Understanding Chords and Inversions

Chords form the basics of any music, whether that be classical, jazz, pop. You name it, it can be usually be 'chordified'. However, wrapping your head around chords can be a little bit of a challenge at the start - especially seeing as it appears chords can be played in several different ways.

Let's start by asking the basic questions;

What is a Chord?

Usually you will learn at the beginning of your piano journey that a chord is a group of three different notes. This is usually true for how you will likely be learning if you are a beginner, however a more accurate definition would be;

Three or more notes, at least two of which are different.

When we refer to two notes played together (or in succession) we refer to them as intervals.

However, it should remembered that doubling up a note creates a chord in its own right. For example. Playing a C with 2 Gs (such as the G below and above it) at the same time results in a C5 chord.

But that's a little more complex. As far as we're going to investigate on this post, chords are made up of three different notes.

What is a Triad?

Triad chords are the most basic form of chords you could hope to find. They are made up of notes 1, 3 and 5 of the root note's scale.

So, using a straightforward example of C major, to find the triad chord we can use the scale and count notes 1, 3 and 5:

C D E F G A B

Therefore, C - E - G is a basic C major triad.

The same can be applied to a minor scale. To use the relative minor of C major as an example (A minor), we can find an A minor triad:

A B C D E F G#

So an A minor scale is made up of A - C - E.

If we were to play the notes of either of these chords as written ascending (for example, playing C major with our C on the bottom) we would be playing in what we call root position. This is quite literally because the chord's 'name' is being played on the bottom (the root!).

What is the Difference between Major and Minor?

Major and Minor chords refer to a different tonality.

Major can sound happy, fun / funny, optimistic, bright and many other positive emotions.

Minor, on the other hand, can sound sad, pessimistic, depressing, frightening / foreboding and other such emotions.

If we take either triad used in my example above, we can switch the tonality simply by changing one note;

The middle note (i.e. the third note of the scale) is what gives a triad chord its tonality, and the difference between major and minor is just a semitone:

What is a Semitone and a Tone?

A semitone is the distance between any note and the note immediately left or right of it - black or white. For example, E - F would be a semitone. C - C# would be a semitone, as would B - Bb.

A tone is literally two semitones! Therefore, C - D would be a tone, for example. As would E - F#, or Db - Eb.

Creating Tonality with a Semitone Change

Play your C major chord as you would. The notes - ascending - should be C - E - G.

Now, substitute the middle note for the note that is immediately one note below (black or white).

Did you manage it?

You should be playing the black note immediately left of the E (the second of the pair of black notes). This is an Eb. You are now playing C - Eb - G, which is C minor.

Now play A minor in root position (A - C - E).

What do you have to do to create an A major chord?

If you said to increase the middle note by one semitone then you'd be absolutely correct!

This would move C to C#, which is the first of the pair of black notes.

This means you should be playing A - C# - E, which is an A major chord!

Note how the tones sound - major is brighter and happier, whereas minor is sadder and more melancholy. And that difference comes from just altering one note!

Counting Tones and Semitones to find Chords and Scales

Don't worry - in time you will become so instinctive with chords that you will just be able to play them. But using this simple trick of counting, you will be able to find the scales and root position triad starting from any note (providing you don't start so high you run out of keys!).

Using a C major scale as an example:

C - D - E - F - G - A - B - C

Can you identify the intervals as either tones or semitones between each note?

The answer?

Root - Tone - Tone - Semitone - Tone - Tone - Tone - Semitone (back to root).

When writing out a scale, it is important to remember to only use each note name once. Consider this when writing out a more complex scale.

A sharp raises the note by one semitone, whereas a flat lowers the note by one semitone.

Therefore, if I were to insist you find a G major scale using the same structure as above, you could do so.

G - A - B - C - D - E - (F# / Gb?) - G

Above I have transcribed the G major scale using both F# and Gb. Which do you think is correct?

Harmonically speaking, that note is both, but don't forget that we only use each note name once.

We can't refer to that note as Gb because we are already using our G, yet we aren't playing an F. So F has become F#.

Using a similar tactic, can you write out the scale for F major?

Correct answer:

F - G - A - Bb - C - D - E - F

We have played A, so the black note we play can't then be A#. Yet we miss out the B completely, so we can refer to it as B flat.

Knowing how to find the major scales of any note, you can now identify the triad of any note using the 1 - 3 - 5 method at the top!

