| Author |
Topic: While I was absent I worked on E9 chord progessions |
Bo Legg
|
Posted 23 Jun 2018 3:32 pm |
|
You’ve heard the old country joke “I can play any song and all I need is 3 chordsâ€
Funny yes but in Theory a lot of truth in there.
It follows then those 3 chords would have to take the place of a whole boat load of chords. |
|
|
 |
Fred Treece
From:
California, USA
|
Posted 23 Jun 2018 3:58 pm
|
|
Stuart posted it the other day. I got a good chuckle out of it.
I just tried it with “All Of Meâ€. I didn’t even get halfway through a verse. It may be possible, but I can’t do it. If the joke was altered to “I can butcher the crap out of any song and all I need is 3 chordsâ€, it might be a little truer  |
|
|
|
Bo Legg
|
Posted 23 Jun 2018 5:16 pm
|
|
When I speak of only 3 chords I refer to a basic 3 note Major chord, Minor chord and Dom’ Seven Chord.
In general I make most E9 chords with the pickin’ hand thump, index and middle fingers mainly because I wear a thumb and two finger picks.
So this is basically my approach:
Major = Maj, min7, (can somewhat pass for an Aug Chord)
Minor = Minor, Maj7, Maj6, Dom9, (can somewhat pass for an Aug Chord)
Dom7 = Dom7, Dom7b9, Dim7
There are more possibilities than I list here but this is what I am using now. |
|
|
|
Bill Sinclair
From:
Waynesboro, PA, USA
|
Posted 24 Jun 2018 6:36 am
|
|
Forgive me, as theory isn't my strong suit, but I'm learning. Am I understanding you in saying that, for example, you might use a C major chord to substitute for an Am7 chord minus the root? If that's the case, could you take your chart a step further by showing the relationship between the chord substitutions: e.g. 1 Maj = 6 min7 ? Or I could take all day to figure it out myself.  |
|
|
|
Fred Treece
From:
California, USA
|
Posted 24 Jun 2018 8:20 am
|
|
So it was a riddle, not a joke.
There are lots of ways to substitute other chord types for an augmented triad, but none of them quite get there. I would just alter the riddle to include a 4th chord.
Bill, everything you ever wanted to know about chords and harmony is available on Ted Greene’s website. http://www.tedgreene.com/teaching/harmony.asp |
|
|
|
Charlie McDonald
From:
out of the blue
|
Posted 24 Jun 2018 8:23 am
|
|
Yep, Bo is way ahead of me on this one.
Trying to imagine how the chords fit, it almost seems like you're reducing songs to I, IV, & V. That can't be it.
A major might pass for an augmented if you don't play the leading tone. A dim 7th is something I'm not familiar with. Hip me.
Bear in mind that you've been to the mountain since you've been gone but I haven't. |
|
|
|
Bo Legg
|
Posted 24 Jun 2018 9:20 am
|
|
Sure we can go here a go there and read this and read that. I've already done all of that.
The Idea here is just to see if it might be something you could use by showing you how I have applied it to the E9 without expanding it in Theory to the point we get off track.
I have used it a lot during my playing recently but have no recording as yet. I will very soon
However Stuart tabbed it out exactly as I apply it.
this is the tab being played in midi and BIAB backup.
I'm playing a lot of chords over a simple country type chord progression. All the chords played are 3 note triads of Major, Minor and Dom7 only through the whole song
Click here
below is a chord chart of the song.
The orange represents the original chord progression and the small letters above each represents the the chords progression I substituted and the large letters represent the 3 note chords I used to accomplish the progression.
 [/img] |
|
|
|
Fred Treece
From:
California, USA
|
Posted 24 Jun 2018 10:03 am
|
|
I think I have just been insignificafied. Along with one of the best guitar and music theory teachers ever.
But in principle, that is a very well done chart. Knowing why the substitute triads work over the basic chords is the missing link for a lot of players, and what Ted Greene’s instruction provides.
Paul Franklin has also alluded to “triadic†and “intervalic†improvisation in a recent thread. It is closely related to the system of chord substitution represented in Bo’s graphic. |
|
|
|
Bill Sinclair
From:
Waynesboro, PA, USA
|
Posted 24 Jun 2018 10:25 am
|
|
Bo,
Thanks for the chart. I'll dive into it some this week.
Fred,
I remember seeing Ted Greene's guitar chord book back in the seventies and thinking "I believe I'll stick with the sax!"
It may be time for me to visit that website though. |
|
|
|
John Spaulding
From:
Wisconsin, USA
|
|
|
|
Matthew Dyer
From:
San Francisco, CA, USA
|
Posted 3 Jul 2018 11:42 am
|
|
This is one of those things that really blew my mind when a guitar teacher and I started talking about it.
The idea is that you have the seven intervals in a major scale (counting the octave as the same as the first interval, the tonic). There are also three functions of chords in that scale: the tonic, the dominant and the sub-dominant. The I, the V, and the IV.
When it comes to substitutions, you can swap out chords if they are of the same chord function. So if I'm supposed to be playing the I, I can actually play a iii or vi chord and still be playing a "tonic" chord according to the intervals.
A handy trick for remembering which chords are "tonic" chords in a standard major scale is to looking for any chords with the major third of the scale in them. In the case of G major, anything with a B in it will serve as a tonic chord. This means G, Bm, and Em are all easily able to be substituted for each other.
This obviously gets a lot more complicated once you move past simple major/minor chords and even more complicated once you move beyond the Ionian mode, but the principle is the same.
You can get a lot of mileage out of knowing how to swap out the I, iii, and vi. This is known as tonic substitution. |
|
|
|
Charlie McDonald
From:
out of the blue
|
Posted 3 Jul 2018 12:17 pm
|
|
| Interesting way to put it; I did not know that. This seems to correspond with Bo's chart, but it's still too far over my head to do. Which is good. |
|
|
|
