{"id":1878,"date":"2011-08-14T10:04:32","date_gmt":"2011-08-14T18:04:32","guid":{"rendered":"http:\/\/www.hearandplay.com\/main\/?p=1878"},"modified":"2014-07-09T04:55:54","modified_gmt":"2014-07-09T12:55:54","slug":"ask-jermaine-why-some-chords-break-the-rules","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/ask-jermaine-why-some-chords-break-the-rules\/","title":{"rendered":"Ask Jermaine: &#8220;Why Some Chords Break The Rules&#8221;"},"content":{"rendered":"<p>This question comes from Gospel Music Training Center member Larressa:<\/p>\n<blockquote><p>Hi Jermaine, my name is Larressa. I go by mrslsj in GMTC.<\/p>\n<p>I am a beginner. I am taking on the challenge of transforming the song &#8220;I Give Myself Away&#8221;-Take 1. However, after listening to JP I decided as a learning experience to transpose the chords to all 12 keys, which has been great. I have done this but I have a few questions. I hope this is clear.<\/p>\n<p>1. From previous study in GMTC I understand that the VII is usually diminished or half diminished. Here is the 7 chord in this song &#8220;FGAC\/A&#8221; (KEY Bb) which is listed as a F Major Add 9. Can you tell me why this chord does not follow that rule? What type of chord would go on the 7?<\/p>\n<p>2. Here is the 7 chord in this song &#8220;FGBbEb\/C&#8221; which is listed as an &#8220;Eb Major Add 9 \/ C.&#8221; Can you tell me why this is a major chord on the 3 and not a minor chord as I thought it should be?<\/p>\n<p>3. The passing chord in the song is on the 3 which is D &#8220;GbBbCF\/D&#8217;. It is listed as a D7 #9#5 chord. When are these types of chords used? Is the 3 not always minor as I thought.<\/p>\n<p>Thank you for your help. GMTC has been great for me and a few thinks are starting to click for me thanks to you guys. Larressa<\/p><\/blockquote>\n<p>Larressa,<\/p>\n<p>These are great questions.<\/p>\n<p>And you are correct, the 7th tone is usually diminished or half-diminished 7 when looking at the diatonic chords.<\/p>\n<p>But let&#8217;s keep in mind that the 1, 4, and 5 are the primary chords of the key and will occur the most.<\/p>\n<p>The first chord you are referring to is really a <a href=\"https:\/\/my.leadpages.net\/leadbox\/141e8f273f72a2%3A14dcc288eb46dc\/5650082896543744\/\" target=\"_blank\"> 5-chord <\/a><script type=\"text\/javascript\" src=\"\/\/my.leadpages.net\/leadbox-714.js\"><\/script>, not a 7-chord. Because you&#8217;re in the key of Bb, F major is the chord naturally created on the 5. All we&#8217;re doing in this song is inverting that 5 chord so that A is on the bottom&#8230; and adding the &#8220;9&#8221; (G) for some flavor&#8230; that&#8217;s all.<\/p>\n<p>We&#8217;ve chosen the 1st inversion of F major because it puts A on the bottom.<\/p>\n<p>So in this case, you want to analyze the &#8220;WHOLE&#8221; chord and label it according to the <a href=\"https:\/\/my.leadpages.net\/leadbox\/141e8f273f72a2%3A14dcc288eb46dc\/5650082896543744\/\" target=\"_blank\">true scale <\/a><script type=\"text\/javascript\" src=\"\/\/my.leadpages.net\/leadbox-714.js\"><\/script> degree of the chord. The bass in this case is a little misleading only because it is inverted. If you can&#8217;t truly call this some type of &#8220;A&#8221; chord, then it is another chord simply &#8220;rearranged&#8221; so that A is on the bottom.<\/p>\n<p>Not to confuse you but you will hear musicians still calling this the <a href=\"https:\/\/my.leadpages.net\/leadbox\/141e8f273f72a2%3A14dcc288eb46dc\/5650082896543744\/\" target=\"_blank\">7th tone <\/a><script type=\"text\/javascript\" src=\"\/\/my.leadpages.net\/leadbox-714.js\"><\/script> because of the bass, &#8220;A.