Primary Chords
by Bob O Dell
on
Aug 19, 2002 at 6:49:30 am
Hi all, just a quick note on Composition that may help a few out.
Knowing "Primary Chords" can be a springboard for new composers and those wanting to expand their chord choices when writing songs. When we look at a C Major scale, we can number each note "Tone" to make it easier to communicate instead of calling the C Note "C", we will call it by it's "Degree Value" "1" the first note is also called a "Key Note" our key note here is "C" or "1".
C D E F G A B C
"1" 2 3 4 5 6 7 8
The most basic way to begin writing a song is to use the scale of your choice and pick out the 1,4 and 5 notes. Then turn them into chords.
"1" = C Major
"4" = F Major
"5" = G Major (or G7)
These are called the Primary Chords the ( 1 4 5 ) start with the 1 then mix it up and jam!
Word of Caution: If the scale has any sharps or flat notes on the 1, 4, or 5, then the chord on that degree must also be a sharp or flat chord.
And if you get board of that, go to "Modulate" to the "6" tone (A) from your key note "C" and make it a minor (Am), that's called your "Relative Minor" and do a (1, 4, 5,) on that with minors. The "5" of your relative minor may be an optional Major if you like. But 1 and 4 are minors.
Re: Primary Chords by Kurt on Aug 19, 2002 at 9:40:20 pm
Good review of Primary Chords! Yeah, the I-IV-V. It's the most overdone, most common, but also works. The challenge would be to add interest.
I often get stuck "in a rut" while playing over ideas. Here is an example of a piece I'm working on now.
I have a real nice rhythmic arrangement of 2 chords: GM7 to BbM7. Then, I end up resolving to Csus9 after about 4 bars.
It's an Ani DiFranco inspired progression. So, I cued up some Ani and listened. Sure enough, I find a lot of two chord rhythmic pieces that build up to and around the rhythm section.
I thought about taking my GM7, BbM7 stanza to another bridge to somewhere...? But maybe it could stand on its own with some productive programming and/or engineering.
This could be a Tri-tonal template or cycle I've stumbled upon? Try playing GM7, BbM7, DM7.
Re: Primary Chords by Marco Solorio on Aug 20, 2002 at 1:59:03 am
I couldn't begin to think how many songs use 1,4,5, but I can think back to Bill Haley & the Comits Rockin' and even further back to Glenn Miller. "In the Mood" has always been a favorite of mine to play on both trumpet and sax (both parts having terribly fun solos). Too bad I'm "out of shape"!!! Need to get back in the groove!!!
Re: Primary Chords by Bob O Dell on Aug 20, 2002 at 8:02:05 pm
[Kurt], Subject to application, I would suggest, as some alternative solutions, one, that you omit any accompaniment until you develop a little more direction and volume of material. Sometimes accompaniment can create repetitive inclusion by momentum. Then reinsert or develop the accompaniment to ornamate the Body of composition rather than direct the flow and struture. This, at first, may seem damaging but ultimately will allow you more latitude and freedom to build from. You could also develop a melody and try to add additional direction in your composition and build from there. You could also mix and match harmony and melody, sequencing in and out. Also, look at your melody over this progression and evaluate what different harmonic values can be found in that. Another thing you may want to try is to evaluate any vocals for pitch and work off that as you could a melody, and see where that brings you. Others may inspire you with more suggestions to add.
