chord structure

Is there an easy way to teach diminished 7th chords? Is it a 4-note chord? I’m thinking in terms of the way we teach chords with half and whole steps related to the triangle. Good question. The accompaniment program chord diagrams are intended to teach…

• Last updated 4 years ago
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A teacher asks particular questions about Jazz Clues and chord voicings. Here is Neil Moore’s response. Jazz Clues Voicings for min7b5, 11th, 13th chords etc. https://www.youtube.com/watch?v=o6mpAMD83TM&list=PL3o0aF_9qHn4F2sy8QRuPb_jf_r4D9823&index=23 Original video posted March 23, 2017

• Last updated 3 years ago
• 11th chords, 13th chords, 7b9, 7b9 chord, chord, chord alterations, chord diagrams, chord structure, chord theory, chord voicings, chords, complex chords, dim, diminished chord, diminished chords, extended chords, forming chords, Here to Stay, High Five, If You Call, jazz, Jazz 1, jazz chords, Jazz Clue 3, jazz clues, jazz program, jazz program questions, JC, m7b5, m7b5 chord, Neil Moore, Neil's Responses (YouTube Videos), sus, sus chord, suspended chord, voicing, voicing chords, voicing jazz chords

I have a question about the Amazing Grace Variation from book two. How would you write the last line in I IV V format – from the vi, then F/D, F/G, and Fm. You wouldn’t write IV/2nd would you? Is it IV/6th? I have a…

• Last updated 3 years ago
• chord, chord diagrams, chord structure, chord theory, chords, developing I-IV-V, I-IV-V, I-IV-V chords, key chords, Laurie Richards, lowercase Roman numerals, major scale, Nashville Number System, Neil Moore, Neil's Responses (YouTube Videos), playing chords, processing I IV V, Roman numeral, Roman numeral analysis, Roman numerals, scale, scale degrees, scale theory, scale tone chords, split chords, theory, uppercase Roman numerals

I was helping a student with a chord in her accompaniment project today that was F#dim7. The way we figured it out it looks like an FM7. Is there a reason it would be written specifically as a dim chord? The previous chord was F…

• Last updated 5 years ago
• 7th chords, bridging chord, building chords, chord, chord alterations, chord beyond Accompaniment 1, Chord Chart, chord charts, chord diagrams, chord strategies, chord structure, chord theory, chord voicings, chords, complex chords, dim7, diminished 7, diminished 7th, diminished chords, extended chords, forming chords, identifying chords, jazz chords, learning chords, playing chords, transition chord, voicing chords, voicing jazz chords

What about fingering for chords? Sometimes my new students want to play the basic chords with 1, 2, and 5 instead of 1, 3, and 5. I have been trying to get them to do 1, 3, and 5… But maybe it doesn’t matter. Marsha,…

• Last updated 5 years ago
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In Accompaniment 2 (Scale Tone Chords and Transposition), Why doesn’t Neil use or mention the fairly standard nomenclature of scale degrees where the Roman numeral is capitalized when MAJOR or lower case when minor (I ii iii IV V vi vii)? He says that the…

• Last updated 5 years ago
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I finally figured out another easy way to remember the final RH chord of the tailpiece of Dark Blue – it is just a rearranged version of the second last RH chord. (the D moved down an octave and then of course the whole chord…

• Last updated 5 years ago
• 6/9 chord, chord fingering, chord inversions, chord shapes, chord structure, chord theory, chord voicings, chords, Dark Blue, fingering chords, forming chords, identifying chords, jazz chords, learning chords, minor chords, playing chords, voicing chords, voicing jazz chords

A parent asked me tonight “when will my daughter be able to hear a song, and just know how to play it with all the chords and in the right key?” I was unsure how to answer this, so of course I told the truth,…

• Last updated 5 years ago
• Accompaniment‏, chord, chord structure, chord theory, chords, communication, different facets of musicianship, ear training, expectation, expectations, FIS, four goals, free introductory session, goals, Gordon Harvey, Laurie Richards, managing expectations, matching pitch, musicianship, parent expectation, parental expectations, perfect pitch, pitch, play-by-ear, playing by ear, playing by ear method, playing chords, relative pitch, SM goals, standard of musicianship, talking about expectations

Can anyone please tell me: what are the chords in the tailpiece of Dark Blue? Pretty sure those chords are Db6/9, Gb13, Cm6/9. So, what Maureen said – 9, 11, 13th chords must include the 7th. With the 6 and 9 added but no 7th,…

• Last updated 5 years ago
• 13th chords, 6/9 chord, 7th chords, chord fingering, chord inversions, chord progressions, chord shapes, chord structure, chord theory, chord voicings, chords, Dark Blue, extended chords, fingering chords, forming chords, identifying chords, jazz chords, Laurie Richards, learning chords, minor chords, playing chords, voicing chords, voicing jazz chords

How would you answer this question from a parent? “Why does the way we learn 7th chords only have 3 notes? To make a F#m7, isn’t that an A chord?” I’m very comfortable with the practical application of the voicing idea between the notes over both…

• Last updated 5 years ago
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