For minor scales, I will refer to A minor - the relative minor of C major;

A - B - C - D - E - F - G# - A

Our structure here is:

Root - Tone - Semitone - Tone - Tone - Semitone - Tone and a Half* - Semitone

• these three semitones - or one and a half tones - create what we call a harmonic minor scale. It is the odd one out when we switch from major to its relative minor, and is a minor scale that is much more frequently followed in classical music structure than contemporary.

Now let's try a difference scale. Let's try and find E minor.

Correct answer:

E - F# G - A - B - C - D# - E

Two sharps for the price of one, and well done if you got it!

Because the note 'F' is skipped, as is 'D', we sharpen them. We can't use the note names 'E' or 'G' as flats because they are already being used as natural notes!

Can you now identify an E minor triad from the E minor scale?

Correct answer:

E - G - B

And harking back to an earlier point, how would we turn that into an E major chord?

Correct answer:

Increase the middle note (G) by one semitone. This would move it up to the black note immediately to its right (the middle note of the group of three) - which is a G# ••. Therefore, E major is E - G# - B.

•• We can refer to this note now as G# because an E major chord is not part of the key of E minor, which the scale represents. We haven't necessarily moved directly to the key of E major, but any chord that falls in the key signature we were in - such as E minor - would be able to be made with the notes of the scale by default. Because we now have a G# we know we are at least no longer in E minor.

Take a look at the diagram below to see how these root position triads might be notated in treble clef in the key of C major:

From Left to Right - C major, F major, G major, A minor, E minor, E major.

Finding Relative Majors and Minors

Major chords transitioning to their relative minor is a very common chord transition, so it is a nice one to get used to. It can also help in your understanding of scales, as with the exception of that aforementioned 'seventh' note in the harmonic minor scale, they share identical sharps and flats.

In fact, that's exactly the definition:

The relative major / minor refers to a key signature that shares the exact sharpened or flattened notes (with that seventh exception!).

However, we're talking chords.

I have already nodded to the fact that C major and A minor are relative major and minor to each other respectively, and you can deduce that from the fact that they both share the same amount of sharps and flats (that is - none - all white keys!). With the exception of that pesky G# in A minor - but that's an oddity you'll have to bear with me on!

So, when we are playing chords, how do we find the relative major or minor?

Simple. When playing a major triad - such as C major - in root position, we remove the top note (G) and substitute it for a lower note. If you want to consider it in tones and semitones again, it is a note one and a half tones (three semitones) - below the original root note - now the new third note.

So, our C and E stay firmly in position, yet we have swapped the G from C major (C - E - G) to A at the bottom (A - C - E) to create A minor.

Understanding Inversions

Now you understand more about triad chords in root positions, we can explore inversions in a little more detail. This is perhaps where people get a little more confused as if root position hasn't been taught straight away then learning chords as their inversions first off can be strange.

But the simple trick to remember is that triad chords can be played in any order (any chord can, in fact).

So, if you have a triad of C major made up of C - E - G in root position, you can also play E - G - C / G - C - E . In fact, if your span is long enough you could even play E - C - G or C - G - E ascending. And if you use two hands you can definitely double up on notes, such as C - G - E - E - G - C!

The point is, there are an unlimited number of ways to recognise a chord.

However, for the sake of this blog we'll just focus on root position (which I believe we've covered quite well) and the two inversions - first and second.

First inversion would remove the note from the bottom (the root) and replace it with the same note one octave higher. For example, C major root position C - E - G becomes C major first inversion E - G - C.

Second inversion would add onto first inversion by replacing the new bottom note from first inversion with the same note one octave higher. So our first inversion of C major - E - G - C - now becomes C major second inversion G - C - E.

It's worth pointing out, of course, that these inversions are specifically written as triads. But the same principle applies to the order of notes. The whole point of an 'inversion' is to emphasise what note is on the bottom.

So E - C - G could also be C major first inversion, as could a two handed E - G - E - C - E!:

The above shows respectively three ways in which C major could be written, starting with root position, then first inversion, then second inversion. Note it is the note at the very bottom (i.e. the left hand) that dictates this, and the order of the notes above do not actually matter!

Now that you are more familiar with chords, take a look below and see if you can identify the chords and whether or not they are root position or an inversions:

Answers Below:

Left to Right:

C major root position

G major first inversion

F major root position

F major first inversion

C major second inversion

F major first inversion

G major root position

F major root position (don't let the right hand fool you - that is indeed a second inversion F major, however because we are playing F in the left hand it is still root position!).

