January 5, 2019

Skilled Musician

Ever wonder how some people are able to add lots of chords to what seems like a simple chord progression? Have you ever wanted to add interesting chords to the songs you play, but not sure how? In this video, we explore 9 different passing chord concepts and how to apply them to exponentially improve your playing! Here is the link to the midi files and sheet music http://www.skilledmusician.com/checko… Please use the timestamps below to access specific endings as the video is a longer one.

#0 – The Foundation – 1:50 #1 – Chromatic Passing Chord – 2:55 #2 – The Diminished Passing Chord – 6:16#2b – The Diminished Scale – 9:34 #3 – Secondary Dominant Passing Chords – 10:27 #4 – Tritone Substitution – 12:28 #5 – ii-V-I Passing Chords – 14:47 #6 – Backdoor Progression Passing Chords – 17:02 #7 – Parallel Motion Passing Chords – 19:16 #8 – Using The Melody – 20:58 #9 – Corey’s Special Passing Chords – 25:24 Outro – 28:47 Software Used A software program called Chordie by a guy on YouTube named Matkat Music. Here are my affiliate links to the software in case you want to purchase it – (For Windows) https://gumroad.com/a/612676723/ZBQGv or (For Mac) https://gumroad.com/a/612676723/lmSkV Social Media Instagram – https://www.instagram.com/skilledmusi… Facebook – https://www.facebook.com/skilledmusician

Chord Tones and Passing Tones

The interaction of chords and melodies centers on one basic point: chord tones or passing (nonharmonic) tones. In FIGURE 11.2, each note of the major scale harmonized with its own chord. Since each melody note was found in each chord that supported it, only chord tones were used. FIGURE 11.3, “Amazing Grace,” used more than just chord tones in the harmonization; it used passing tones as well. Now revisit that example and see what’s really going on.

FIGURE 11.4 Chord and Nonchord Tones in “Amazing Grace”

In the example in FIGURE 11.4, the chord tones are highlighted and the passing or nonchord tones are printed normally. Compare the harmony to the melody, and you will see many different points of similarity. In general, for a harmony to work for any given melody, the majority of the melodic tones should be contained in the chord that supports it. There is no steadfast rule of how many tones per bar, but for music to sound consonant, the melody needs to line up with the harmony enough times to make the listener feel as if they’re in the same key. A passing tone does not necessarily have to move by step to and from a chord tone, but if you think of the odds, a triad has three notes and a scale has seven, you’re most likely using a passing tone as the triad takes three-sevenths of the scale with it and leaves three of the other four tones as passing tones. Only one tone will exist as a true non-harmonic tone, but then again, it may sound just fine


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