Hey there.
I have used Synthesia a while now and taken some piano lessons online,
and in the lessons they mension that one should practice sevral chords and intervals to bether finger the notes and read sheet music bether.
So I made some MIDI files that includes:
- Major Triads (Chords & intervals)
- Minor Triads (Chords & intervals)
- 4 Note Chords (Chords & intervals)
- Major 7th (Chords & intervals)
- Minor 7th (Chords & intervals)
- Dominant 7th (Chords & intervals)
- Augmented (Chords & intervals)
- Diminished 7th (Chords & intervals)
- Diminished (Chords & intervals)
Every serie includes chords, intervals and all the inversions to play. And the notes are C, F, G, A, D, E, Ab, Db, Eb, Gb, Bb & B (all the 12 notes in an octave)
The link to the site is here:
http://jclp.netii.net/midi/
If this site doesn't work you can use:
http://jpm.iwebs.ws/midi/ (on rare occasions some adds occure when you close this page, don't know why)
https://sites.google.com/site/jonasmidicollection/
Hope you enjoy theese files and leave a post in the guestbook
Take care
Jonas
The different chords & intervals in MIDI collection
No explicit, hateful, or hurtful language. Nothing illegal.
-
Laserbeak43
- Posts: 102
Wow! Really nice! I want to be able to play nice Classical and Classic Jazz tunes and be able to improvise. From what I've read, this is exactly what I'll need to get started!!
-
Laserbeak43
- Posts: 102
Hey There,
Quick question. I'm actually reading up on theory right now, and I'm just wondering if you could give me your input. Why are these in the key of F?
Quick question. I'm actually reading up on theory right now, and I'm just wondering if you could give me your input. Why are these in the key of F?
At least with regard to these three chords, I would identify this as being in the key of C major even though the key signature says F major or D minor. The reason I say that is because the chords are C major, F major, and G major.
A very basic harmony uses the I or root chord of the scale, the IV or sub-dominant chord, and the V or dominant chord. Just from experience I immediately recognize C as I, F as IV, and G as V. You could also note that F and G are adjacent scale degrees and therefore are most likely IV and V and then confirm that C is I if that is the case.
In most pieces in a major key the I, IV, and V chords are going to be the foundation of the harmony. In a lot of pieces, I, IV, and V are going to be the entire harmony. That why learning your chords in progressions like I-IV-V-I ... is a valuable way to learn them. It is a progression you'll see a lot in real music. You should also practice I-IV-I. I-V-I, and I-V-IV-I. I would also suggest practicing 3 note versions of the above chords where you drop the low C, the high F and the high G. This place the C chord in first inversion and keeps you from jumping around. Sometimes you want the jumpy sound and a lot of the time you don't. Try other inversions too. Sometimes you'll want the sound higher or lower and you can use inversions to put your harmony where you want it.
Oh....and you need to practice all this even more with the left hand than the right.
For those seriously into music theory, the presence of the B natural as the third of the G chord also suggests that we aren't in F major or D minor. You don't need accidentals for the first, third, or fifth of any chord that belongs to the scale. Of course, you can introduce chords that don't belong to the scale in advanced harmonizations and you'll use accidental when you add minor 7ths and higher extensions to the chords. But obviously we aren't dealing with any of that with these three chords.
Guest book not working?
i have this message about database:
Din beskjed ble ikke postet fordi:
- Fikk ikke kontakt med databasen.
Thx Jonas!
@Jim it's really in key of F
if u look the Bb on the key maybe they are mistake but with a key like this it can only be F major.
However I think like you when i see these chords.
II V I are really important too specially in jazz music.
And for you from the U.S I think I IV I is common because the blues comes from you're country
To France we have the V I ^^
i have this message about database:
Din beskjed ble ikke postet fordi:
- Fikk ikke kontakt med databasen.
Thx Jonas!
@Jim it's really in key of F
if u look the Bb on the key maybe they are mistake but with a key like this it can only be F major.