&#8221; And that&#8217;s fine as the bass usually establishes the patterns of the song. But when it comes to really analyzing what&#8217;s going on (as I suspect you&#8217;re doing), this is a 5 chord.<\/p>\n<p>As for the second chord, this is really a minor chord. Sometimes chords are listed as split chords but when you truly analyze them, you find out they can be labeled something else:<\/p>\n<p>FGBbEb\/C (a.k.a &#8211; Eb major add 9 &#8220;over&#8221; C)<\/p>\n<p>Is really:<\/p>\n<p>C + Eb + G + Bb + F (when you lay it all out)<\/p>\n<p>That&#8217;s &#8220;C minor 7 add 11&#8221; if I&#8217;ve ever seen one.<\/p>\n<blockquote><p>*Note: The reason we said<strong> &#8220;add 11&#8221;<\/strong> and not just &#8220;C minor 11&#8221; is because the &#8220;9th&#8221; degree (D) is not present. If this chord had a &#8220;D,&#8221; then we could flat out call it C minor 11. But in order for it to be a true 11th chord, it must have a 9th. And say it were just a 9th chord&#8230; it would need a 7th. It&#8217;s like building blocks &#8212; one thing stacks on top of another.<\/p><\/blockquote>\n<p>The third chord (dominant 7 #9#5) is a perfect example of &#8220;alterations.&#8221; If all songs only followed the &#8220;rules,&#8221; we&#8217;d have a lot of same-sounding stuff out there. So at some point, you will introduce altered chords that add flavor to the regular diatonic chords you&#8217;re used to hearing. In this case, the dom7 #9#5 works great as a substitute for minor chords on the 3rd (especially), 6th, 2nd, and even &#8220;flatted 5&#8221; tone (to lead to the 7).<\/p>\n<p>But even if you analyze this chord, the #9 creates the same sound as the minor 3rd so it&#8217;s really not that &#8220;far&#8221; away from a minor chord. Just also has the major third in it, which is why we label it this way.<\/p>\n<p>#9 in C, for example is, D#<br \/>\nb3 in C (which creates C minor chord) is Eb.<\/p>\n<p>Eb and D# are <a href=\"https:\/\/my.leadpages.net\/leadbox\/141e8f273f72a2%3A14dcc288eb46dc\/5650082896543744\/\" target=\"_blank\"> enharmonic <\/a><script type=\"text\/javascript\" src=\"\/\/my.leadpages.net\/leadbox-714.js\"><\/script> (make same sound, spelled differently). That&#8217;s why these altered chords work so great.<\/p>\n<p>So &#8220;learn the rules&#8221; for majority of songs, but also be prepared to break them because after all, this is music. \ud83d\ude42<\/p>\n<p>I hope this clarifies things.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>This question comes from Gospel Music Training Center member Larressa: &#8220;Hi Jermaine, my name is Larressa. I go by mrslsj in GMTC. I am a beginner.  I am taking on the challenge of transforming the song &#8220;I Give Myself Away&#8221;-Take 1.  However, after listening to JP I decided as a learning experience to transpose the chords to all 12 keys, which has been great. I have done this but I have a few questions&#8230;&#8221;<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-1878","post","type-post","status-publish","format-standard","hentry","category-announcements","post-wrapper","thrv_wrapper"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Ask Jermaine: &quot;Why Some Chords Break The Rules&quot; - Hear and Play Music Learning Center<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/hearplaymain.wpenginepowered.com\/ask-jermaine-why-some-chords-break-the-rules\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Ask Jermaine: &quot;Why Some Chords Break The Rules&quot; - Hear and Play Music Learning Center\" \/>\n<meta property=\"og:description\" content=\"This question comes from Gospel Music Training Center member Larressa: &quot;Hi Jermaine, my name is Larressa. 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