![]() For a more colorful approach to Major 7th chords, check out our Piano Chord Extensions course. If you’ve enjoyed this Quick Tip, check out our courses Major 7th Chord Exercises and Major 7th Chord Theory and Application for a much deeper dive into Major 7th chords. Professional pianists can play chords in lots of different positions, and this is one of the things that gives them that professional sound. Don’t forget to practice this exercise in both positions! The ability to play all 12 of these chords in both inversions is super important when it comes time to play songs because it will give you more ways to play chords. By doing this, you will actually learn both inversions of all 12 chords: Major 7th Chords in Position 2Īs you can see, the pattern is exactly the same as position 1! Practice this inversion of the exercise without the metronome first, then turn your metronome on slowly and gradually work up your tempo to 80bpm. Position 2 is essentially the same as position 1 except we are starting a half step higher. Step 3: Major 7 Chord Exercise in Position 2 This will help you avoid mistakes and the result is a much more professional sounding way to play! Next, let’s learn this exercise in position 2. ![]() Once you’re comfortable with the exercise, start playing with the metronome, slowly! Gradually work your way up to 80bpm. Start by playing each chord individually without the metronome to get a feel for the exercise. They are closely related both in notes and sound and is a big reason why this chord cycle sounds so good! Try to recognize these common tones as you practice because it will make your practicing easier and more fun! This is also another one of the really cool things about the 5-1 motion these chords have. Now as we move from BbMaj7 to EbMaj7, you’ll notice that the top two notes of BbMaj7 move down to form EbMaj7! Each chord in this cycle has common tones with the chord that follows it. Notice how there’s a BbMaj7 super close to the inversion of FMaj7? You only have to move the bottom two notes to get there! We are going to start this way, with CMaj7 in root position however the key to making this exercise work is to use an inversion when moving to the next chord: Major 7th Chords in Position 1Īs you can see, we only have to move two notes to go from CMaj7 to FMaj7! Think about where the nearest inversion of the next chord is to make this exercise a little easier. Step 2: Major 7 Chord Exercise in Position 1Ī lot of musicians typically play every chord in root position, meaning the root of the chord is the lowest note played. Feel free to follow along with our Smartsheet as you work through this exercise. Passing chords in the lower registers work particualy well after blues licks and lines in the right hand.Cool! Next, let’s learn these Major 7 chords in the first position. ![]() We use dominat passing chords to create energy and forward motion which drives the tune forward. The melody also lends itself to pasing chords. Play with guitar, piano, ukulele, mandolin or banjo. C A Am F G Chords for Jerry Reeds version of Georgia on my Mind with Key, BPM, and easy-to-follow letter notes in sheet. To create a full sounding arrangement, we then balance this with use of bass notes in the lower registers of the piano. ChordU Notes are transposable to any key & you can control tempo of the notes playback. Throughout the form we incorporate bluesy fills and licks in the upper registers. We use all 3 of these option to create a varied arrangement. The minor to major movement can be voiced at the top of the chord, in the middle, or at the bottom as a bass line. Comes G sweet and E7 clear as A7 moonlight D7 through the G pines. E7 A7 D7 G Georgia, B7 Georgia, Em7 A D7 song of C you Cm. Just an G old sweet E7 song keeps A7 Georgia D7 on my B7 mind. ![]() The minor line cliche appears multiple times in the form and so we explore the different ways we can navigate through this common progression. Standard (EADGBE) G Georgia, B7 Georgia, Em7 the D7 whole day C through Cm. To start this tutorial, we play through the form again adding some bigger, more interesting voicings and applying more advanced harmony including altered voicings and upper structure triads. In this lesson we take it a step further by applying this scale to the tune Georgia On My Mind. In part 1 of Georgia, we introduced the concept of the major blues scale and the extended blues scale. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |