Simple Explanation of Chords

[Track Rootz]

Can someone give me a simple explanation of how to form chords? I play in an orchestra so most other aspects of Music Theory I already know, except for chords, because the music is prewritten. I even already kind of have a feel for chords, because I can form them if i go instrument by instrument, because I know keys that match cuz I know my key signatures.

The thing I don't get are those chords that are called sus4, M7, aug and stuff like that. I wanna be able to do different chords on the keyboard so I can get more depth in my beats.

[No_Worries]

You play in an orchestra but don't know chords? Damn...

Well...start with intervals. Once you learn them, you can define chords by the intervals they contain.

[Track Rootz]

In an orchestra, a chord is formed by different instruments playing each note of the chord together... It's not like piano or guitar when the chord is played on one instrument.

That's why I don't know chords.

[mynameissam]

Basically what No Worries said, it's all about the intervals and the relationships between the notes. If you understand scales then chords should be easy to understand. The names of the chords are based on the notes they contain relative to the root note. eg a Cmaj7th will contain:
the the root note (1st not in the scale) = C
the major 3rd (the third not in the C major scale) = E
the perfect 5th (the 5th not of the scale) = G
AND, what makes it a maj 7th, the7th note in the major scale = B

Without the B, the chord would be a standard C chord. These articles tell you everything you need to know really.

http://en.wikipedia.org/wiki/Interval_%28music%29

http://en.wikipedia.org/wiki/Chord_(music)

[No_Worries]

In an orchestra, a chord is formed by different instruments playing each note of the chord together... It's not like piano or guitar when the chord is played on one instrument.

That's why I don't know chords.

Thank you, Watson.

In order to play well as an orchestra, each player must understand the function of the note they are playing. In order to know this function, the player must know the chord.

I just find it hard to believe that an intermediate or advanced orchestra would accept a member that does not have this knowledge. If it is a beginning orchestra, then I can't understand why the conductor wouldn't address this issue imeediately.

[Track Rootz]

Thank you, Watson.

In order to play well as an orchestra, each player must understand the function of the note they are playing. In order to know this function, the player must know the chord.

I just find it hard to believe that an intermediate or advanced orchestra would accept a member that does not have this knowledge. If it is a beginning orchestra, then I can't understand why the conductor wouldn't address this issue imeediately.

And HOW exactly are chords and the function of the note related? Chords are basically notes that sound good together and usually are associated with a certain mood or feel. I don't know know chords are FORMED, but I know how they operate and you do not need to know how chords are FORMED to play a piece of prewritten music. That's what dynamics, key signatures, and tempo are for: to emphasize the function of the note.

[No_Worries]

And HOW exactly are chords and the function of the note related? Chords are basically notes that sound good together and usually are associated with a certain mood or feel. I don't know know chords are FORMED, but I know how they operate and you do not need to know how chords are FORMED to play a piece of prewritten music. That's what dynamics, key signatures, and tempo are for: to emphasize the function of the note.

Sigh.

Hell with it...I'll try anyways:

So amidst that mess, I'm basically gathering that you say you don't need to know how a chord functions to be able to play a piece of music? Well, no, you don't...if you want to play it like a robot.

You know how when you reach the penultimate chord in a piece...you usually hesitate a bit to emphasize the budding tension before the final release? Well what you're doing is showcasing the FUNCTION of the chord, because in that context the dominant is wanting to resolve to the tonic. If you understand the theory behind ALL of the chords in a piece, you'll be able to do this kind of interpretation throughout. The more accurate your interpretation of the harmonic functions, the better the piece will sound. If this isn't the case, what do you think separates the great players from the good players? It's hardly a question of technical ability as many, many players can fly on their given instrument.

You mentioned dynamics and tempo markings. Well it may surprise you, but most of those marking simply reinforce the harmonic function of the given chord or passage.

Oh...and I'd love to leave on a good note, but I just have to ask: how exactly does a key signature emphasize the function of a note? I'd love to know.

[Track Rootz]

Sigh.

Hell with it...I'll try anyways:

So amidst that mess, I'm basically gathering that you say you don't need to know how a chord functions to be able to play a piece of music? Well, no, you don't...if you want to play it like a robot.

Thank you for proving my point: You can play a piece without knowing chords even if it be as a robot.

