Chords for Tutorial Level: Basic Musical Analysis
Tempo:
89.725 bpm
Chords used:
Eb
Bb
G
F
Ab
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Em] [Cm] [G]
[Eb] [Ab] When starting this channel, I specifically [G] didn't want to cater to beginners, because the stuff that I find the most interesting in music
requires somewhat of a base of knowledge to fully [Eb] understand.
That being [E] said, I think it might be beneficial to do some videos explaining the terminology
I use to people who may not be familiar with it, so that my main videos can be more thoroughly [Eb] enjoyed and maybe made more
accessible to more people.
[Bb] So,
welcome to my very [Eb] first tutorial level!
[Em] [Cm] No, we already [Eb] did that!
Music and [G] musical notation are as closely linked as [Bb] speaking and writing, but because music [E] is an entirely auditory medium,
[Bb] it's helpful to have methods of analysis that don't rely on musical [C] notation to make [Ab] sense.
[Eb] For instance, if I played a note,
could you tell me which note it [Bm] was?
Unless you're [Dm] one of the.01% of people who have perfect pitch, you probably couldn't. So if you're listening to a [B] piece of music and you think, wow, I really like that melody [Dm] line, [Eb] you'd want to have some way of analyzing what it is without having to get the sheet music or [G] figure it out for yourself on an instrument. [Bb] That's where labels come in. We can label specific sounds that we can recognize without seeing the sheet [Ab] music in front of us, whether they're melodies, chords, or [G] rhythms. The problem [Eb] is that everything is labeled with numbers, so [G] it can get a little confusing at times. Melody notes are numbers, chords are numbers, the notes in a chord are numbers, the space [Eb] between notes are numbers, and on and on and on. So you [N] could say the sixth jump from the four to the two hits the third and fifth of the two and five respectively, and it would make perfect sense. [B] [Eb] Right? To start with, I'm going to explain how [D] I label melody, [Bb] harmony, [F] and chord [Eb] tones. Let's start with melody. [B] All notes in a melody have a specific sound that works relative to the key of the [Ab] song. So if a song is in the key [Bb] of A, like Super Mario Sunshine's Delfino Plaza, the note A will always sound like an A. [Eb] If we're in the key of C, like in the original Super Mario Bros. theme, the note C will always sound like C. Here's the thing. In [Bb] the key of C, the note C sounds the [F] same as the note A sounds in the key of [Bb] A. In both [Eb] cases, the notes sound very final, very stable and consonant [G] in the exact same way. This is because they're the note the key is named [Bb] after. Whatever note feels like home base is going to [G] be your key. In [Ab] both cases, we would label the [Bb] notes 1 with a [G] little hat on it. If you took a major scale and numbered the notes up from 1 to 7, you get the labels for the melodic notes like I mentioned [Ab] earlier. [Bb] So in the key of A, A is 1, [Gm] E is 5, and [Em] B is [Eb] 2, etc. In the key of C, [F] C is 1, G is [Eb] 5, and D is 2. If you were just listening to a [F] melody, you wouldn't be able to tell whether it's in the key of A or the key of C, but you would be able [Bb] to tell which notes are the 1 and which are the 5 because they sound [Eb] different. Granted, [Em] it does take a little bit of training to be able to recognize these sounds right [Eb] away, but [Bb] they are consistent no matter what [Fm] you listen to. [G] Building off of this concept, [Bb] let's take a look at chords. [Ab] Chords are labeled much the same [G] way, only instead of regular [Eb] numbers, we use Roman numerals. [B] Take the major scale, build a chord off of each note, and then number them up [Eb] from 1 to 7. Chords operate [F] within the exact [B] same concept. [Eb] A 1 chord [F] always sounds like a 1 chord no matter what key you're in. [Bb] Where it gets a little more complex [Eb] is the quality of the chords, whether they're major, [G] minor, dominant, and so on. If you're only [Bb] using notes from your major key, the 1, 4, and 5 are always major, and [G] the 2, 3, and 6 are [Bb] always minor. [F] That's how we decide whether