Conclusion

I hope that has helped you understand chords and inversions a little more, but really the best thing you can do is go and play them for yourself. Experiment and find them and practice transitioning and listening to the differences between major and minor.

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Presenting...My Original Scores!

It's been a long time coming, but I am thrilled to say that my online shop now has three new scores of mine ready to download in PDF format.

Considering that the youngest of these suites is still over one year old, it may cross your mind to ask the burning question - why now? What's the big deal? Why so long?

Well, anybody who remembers any of these suites may remember that they were released originally under West Kingston Productions, the company of whom I was one of two directors.

When the company was dissolved, it stood to reason that the music should come back to me. But there had to be a little bit of formality and sorting things out first.

And once the formality was done, it was a case of changing the copyright on the scores to my name as opposed to West Kingston Productions, and before long there were...three scores!

'The Life and Times of the Butterfly" will be re-transcribed to the tragic obsolescence of the software I originally notated it on, however it is with great pleasure that I announce the welcome return of the following:

Spectroscopy

'Spectroscopy' remains available for free MP3 download on my website, but if you fancy playing it yourself you can download the score now.

The suite is in seven short movements. Each is a duet with the piano, but led by a different lead instrument or vocal. This creates seven unique timbres, inkeeping with the seven colours of the prism (or spectrum - see?!).

The pieces are:

Kimono (piano and vocal - alto)

Father of the Fatherland (piano and oboe)

Precious Gold (piano and cello)

Three Plus One (piano and flute)

Krishna (piano and violin)

Whisper of the Soul (piano and clarinet - Bb)

Murex Shell (piano and blues guitar - notation and tab)

Head Over Heels

Available again for free MP3 download from my website, 'Head Over Heels' was my biggest project today. Still is, in fact.

It is a collection of two halves - act one and act two, if you wish - comprising each of ten songs performed by a different vocalist (or vocalists).

This is to create the ultimate variety album.

More excitingly still is that the vocal talents heard are entirely locally sourced from my home town of Macclesfield and the surrounding areas (Congleton, Cheshire East).

There is pop, rock, country, theatre, swing and piano ballad on this album, so variety is a bit of an understatement. But it was certainly my attempt to do a modern music hall inspired performance which you can now perform at home, thanks to the score available on my shop!

ACT ONE

A New Life

Take a Walk

Back to Reality

Rulebook (Sing 'Yeh, Yeh'!)

The Midnight Hour

Head Over Heels

One Wonder

Thank You for the Call

Dreams

Notice Me

ACT TWO

Mister Illusion

More Than a Word

Closer

Kids Play

It's True

Judgement Day

The Man with No Identity

My Dying Day

Dismissive

I'll Be There

Piano Sonata in C Major

A piano sonata in the key of C Major, of course, and in three very distinct (but heavily inspired by one another) movements;

Minuet

Rondo

Scherzo

You can download the MP3 of my Piano Sonata in C Major for free, or purchase the score from my shop.

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#sheetmusic #classicalmusic #musicaltheatre #score #musician #macclesfield #pianist #pianomusic #musicscore #pianoscore

Playing Multiple Voices on Piano

There is a lot of confusion as to what we mean when we refer to a 'voice'. Perhaps you are under the impression that the piano as a whole is equivalent to one voice. However, you would be mistaken.

The voice doesn't refer specifically to an instrument so much as it does to part of a piece of music, and if you are learning or performing a piece of music without recognising potential voices then you are not necessarily doing so to the best of your or the piece's capability.

Let's investigate...

What is a Voice?

The voice is an overall part of the music that gives a different texture to the rest of it.

To better understand how it might work, consider the idea that - most of the time - different voices play different durations of notes or different rhythms.

It is important, therefore, to not fall into the trap of assuming that a triad chord is three separate voices. It can be considered the same. Harmony alone does not create the voice. However, if a fourth note is vamping crotchets underneath - for example - a semibreve triad chord, we now have two voices i.e. two different things happening together.

These can happen in the same hand. The minimum number of voices you can have whilst playing hands together is, of course, two! The most basic example of this would be if you were playing one note at a time in each hand.

But if we now assume that our aforementioned example of the semibreve triad chord and crotchets were to happen in the left hand, we now have two voices in the left hand and one voice in the right - three voices.

And what's to stop lingering notes singing out above vamped notes or chords in the right hand in addition? Another voice in the right hand. Two in the right. Now it's a four voice piece!

