{"id":20741,"date":"2020-04-08T08:00:13","date_gmt":"2020-04-08T16:00:13","guid":{"rendered":"https:\/\/www.hearandplay.com\/main\/?p=20741"},"modified":"2024-07-21T03:21:38","modified_gmt":"2024-07-21T11:21:38","slug":"introduction-to-the-colt-concept-of-symmetrical-chords","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/introduction-to-the-colt-concept-of-symmetrical-chords\/","title":{"rendered":"Introduction To The COLT Concept Of Symmetrical Chords"},"content":{"rendered":"

In this lesson, I’ll be introducing you to the COLT concept of symmetrical chords<\/p>\n

A lot of people who are reading this may be familiar with the concept. However, this is a perspective that not so many people know about; especially the use of the acronym “COLT” and if you’re wondering what it means, here you are:<\/p>\n

Chords Of Limited Transposition<\/p><\/blockquote>\n

We’re going to learn about the COLT concept of symmetrical chords but before we do that, let’s dedicate the first segment of this lesson to the study of symmetrical chords.<\/p>\n

Are you ready? Alright!<\/p>\n

“What Is A Symmetrical Chord?”<\/em><\/h2>\n

Chords can be broken down into intervals the same way sentences can be broken down into phrases and clauses. For example, the C major chord:
\n
\n…can be broken down into the following intervals:<\/p>\n

C-E:
\n
\nE-G:
\n<\/p><\/blockquote>\n

…and you can even go as far as breaking it down to:<\/p>\n

C-G:
\n<\/p><\/blockquote>\n

…but basically, there are two successive intervals in the C major chord and they are the major third interval (C-E) and the minor third interval (E-G.)<\/p>\n

“Now, Let’s See Why Some Chords Are Said To Be Symmetrical…”<\/em><\/h3>\n

A chord is said to be symmetrical when it can be broken down into identical intervals. We just broke down the C major chord and we got the major third and minor third interval and that means that the C major chord is NOT symmetrical.<\/p>\n

“So, What’s An Example Of A Symmetrical Chord?”<\/em><\/p>\n

Augmented and diminished triads are symmetrical and for your reference, here is the C augmented:
\n
\n…and C diminished chord:
\n
\nIf you carefully examine these two chords, you’ll see that they are made up of the same\/exact intervals. Starting with the C augmented chord:
\n
\n…we can break it down into the following intervals:<\/p>\n

C-E (major third interval):
\n
\nE-G# (major third interval):
\n<\/p><\/blockquote>\n

I’m sure that you can see two identical intervals — the major third intervals. So, the C augmented chord is symmetrical because it consists of (or can be broken down into) identical intervals.<\/p>\n

The same thing is applicable to the C diminished chord:
\n
\n…where you have these intervals:<\/p>\n

C-Eb (minor third interval):
\n
\nEb-Gb (minor third interval):
\n<\/p><\/blockquote>\n

…and that’s what makes the diminished chord a symmetrical chord.<\/p>\n

“Alright! Now That You Know About Symmetrical Chords…”<\/em><\/h3>\n

Let’s go ahead and learn about chords of limited transposition and what they have to do with symmetrical chords in the next segment.<\/p>\n

See you there!<\/p>\n

COLT: Chords Of Limited Transposition<\/h2>\n

The concept of transposition is derived from the TRANSfer of POSITION.<\/em><\/p>\n

In music, it takes a certain degree of transposition for us to move chords around the keyboard (even if it’s a half-step.) For example, the C major chord:
\n
\n…can be transposed upwards by a minor second to Db major:
\n
\n…and that’s transposition.<\/p>\n

If you keep transposing the same C major chord upwards by a half-step, you will move the major chord across all the keys on the keyboard.<\/p>\n

Now, for chords like the major chord, minor chord, etc., you’ll have twelve transpositions (one for every key).<\/p>\n

The COLT Concept<\/h3>\n

There are other chords that have limited transposition and what this means is that they have fewer than twelve transpositions that a chord should have and they are called chords of limited transposition.<\/p>\n