to use uppercase or lowercase Roman [G] numerals for the notation. Oh, what? Oh, the 7. Uh Yeah, uh We don't really we don't really talk [Dm] about this. But [G] most of the time a song [Eb] doesn't just use notes from one key. [F] So the 4 [Eb] can be minor, the 2 can be dominant, basically the world is your oyster. You [Dm] also will frequently see [B] chords from in-between scale degrees. [F] A flat 3, or a [Bb] sharp 4, or a flat 7. [Db] [E] So really the important part for labeling [G] purposes is the root of the chord, or the note that a [Bb] chord is built off of. For example, a [G] chord built off of the fourth scale degree is called a 4 chord. Whether it's a 4 minor 7, or a 4 7 sharp 9, it doesn't matter, it's always a 4 chord. If you want to start analyzing music yourself, [Dm] analyzing chord progressions is probably the easiest [Eb] place to start. When you turn everything [Dm] into Roman numerals, you start to see the [Eb] patterns and relationships between the chords better. [F] You see when things are coming [Bb] in from outside the key, and you can ask [Ab] yourself why, and you can see that different songs will use the same [G] types of chords, or the same chord progressions. [Bb] Speaking of different types of chords, these chords are [Fm] all defined by the notes [G] that are used to build them. These [Bb] notes are called chord tones. The notes in a [G] chord relate to each other in much the same [Eb] way that notes in a key relate to each other. All [G] chords have a root. 90% of the time, this is the lowest sounding note in a chord. So if you [D] take the root and picture [Eb] a scale where that root is the 1, [C] then take all the other notes of the chord and see where they fall in the scale, you'll be able to see what kind of [Eb] chord you have. [D] If your chord has the first, third, [F] and fifth, it's a triad. If the third is [Eb] a major third away from the root, it's a major triad. If you flatten the third, you get [Em] a minor triad. If you flatten the fifth too, [Bb] you get a diminished chord, which is, [Ab] uh [G] We don't talk about that. So if you see an A, C-sharp, and E being played at the same [Eb] time, it's most likely an A major triad, because [Gm] those notes are the first, third, and fifth of the A [Eb] major scale. If you see a G, A-flat, [F] E, and B-flat played at the same time, [Eb] well, you'll just have to figure [Dm] out for yourself what the hell that is. [Bb] [Eb] Naming chords can get pretty complicated depending on the style of music, so just suffice it to say that labeling [Bb] these chord tones with numbers can be very useful. You've probably heard this [G] sound before. That's [Bb] called [D] a major chord with a sustained fourth [E] moving down [G] to a third. You can call that a 4 [Eb]-3 suspension, and having a name [Bb] for it allows you to more easily recognize and understand it whenever you [Eb] hear it in music. [G] Well, I think that about wraps up this tutorial level. [Eb] Was it educational? Was [Dm] it still incredibly confusing? Was it a [Eb] boring video for babies? [Dm] Or would you like to see more videos like this? [B] Let me know along with any [F] questions you may have in the comments below, or tweet me [Bb] questions on my new Twitter [B] account at 8-Bit Music [Eb] Theory, and thank you for watching! [G] [Bb] [Ab]
[G] [Bb]
[Eb] [Ab] When starting this channel, I specifically [G] didn't want to cater to beginners, because the stuff that I find the most interesting in music
requires somewhat of a base of knowledge to fully [Eb] understand.
That being [E] said, I think it might be beneficial to do some videos explaining the terminology
I use to people who may not be familiar with it, so that my main videos can be more thoroughly [Eb] enjoyed and maybe made more
accessible to more people.
[Bb] So,
welcome to my very [Eb] first tutorial level!
[Em] [Cm] No, we already [Eb] did that!
Music and [G] musical notation are as closely linked as [Bb] speaking and writing, but because music [E] is an entirely auditory medium,
[Bb] it's helpful to have methods of analysis that don't rely on musical [C] notation to make [Ab] sense.
[Eb] For instance, if I played a note,
could you tell me which note it [Bm] was?