If you are ever struggling to identify voices, one of the best things to think about is how a piece of music would be orchestrated.

Which notes or group of notes would be performed on, for example, a flute? A violin / violins? Cellos?

How many instruments could pick out notes in the piano arrangement?

Identifying Voices

For my example - and the inspiration for this post as I was playing this earlier this morning - I am going to reference Robert Schumann's spectacular second Romance ('Romanze II' from '3 Romanzen').

Take a look below and see if you can identify how many voices are in the right hand of the first couple of bars ('Rechte Hand' is German for right hand!)

The answer is - two!

However, it's a little bit more complex to assume that it's two purely because it's written over two staves. If you used that technique to get to your answer, well done on getting the correct answer - but unfortunately your reasoning is flawed and just happened to be right this time!

Take a look in the left hand (the third stave, on the bottom).

How many voices can you see here?

The answer, again, is two!

Pay close attention to the stem directions. Yes, the whole thing is kept moving largely as semiquavers if you look at the bottom, but the stem directions going up on certain notes implies that these notes are to 'sing above' The notes that descend arpeggio-like from them.

This exact same principle can be applied to the right hand as well, but it does beg the question - why would the right hand be written across two staves? The notes don't go significantly lower enough to justify that bass clef, after all.

The answer is because here the composer (or, at the very least, transcriber) has picked out our main focal notes for us. Yes, we would be able to do that ourself to an extend because we can identify them as separate voices away from the semiquavers on the top stave, however having them clearly separated allows for the performer - especially in the early stages of reading the music - to clearly pick out which notes ought to be made something of.

If this were a song, you can consider that the notes on that middle stave would be the vocal line.

How to Distinguish Voices

Now we know how to identify the voices, but we need to know how to distinguish them.

Continuing with Schumann's piece above, we are given a dynamic marking of 'p' (piano - i.e. softly) in both hands. However, we as performers - particularly when it comes to music from Schumann's era (romantic) must be wary of taking dynamic markings too literally. The overall dynamic needs to be gentle, therefore, but things need to stand out;

Split the Dynamic

This is the easiest and most natural thing to do. Given that the middle stave, we have established, is our lead line, we want to ensure that we give a touch more velocity to the notes to make them ring out.

However, there are two things that may make this a little tricker that ordinarily would be the case:

• Our right hand thumb is our main finger for the job here, and the natural instinct would be for dynamic to flow from left to right. Bearing in mind that the thumb is on the bottom playing the melody, whilst the rest of the fingers actually rise above the note, it does require a little attention to ensure that you play the top notes much, much softer - especially if you struggle to get a good velocity from your thumb. Obviously it can be achieved with practice, but it needs to be recognised early on in the learning process so you don't learn it one way and have to unlearn it!

• The more dominant voice in the left hand should be - by the same logic - the top notes. Given that these notes are merely a third below the right hand's main voice, playing at a similar velocity could mean that the top note merges in and creates a not-unpleasant harmony, but one that disguises the melody. Practising getting a softer but still fairly prominent dynamic in the left hand will reap great benefits for a piece like this. However - not as an alternative - but as an extra technique you could adopt to further separate the two, you could try the following technique;

Splay the Notes

Approach with caution! This isn't something you necessarily want to apply to every single group of two notes here, as it may start to get a bit tedious on the ear and may even interrupt the flow of the music at times.

It is exactly as it sounds - create a rapid ascent upwards between the notes so that the ear is tricked into taking note of the last note you play (in this case, our lead line) and tuning into that one!

It's a lovely technique and it works well in a piece like this that is performed quite slowly. However, you should try to focus more on dynamic and use splaying and arpeggiation as carefully plotted colourful techniques to add your own take on a performance, rather than as a means to enhance a melody or a part that should already be there.

Recognise the Note Value

This is one that I have been known to mention quite a lot. It is true - particularly of pieces in the Romantic era - that you can express much with the pedal. However, because the pedal can do so much of the holding on for you, it can lead your fingers to being lazy.

In a piece such as this Schumann Romance, for example, you may be tempted to just play semiquavers entirely throughout and use the pedal to create the sustain.

Minimise the pedal use!

Learn to perform a piece of music as close as its transcription as you can, as when it is written in voices then it will really enhance them. Once you are ready to incorporate pedal, will find that you need less because you are holding on the important notes yourself and any additional sustain you wish to add to your performance can be worked on afterwards.

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