However I think like you when i see these chords.
II V I are really important too specially in jazz music.
And for you from the U.S I think I IV I is common because the blues comes from you're country
To France we have the V I ^^
-
Laserbeak43
- Posts: 102
I have a feeling I'll be reading this post for a long while. Thanks for the detailed explanation. It forces me to become familiar with music theory terminology.jimhenry wrote:
At least with regard to these three chords, I would identify this as being in the key of C major even though the key signature says F major or D minor. The reason I say that is because the chords are C major, F major, and G major.
A very basic harmony uses the I or root chord of the scale, the IV or sub-dominant chord, and the V or dominant chord. Just from experience I immediately recognize C as I, F as IV, and G as V. You could also note that F and G are adjacent scale degrees and therefore are most likely IV and V and then confirm that C is I if that is the case.
In most pieces in a major key the I, IV, and V chords are going to be the foundation of the harmony. In a lot of pieces, I, IV, and V are going to be the entire harmony. That why learning your chords in progressions like I-IV-V-I ... is a valuable way to learn them. It is a progression you'll see a lot in real music. You should also practice I-IV-I. I-V-I, and I-V-IV-I. I would also suggest practicing 3 note versions of the above chords where you drop the low C, the high F and the high G. This place the C chord in first inversion and keeps you from jumping around. Sometimes you want the jumpy sound and a lot of the time you don't. Try other inversions too. Sometimes you'll want the sound higher or lower and you can use inversions to put your harmony where you want it.
Oh....and you need to practice all this even more with the left hand than the right.
For those seriously into music theory, the presence of the B natural as the third of the G chord also suggests that we aren't in F major or D minor. You don't need accidentals for the first, third, or fifth of any chord that belongs to the scale. Of course, you can introduce chords that don't belong to the scale in advanced harmonizations and you'll use accidental when you add minor 7ths and higher extensions to the chords. But obviously we aren't dealing with any of that with these three chords.
Yep Jim Henry have right most are in key of C anyway thx for the works 
and when u know how to construct a chord/scale all of these materials are pretty useless
But it's cool like a flash card game.
For to construct a simple major/minor chords u just need to follow this rule:
Major
1Root
==>2 step (so 4 keys on the keyboard because one step=one key) =3rd major
==>1.5 step so 3 keys = the fifth and you're done for any major chords.
Ex in C
CMajor= C 2step==>E (the third major)==>1.5 step from the third ==>G = the fifth.
So CMajor= CEG
For the minor one ,same but the third is 1.5 step no 2 steps so:
Cminor
C==>1.5step= Eb (the minor third)==>2 step from the minor third =G the 5th (the 5th is always 6 steps from the root)
so Cminor= C Eb G
U can start from any note .
The rule is:
The root give the name of the chord, the third give the "nature" (minor or major) and the 5th is always the same (but there's one exeption for the 5th so the chord 'll be eg cm5b so it's sepcified anyway.
Am not from us or uk so i hope you understood all of this or check the web
and when u know how to construct a chord/scale all of these materials are pretty useless
But it's cool like a flash card game.
For to construct a simple major/minor chords u just need to follow this rule:
Major
1Root
==>2 step (so 4 keys on the keyboard because one step=one key) =3rd major
==>1.5 step so 3 keys = the fifth and you're done for any major chords.
Ex in C
CMajor= C 2step==>E (the third major)==>1.5 step from the third ==>G = the fifth.
So CMajor= CEG
For the minor one ,same but the third is 1.5 step no 2 steps so:
Cminor
C==>1.5step= Eb (the minor third)==>2 step from the minor third =G the 5th (the 5th is always 6 steps from the root)
so Cminor= C Eb G
U can start from any note .
The rule is:
The root give the name of the chord, the third give the "nature" (minor or major) and the 5th is always the same (but there's one exeption for the 5th so the chord 'll be eg cm5b so it's sepcified anyway.