Unless you're [Dm] one of the.01% of people who have perfect pitch, you probably couldn't. So if you're listening to a [B] piece of music and you think, wow, I really like that melody [Dm] line, [Eb] you'd want to have some way of analyzing what it is without having to get the sheet music or [G] figure it out for yourself on an instrument. [Bb] That's where labels come in. We can label specific sounds that we can recognize without seeing the sheet [Ab] music in front of us, whether they're melodies, chords, or [G] rhythms. The problem [Eb] is that everything is labeled with numbers, so [G] it can get a little confusing at times. Melody notes are numbers, chords are numbers, the notes in a chord are numbers, the space [Eb] between notes are numbers, and on and on and on. So you [N] could say the sixth jump from the four to the two hits the third and fifth of the two and five respectively, and it would make perfect sense. [B] [Eb] Right? To start with, I'm going to explain how [D] I label melody, [Bb] harmony, [F] and chord [Eb] tones. Let's start with melody. [B] All notes in a melody have a specific sound that works relative to the key of the [Ab] song. So if a song is in the key [Bb] of A, like Super Mario Sunshine's Delfino Plaza, the note A will always sound like an A. [Eb] If we're in the key of C, like in the original Super Mario Bros. theme, the note C will always sound like C. Here's the thing. In [Bb] the key of C, the note C sounds the [F] same as the note A sounds in the key of [Bb] A. In both [Eb] cases, the notes sound very final, very stable and consonant [G] in the exact same way. This is because they're the note the key is named [Bb] after. Whatever note feels like home base is going to [G] be your key. In [Ab] both cases, we would label the [Bb] notes 1 with a [G] little hat on it. If you took a major scale and numbered the notes up from 1 to 7, you get the labels for the melodic notes like I mentioned [Ab] earlier. [Bb] So in the key of A, A is 1, [Gm] E is 5, and [Em] B is [Eb] 2, etc. In the key of C, [F] C is 1, G is [Eb] 5, and D is 2. If you were just listening to a [F] melody, you wouldn't be able to tell whether it's in the key of A or the key of C, but you would be able [Bb] to tell which notes are the 1 and which are the 5 because they sound [Eb] different. Granted, [Em] it does take a little bit of training to be able to recognize these sounds right [Eb] away, but [Bb] they are consistent no matter what [Fm] you listen to. [G] Building off of this concept, [Bb] let's take a look at chords. [Ab] Chords are labeled much the same [G] way, only instead of regular [Eb] numbers, we use Roman numerals. [B] Take the major scale, build a chord off of each note, and then number them up [Eb] from 1 to 7. Chords operate [F] within the exact [B] same concept. [Eb] A 1 chord [F] always sounds like a 1 chord no matter what key you're in. [Bb] Where it gets a little more complex [Eb] is the quality of the chords, whether they're major, [G] minor, dominant, and so on. If you're only [Bb] using notes from your major key, the 1, 4, and 5 are always major, and [G] the 2, 3, and 6 are [Bb] always minor. [F] That's how we decide whether to use uppercase or lowercase Roman [G] numerals for the notation. Oh, what? Oh, the 7. Uh Yeah, uh We don't really we don't really talk [Dm] about this. But [G] most of the time a song [Eb] doesn't just use notes from one key. [F] So the 4 [Eb] can be minor, the 2 can be dominant, basically the world is your oyster. You [Dm] also will frequently see [B] chords from in-between scale degrees. [F] A flat 3, or a [Bb] sharp 4, or a flat 7. [Db] [E] So really the important part for labeling [G] purposes is the root of the chord, or the note that a [Bb] chord is built off of. For example, a [G] chord built off of the fourth scale degree is called a 4 chord. Whether it's a 4 minor 7, or a 4 7 sharp 9, it doesn't matter, it's always a 4 chord. If you want to start analyzing music yourself, [Dm] analyzing chord progressions is probably the easiest [Eb] place to start. When you turn everything [Dm] into Roman numerals, you start to see the [Eb] patterns and relationships between the chords better. [F] You see when things are coming [Bb] in from outside the key, and you can ask [Ab] yourself why, and you can see that different songs will use the same [G] types of chords, or the same chord progressions. [Bb] Speaking of different types of chords, these chords are [Fm] all defined by the notes [G] that are used to build them. These [Bb] notes are called chord tones. The notes in a [G] chord