In this introductory lesson, I’ll be showing you two of these chords:<\/p>\n

The augmented chord<\/p>\n

The diminished seventh chord<\/p><\/blockquote>\n

Although there are twelve different ways to spell the chords, however, you’ll notice that some of the transpositions are merely inversions of other chords.<\/p>\n

Let’s see how it works.<\/p>\n

The Augmented Chord<\/h3>\n

The C augmented chord:
\n
\n…is a classic example of augmented chords which is a chord of limited transposition. (COLT.)<\/p>\n

There are fewer than twelve transpositions of the augmented chord and this is because the inversions of the C augmented chord:<\/p>\n

First inversion of the C augmented chord:
\n
\nSecond inversion of the C augmented chord:
\n<\/p><\/blockquote>\n

…sound practically <\/em>like the following augmented chords:<\/p>\n

E augmented chord:
\n
\nAb augmented chord:
\n<\/p><\/blockquote>\n

…even though they are spelled differently.<\/p>\n

So, just one augmented chord and its two inversions (three chords in all) are three different augmented chords. So, there’s no need to transpose the C augmented chord:
\n
\n…to E:
\n
\n…or to Ab:
\n
\n…when you can just invert the C augmented chord.<\/p>\n

Attention:<\/strong> This concept of chord transposition by inversion does not work with major chords. You are aware that inverting the C major chord does not create any other major chord. But for symmetrical chords like the augmented chord, this is possible.<\/p>\n

“Now, Straight To The Point…”<\/em><\/p>\n

If you can play the C augmented chord:
\n
\n…and these three other transpositions:<\/p>\n

Db augmented chord:
\n
\nD augmented chord:
\n
\nEb augmented chord:
\n<\/p><\/blockquote>\n

…you’ve mastered all the augmented chords — because every other augmented chord is an inversion of these four augmented chords:<\/p>\n

C augmented chord:
\n
\nDb augmented chord:
\n
\nD augmented chord:
\n
\nEb augmented chord:
\n<\/p><\/blockquote>\n

Why do you have to learn the F augmented chord:
\n
\n…when you’ve learned the Db augmented chord:
\n
\n…and can play it in first inversion “F-A-Db”?:
\n
\n…or why do you have to learn the A augmented chord?:
\n
\nSo, you see, there are only four transpositions of the augmented chord and that’s why it’s a COLT.<\/p>\n

Just with the Db augmented chord and its inversions:<\/p>\n

Root position:
\n
\nFirst inversion:
\n
\nSecond inversion:
\n<\/p><\/blockquote>\n

…you have the F and A augmented figured out:<\/p>\n

F augmented chord:
\n
\nA augmented chord:
\n<\/p><\/blockquote>\n

Final Words<\/h2>\n

It’s easier to play chords in all the keys when they are symmetrical.<\/p>\n

So, chords of limited transpositions are the easiest of all to learn in all the keys and this is because an inversion of a COLT produces its transposition in another key.<\/p>\n

I’m sure this concept<\/p>\n","protected":false},"excerpt":{"rendered":"

Discover the COLT concept of symmetrical chords and how it can help you play more chords with a fraction of the mental effort it takes.<\/p>\n","protected":false},"author":9,"featured_media":22010,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[25,416,350,9],"tags":[1943,1375,17,2936,2935,2937,295,2338,2934,90],"class_list":["post-20741","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chords-progressions","category-experienced-players","category-music-etc","category-piano","tag-augmented-chord","tag-augmented-chords","tag-basic-songs","tag-chords-of-limited-transposition","tag-colt","tag-diminished-chord","tag-diminished-chords","tag-symmetrical-chords","tag-the-colt-concept","tag-transposition","post-wrapper","thrv_wrapper"],"yoast_head":"\nIntroduction To The COLT Concept Of Symmetrical Chords - Hear and Play Music Learning Center<\/title>\n<meta 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