{"id":10343,"date":"2015-11-11T05:45:12","date_gmt":"2015-11-11T13:45:12","guid":{"rendered":"http:\/\/www.hearandplay.com\/main\/?p=10343"},"modified":"2024-10-21T07:54:27","modified_gmt":"2024-10-21T15:54:27","slug":"what-all-chords-have-in-common","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/what-all-chords-have-in-common\/","title":{"rendered":"What All Chords Have in Common"},"content":{"rendered":"

“Phat chords”
\n“Juicy chords”
\n“Spinal chords”
\n“Steroid chords”<\/p>\n

These are all informal ways of describing certain chords.<\/em><\/p>\n

So many musicians have asked me to define these chords. To be frank, I shy away from doing so because I don’t know the theoretical integrity of the authorities behind these choice of names, but one thing is sure:<\/p>\n

All chords share one thing in common – definition.<\/p>\n

What is the main thing spinal, phat, steroid, and juicy chords have in common? Let me say it again – they are all chords.<\/p>\n

It’s appropriate to know what the word chord<\/em> actually means before attaching these adjectives.<\/p>\n

So, what’s a chord?<\/p>\n

Permit me to take you back to the root of the word ‘chord.’<\/p>\n

Chord is derived from the old English word accord<\/em> which means together (or in harmony<\/strong>).<\/p>\n

There are two levels of relationship that can exist between notes \u2013 melody<\/em> and harmony<\/em>.<\/p>\n

Melody is the relationship between notes that are heard separately while harmony is the relationship between notes that are heard together<\/strong>.<\/p>\n

I say that to say this: Chords are harmonic in nature. There are situations where they can be broken down melodically (into arpeggios and broken chords); however, the overall implication of that melody will still be harmonic. We’ll look at such situations in subsequent posts.<\/p>\n

Alright, when notes are played together in such a way that there is harmonic<\/span> relationship between them, they are said to be in accord (together).
\n\"major<\/p>\n

The notes above (when sounded together [in accord]) can be called a chord.<\/em><\/p>\n

Harmony is the relationship between notes that are sounded together – whether they agree or not. Now, you may be asking, “Does this explain why this chord sounds agreeable…<\/p>\n

\"\"<\/p>\n

…while this one makes us grimace?”
\n\"\"<\/p>\n

Well, the answer is “Yes.”<\/p>\n

In a nutshell, the word ‘chord’ came from an attempt to describe the relationship between notes. From this description of chord<\/strong> – as when a group of notes are played together – we have an idea of what a chord is.<\/p>\n

Welcome back from the root of the word chord<\/em>. Now, here you are with a multi-dimensional definition of a chord:<\/p>\n

Chords – A deeper definition<\/h2>\n

A chord is an aggregate of three or more pitches (agreeable or not<\/u>) that are related by an underlying scale and class of harmony.<\/em><\/p>\n

Okay, we started out with the root meaning of the word chord<\/em>. Now, we are taking it a step further by learning its definition. That definition may sound a bit too complex, but fret not, as this will give you a 360 degrees perspective to chords. Therefore, I pray you to permit me to break this definition down into three digestible parts.<\/p>\n

PART 1:<\/strong>“A chord is an aggregate of three or more pitches.”<\/strong><\/em><\/p>\n

It takes three or more pitches sounded together to yield a chord. This is a higher level of tonal organization in contrast to Notes, Scales and Intervals<\/a>.<\/p>\n

A Note<\/strong><\/span> is a music sound. This is the first level of tonal organization.<\/p>\n

A Scale<\/strong><\/span> is a melodic<\/strong> progression in ascending or descending order, based on a fixed formula. This is the second level of tonal organization. Here in this level, notes are organized melodically (to be played or heard one at at a time).<\/p>\n

An Interval<\/strong><\/span> is the distance in pitch between two notes<\/strong>. This is the third level of tonal organization. This is the bridge between melody and harmony. Notes can be organized melodically and harmonically in two’s<\/strong>. Intervals are not chords, however, they are the building block of chords.<\/p>\n

A Chord<\/strong><\/span> is an aggregate of three or more pitches. This is the fourth level of tonal organization. Here is where three or more notes can harmonically relate to each by having scale and interval relationship.<\/p>\n

Having established this, it takes at least three or more pitches to form a chord.
\n<\/strong><\/em><\/p>\n

PART 2: “…agreeable or not.”<\/em><\/strong><\/p>\n

When three notes come together, they must not necessarily sound agreeable. There are situations where certain three-note combinations may not sound pleasant. There are two outcomes from the combination of notes to yield chords.<\/p>\n

Concord.<\/strong> When the notes of a chord sound agreeable. Concords derive from consonant intervals – Major and Minor sixths, Perfect fifths and sometimes Perfect fourths.<\/p>\n

Discord.<\/strong> When the notes of a chord sound disagreeable. <\/em>Discords derive their harmonic potentials from dissonant intervals \u2013 Major and minor sevenths, all diminished and augmented intervals.
\n<\/em><\/p>\n

PART 3: “…that are related by an underlying scale and class of harmony.”<\/em><\/strong><\/p>\n

Well, a chord can be formed by an aggregate of three or more pitches \u2013 whether they agree or not. However, this does not give us the liberty to choose any three or more notes on the keyboard all in the name of chord formation.<\/p>\n

The notes of a chord may or may not agree. However, there must be a relationship between them. Without these relationships in place, a taxi driver with no experience can get on the keyboard and depress any three notes to form chords. Imagine if these were allowed to be called “chords.”<\/p>\n

Imagine this one:
\n\"\"<\/p>\n

or this:
\n\"\"<\/p>\n

Or even this:
\n\"\"<\/p>\n

The chords above lack relationship. In the world of chords, relationship between the pitches (three or more) are based on these two factors:<\/p>\n

Underlying Scale
\n<\/strong>
\nClass of Harmony<\/strong><\/p>\n

With these two factors handy, construction of chords is as easy as relating three or more notes using any given scale and also in respect to a particular class of harmony. I’ll cover underlying scale and class of harmony relationship in subsequent posts.<\/p>\n

So there you have it.<\/p>\n

What ALL chords have in common.<\/p>\n

Steroid, spinal, juicy, and phat chords are all products of this harmonic process. Any harmonic structure that does not identify with this process does not belong to the fourth level of tonal organization (aka – “chord”).<\/p>\n","protected":false},"excerpt":{"rendered":"

In this post, learn the 4 qualities all chords have in common. Just because you can press down 3 or more notes doesn’t qualify as a chord. Learn what does.<\/p>\n","protected":false},"author":9,"featured_media":23051,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[25],"tags":[17],"class_list":["post-10343","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chords-progressions","tag-basic-songs","post-wrapper","thrv_wrapper"],"yoast_head":"\nWhat All Chords Have in Common - Hear and Play Music Learning Center<\/title>\n<meta name=\"description\" content=\"In this post, learn the 4 qualities all chords have in common. Just because you can press down 3 or more notes doesn't qualify as a chord. 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