Am not from us or uk so i hope you understood all of this or check the web
If the three chord example is really in the key of F major then the progression is V-I-II and the II as a major is not a chord in the key of F major; G minor (ii) is the chord in the scale of F major. When you see II in a major scale it is functioning as the dominant of the dominant (V of V). In this case G major as the dominant of C major which is in turn the dominant of F major. But if this was the case, the chords should appear in a II-V-I (G-C-F) progression.
All in all, the key signature being wrong is a more plausible explanation than V-I-II chords being presented as a basic chord exercise.
I, IV, and V are fundamental to all western harmony, not just blues and rock. V-I and IV-I cadences go back centuries. ii, iii, and vi are important in major harmony too but they have to remain secondary to I, IV, and V or the music will start to lose a feeling of being harmonically centered. You might not see many I, IV, and V chords is some songs but you'll find them at the critical places where phrases start and end to serve as the necessary "anchors" for the harmony.
The important point is that you shouldn't learn chords as individual things. Notes frequently appear in stepwise patterns and you therefore learn to play scales. Chords appear in progressions and you'll frequently move to the chord that is a fifth above or a fifth below the chord you are playing and you should practice chords in progressions where you move by a fifth or a fourth (fifth below). If you want to play all 12 major chords in sequence, don't play them in scale order, play chords in this, or the reverse of this, order:
C F Bb Eb Ab Db(C#) F#(Gb) B E A D G C
You will find yourself making those moves, or the reverse, frequently.
Kiwi makes a good point in that what you really want to do is learn how to construct scales and chords and just make up your own exercises as you need them. It is easy to spew out hundreds of exercises but you'll never remember them all and they won't cover everything you need. Much better to have the basics under your belt and then recognize what is going on in the music you are learning. Take the things that are giving you trouble and make up an exercise that will help with the trouble spot. For example, if you are having trouble with a particular chord progression, take the chords from some logical start to some logical end, and just play the chords slowly, one at a time, in an even rhythm (with a metronome!) so that you get the feel of moving from chord to chord. Once you can move from chord to chord without hesitation exactly hitting the metronome beat, then start morphing the exercise into the real passage from the song.
If you are just starting, you do want to learn a C major scale and the C, F, and G chords. If you take the time to figure out how that one scale and those three chords fit in to all of the above, you'll be in good shape to quickly build from that starting point.
All in all, the key signature being wrong is a more plausible explanation than V-I-II chords being presented as a basic chord exercise.
I, IV, and V are fundamental to all western harmony, not just blues and rock. V-I and IV-I cadences go back centuries. ii, iii, and vi are important in major harmony too but they have to remain secondary to I, IV, and V or the music will start to lose a feeling of being harmonically centered. You might not see many I, IV, and V chords is some songs but you'll find them at the critical places where phrases start and end to serve as the necessary "anchors" for the harmony.
The important point is that you shouldn't learn chords as individual things. Notes frequently appear in stepwise patterns and you therefore learn to play scales. Chords appear in progressions and you'll frequently move to the chord that is a fifth above or a fifth below the chord you are playing and you should practice chords in progressions where you move by a fifth or a fourth (fifth below). If you want to play all 12 major chords in sequence, don't play them in scale order, play chords in this, or the reverse of this, order:
C F Bb Eb Ab Db(C#) F#(Gb) B E A D G C
You will find yourself making those moves, or the reverse, frequently.
Kiwi makes a good point in that what you really want to do is learn how to construct scales and chords and just make up your own exercises as you need them. It is easy to spew out hundreds of exercises but you'll never remember them all and they won't cover everything you need. Much better to have the basics under your belt and then recognize what is going on in the music you are learning. Take the things that are giving you trouble and make up an exercise that will help with the trouble spot. For example, if you are having trouble with a particular chord progression, take the chords from some logical start to some logical end, and just play the chords slowly, one at a time, in an even rhythm (with a metronome!) so that you get the feel of moving from chord to chord. Once you can move from chord to chord without hesitation exactly hitting the metronome beat, then start morphing the exercise into the real passage from the song.
