---1--- the thinnest string\nB -------\nG -------\nD -------\nA -------\nE ------- the thickest string\n\nMeans you put a finger on the 1st fret of the thinnest string and you play it.\n\n\nE ---1--- the thinnest string\nB ---0---\nG ---0---\nD ---0---\nA ---0---\nE ---0--- the thickest string\n\nMeans you play all the strings (strum) whilst putting a finger on the 1st fret of the thinnest string and leaving the rest open (that's why they are 0)\n\n\nE ---0--- the thinnest string\nB ---0---\nG ---1---\nD ---2---\nA ---2---\nE ---0--- the thickest string\n\nis the E chord, you put finger number 1 on G string, 1st fret, finger two on A string on 2nd fret, and third finger on fret 2 on the D string. Play all strings!
1098084
If it's tuned in standard pitch and you strum down once , you're playing the notes E,A,D,G,B,E which really isn't a chord , but the D G B part of it is involing a G major triad , which in it's simplicity is a chord.
948260
Well do you know about chord progressions?\n\nKey of C Major\n\nNotes - C D E F G A B C\n                  1        2         3        4        5        6          7\nChords C maj D min E min F maj G maj A min B dim \n\nTriad Chord forumlas \nMaj - 1 3 5 \nMin - 1 b3 5\ndim 1 b3 b5\nMaj or Min 7, just add a 7th note to the chord.\n\nb = lower hte note one half-step, or one fret\n\nPlay around with chord progressions\nI IV V I - Very Common Acoustic guitar progression.\nI IV V7 I\n\ntype in common chord progressions for the guitar and you can get a list of many more.\n\nAnd many others, start out in the key of C and then spread to other keys and minor keys.\n\nIf you need any help IM at fenderrhythm at yahoo. I am a part-time theory teacher.
317203
Try www.sheetmusicplus
1123073
Go To http://www.e-chords.com/tabs/idartist/7965.htm and You'll find what you need.
484328
you'd probably be best off by finding it on a guitar tabs website and use the chords to figure it out and then improv. that's what I do when I figure out piano stuff. just keep in mind, if you have to read tabs, the top string is e, then b,g,d,a,e, and every fret is one half step. Good luck and have fun
807144
Pantomime (my favorite)\n\nhttp://www.chordie.com/chord.pere/www.ultimate-guitar.com/print.php?what=tab&id=155141\n\nAre you in?\n\nhttp://www.chordie.com/chord.pere/www.ultimate-guitar.com/print.php?what=tab&id=25540\n\nI don't know which ones are easy so I'm just going to give you the link to the chords/tabs place. Good luck with whatever song you choose!\nhttp://www.chordie.com/song.php/songartist/Incubus/index.html
20109
There is no "easy" way to tell. Key signatures are purely representative of the Ionic or major key. Any relative modes must be determined by analyzing the phrases and/or chords.\n\nYou're primarily looking for the root where the phrase resolves to (i.e. A in the case of A minor). This goes for jazz and classical music.
415389
Theoretically, you can substitute any chord or chords that get you back to the original tonic. Like the progresstion Dmi7-G7-C is common. But instead you could play Dmi7-Bdim7-C. You can do this because Bdim7 is a substitute for G7.\nG7 contains the notes G, B, D, and F. Bdim7 contains the notes B, D, F, and A. They have three notes in common.\nSo essentially, the idea behind chord substitution is finding chords that have almost the same notes as the original chord. This can work in almost any case. Listen to a lot of Charlie Parker, John Coltrane, Oscar Peterson, or other bebop musicians. Their use of chord substitution is very obvious. Analyzing what they are doing harmonically will help you understand the nature or chord substitution.
169757
Hi! The chord chart poster is a good idea. You can find these at Wal-Mart. There are a lot of complicated chords on there that you will never use but the choice of different chords is very good. Pick 2 chords to start with and practice alternating between them until you can do it naturally. Excercise your fingers all the time. Work past the soreness..callouses take time. The bass won't help you with chords. But it will with learning the notes maybe.
1163434
Music theory can be a complicated sounding subject, and a good college instructor would help explain it better, but the second best place to learn would be instruments. Get classically trained on strings (especially piano and guitar), brass (probably tuba or sousaphone, and trumpet), woodwind (best to hit high and low, try flute and bari sax), and percussion (set, but also symphonic) and you'll have a solid grasp of the whole.