You know how when you reach the penultimate chord in a piece...you usually hesitate a bit to emphasize the budding tension before the final release? Well what you're doing is showcasing the FUNCTION of the chord, because in that context the dominant is wanting to resolve to the tonic. If you understand the theory behind ALL of the chords in a piece, you'll be able to do this kind of interpretation throughout. The more accurate your interpretation of the harmonic functions, the better the piece will sound. If this isn't the case, what do you think separates the great players from the good players? It's hardly a question of technical ability as many, many players can fly on their given instrument.

You mentioned dynamics and tempo markings. Well it may surprise you, but most of those marking simply reinforce the harmonic function of the given chord or passage.

Oh...and I'd love to leave on a good note, but I just have to ask: how exactly does a key signature emphasize the function of a note? I'd love to know.

Ok, NOW you are starting to make sense... I sounds like what you are trying to say is that the tone of the chord dictates how you play it. The thing is, you don't need to know the notes to understand the tone of chord. Someone with no musical knowledge can identify a happy or sad chord or even finishing chords from the rest of the chords in a piece. I know what chords are and their purpose, but what I don't know are the intervals used to form the chord and what you are saying has nothing to do with intervals. You are talking about tone...

If you can help please help, because it sounds like you have alot of knowledge, but please don't question the validity of the fact that I play in an orchestra.

Edit: Oh, and yes, key signatures determine what notes can be used in any chord formed in the piece. And therefore, they influence whether a piece is filled with "happy", "sad" chords etc.

[Soopafly408]

http://www.apassion4jazz.net/keys.html

[No_Worries]

Thank you for proving my point: You can play a piece without knowing chords even if it be as a robot.



Ok, NOW you are starting to make sense... I sounds like what you are trying to say is that the tone of the chord dictates how you play it. The thing is, you don't need to know the notes to understand the tone of chord. Someone with no musical knowledge can identify a happy or sad chord or even finishing chords from the rest of the chords in a piece. I know what chords are and their purpose, but what I don't know are the intervals used to form the chord and what you are saying has nothing to do with intervals. You are talking about tone...

If you can help please help, because it sounds like you have alot of knowledge, but please don't question the validity of the fact that I play in an orchestra.

Edit: Oh, and yes, key signatures determine what notes can be used in any chord formed in the piece. And therefore, they influence whether a piece is filled with "happy", "sad" chords etc.

1) No. I'm not talking about the "tone" of a chord at all. I'm talking about the function. And for sake of clarification, we should do away with the word "tone" altogether and use "character" instead. The character of a chord and the function of a chord are two COMPLETELY different things.

To illustrate:

Get your instrument and play these notes:

C E G, C E G, C F A, C F A, G B D, G B D, C E G, C E G

This is C major, F major, G major, C major. In the key of C major, I IV V I.

Now play these notes:

G B D, G B D, C E G, C E G, D F# A, D F# A, G B D, G B D.

This is G major, C major, D major, G major. In the key of G major, I IV V I.

Now each G major chord will have the same exact character: a major triad. If you care to, you can even call it "happy" to our Western ears. But are you meaning to tell me that they each SOUND the same in context? Absolutely not. In the first example, G major is the dominant and will want to resolve to C major. In the second example, G major is the tonic and will act as the point of resolution. So once again, their characters are the same but their functions are completely different. Night and day actually.


2) Key signatures have absolutely NOTHING to do with what notes can be used to form chords in a piece. Zero. Nada. As illustrated above, the same 3 notes, G B D, were used in two different keys and had completely different functions. G major can be played in any piece, regardless of the key. Hell, if you play a G major chord in the key of F# minor, you're going to hear something even more "out there" (specifically, bII).


3) Be careful about your assumptions about what people with no musical knowledge can do. People not of the Western tradition will prove each and every assumption you've made as false.


4) My statement about your orchestra had more to do with your orchestra than about you. I stand by my comment. But to clarify, go check out a middle school band. They'll [hopefully] be able to play at the same tempo and with the same rhythm, but it's going to be very strict and without rubato. Why is this? Because they have not developed the ear nor the brain to grasp the deep harmonic structures within a piece. They do not understand phrases and periods. This all comes later with education and experience. The ability of an orchestra to play together has a lot to do with the conductor, but it also has a lot to do with the ability of each musician to internalize the music in the same way. Whether you'd like to admit it or not, this is because of music theory.