If you are just starting, you do want to learn a C major scale and the C, F, and G chords. If you take the time to figure out how that one scale and those three chords fit in to all of the above, you'll be in good shape to quickly build from that starting point.
Héhé this post need to be sticky
When Jim speak about Learning chords in a musical cadenza rather than just random or in the scale order it applys for all you're exercices
The aim is to be musical in all way, even if it's an exercice it's need to be "musical"
You can add groove or melody play like a robot is good for speed and technique but not for musicality and it's the first role of the music.
At the beggining we play like a robot but it's important to focus on musicality in the early process.
When i study any pattern scale or chords i try to always play them first of all in tempo then with groove and try to sing together what i play or what i listen in my brain when i play.
So it's more efficient to add the musical thing at the first step but maybe a little feeling is required before i don't remember cause even when i have started Learning piano i was a child and it was a Game not a works.
Few years ago i was teaching guitar to a student who was very serious in his Learning process but he have forgotten to enjoying the playing part.
So now he play like a very fast robot but not so much...
We can learn for a life and never play with this way.I think it's just a state of mind and i have don't succeded in this teaching process even if "enjoy what's you're playing is my devise".He has never understand it right ...
When Jim speak about Learning chords in a musical cadenza rather than just random or in the scale order it applys for all you're exercices
The aim is to be musical in all way, even if it's an exercice it's need to be "musical"
You can add groove or melody play like a robot is good for speed and technique but not for musicality and it's the first role of the music.
At the beggining we play like a robot but it's important to focus on musicality in the early process.
When i study any pattern scale or chords i try to always play them first of all in tempo then with groove and try to sing together what i play or what i listen in my brain when i play.
So it's more efficient to add the musical thing at the first step but maybe a little feeling is required before i don't remember cause even when i have started Learning piano i was a child and it was a Game not a works.
Few years ago i was teaching guitar to a student who was very serious in his Learning process but he have forgotten to enjoying the playing part.
So now he play like a very fast robot but not so much...
We can learn for a life and never play with this way.I think it's just a state of mind and i have don't succeded in this teaching process even if "enjoy what's you're playing is my devise".He has never understand it right ...
A very useful thing to do to help with musicality, with memorization, and learning music overall. It doesn't have to be good singing. Just do it to help understand what you are trying to express with your playing. The singing will tell you where the music needs to breathe and where notes need to be stressed.kiwi wrote:try to sing together what i play
What is really hard is to be musical and yet still accurate. Don't think that you can't be musical while playing with a metronome. You can. It is just hard. Of course there are places where the metronome might need to speed up or slow down, or even pause, but learn to play with a strict metronome before adding such nuances.
-
Laserbeak43
- Posts: 102
Hah,
"Scat". That's a term I haven't heard in a long time. C F and G chords. "Major"? I think I know those already, but I don't really feel so comfortable. I just wish I woke up a piano player!
Well, I''ve got some practice to do
and i'll always practice with a metronome from now on. At least I don't have a maestro, slapping my hands with a stick!(maybe that would actually be useful).
"Scat". That's a term I haven't heard in a long time. C F and G chords. "Major"? I think I know those already, but I don't really feel so comfortable. I just wish I woke up a piano player!
Well, I''ve got some practice to do
and i'll always practice with a metronome from now on. At least I don't have a maestro, slapping my hands with a stick!(maybe that would actually be useful).Here is a site that gives tapping exercises for developing keyboard rhythm:
http://www.musicarta.com/beat-and-rhythm_4.html
Try to involve whole body movement in developing rhythm. Research shows that the part of the brain that controls large muscle movement has a far more accurate sense of time than the part that controls small muscles like those that move your fingers.
http://www.musicarta.com/beat-and-rhythm_4.html
Try to involve whole body movement in developing rhythm. Research shows that the part of the brain that controls large muscle movement has a far more accurate sense of time than the part that controls small muscles like those that move your fingers.