relate to each other in much the same [Eb] way that notes in a key relate to each other. All [G] chords have a root. 90% of the time, this is the lowest sounding note in a chord. So if you [D] take the root and picture [Eb] a scale where that root is the 1, [C] then take all the other notes of the chord and see where they fall in the scale, you'll be able to see what kind of [Eb] chord you have. [D] If your chord has the first, third, [F] and fifth, it's a triad. If the third is [Eb] a major third away from the root, it's a major triad. If you flatten the third, you get [Em] a minor triad. If you flatten the fifth too, [Bb] you get a diminished chord, which is, [Ab] uh [G] We don't talk about that. So if you see an A, C-sharp, and E being played at the same [Eb] time, it's most likely an A major triad, because [Gm] those notes are the first, third, and fifth of the A [Eb] major scale. If you see a G, A-flat, [F] E, and B-flat played at the same time, [Eb] well, you'll just have to figure [Dm] out for yourself what the hell that is. [Bb] [Eb] Naming chords can get pretty complicated depending on the style of music, so just suffice it to say that labeling [Bb] these chord tones with numbers can be very useful. You've probably heard this [G] sound before. That's [Bb] called [D] a major chord with a sustained fourth [E] moving down [G] to a third. You can call that a 4 [Eb]-3 suspension, and having a name [Bb] for it allows you to more easily recognize and understand it whenever you [Eb] hear it in music. [G] Well, I think that about wraps up this tutorial level. [Eb] Was it educational? Was [Dm] it still incredibly confusing? Was it a [Eb] boring video for babies? [Dm] Or would you like to see more videos like this? [B] Let me know along with any [F] questions you may have in the comments below, or tweet me [Bb] questions on my new Twitter [B] account at 8-Bit Music [Eb] Theory, and thank you for watching! [G] [Bb] [Ab]
[G] [Bb]
Key:
Eb
Bb
G
F
Ab
Eb
Bb
G
[Em] _ [Cm] _ _ [G] _ _ _ _ _
[Eb] _ [Ab] When starting this channel, I specifically [G] didn't want to cater to beginners, because the stuff that I find the most interesting in music
requires somewhat of a base of knowledge to fully [Eb] understand.
That being [E] said, I think it might be beneficial to do some videos explaining the terminology
I use to people who may not be familiar with it, so that my main videos can be more thoroughly [Eb] enjoyed and maybe made more
accessible to more people.
[Bb] So,
welcome to my very [Eb] first tutorial level!
[Em] _ [Cm] No, we already [Eb] did that!
Music and [G] musical notation are as closely linked as [Bb] speaking and writing, but because music [E] is an entirely auditory medium,
[Bb] it's helpful to have methods of analysis that don't rely on musical [C] notation to make [Ab] sense.
[Eb] For instance, if I played a note,
could you tell me which note it [Bm] was?
Unless you're [Dm] one of the.01% of people who have perfect pitch, you probably couldn't. So if you're listening to a [B] piece of music and you think, wow, I really like that melody [Dm] line, [Eb] you'd want to have some way of analyzing what it is without having to get the sheet music or [G] figure it out for yourself on an instrument. [Bb] That's where labels come in. We can label specific sounds that we can recognize without seeing the sheet [Ab] music in front of us, whether they're melodies, chords, or [G] rhythms. The problem [Eb] is that everything is labeled with numbers, so [G] it can get a little confusing at times. Melody notes are numbers, chords are numbers, the notes in a chord are numbers, the space [Eb] between notes are numbers, and on and on and on. So you [N] could say the sixth jump from the four to the two hits the third and fifth of the two and five respectively, and it would make perfect sense. [B] _ [Eb] Right? To start with, I'm going to explain how [D] I label melody, [Bb] harmony, [F] and chord [Eb] tones. Let's start with melody. [B] All notes in a melody have a specific sound that works relative to the key of the [Ab] song. So if a song is in the key [Bb] of A, like Super Mario Sunshine's Delfino Plaza, the note A will always sound like an A. [Eb] If we're in the key of C, like in the original Super Mario Bros. theme, the note C will always sound like C. Here's the thing. In [Bb] the key of C, the note C sounds the [F] same as the note A sounds in the key of [Bb] A. In both [Eb] cases, the notes sound very final, very stable and consonant [G] in the exact same way. This is because they're the note the key is named [Bb] after. Whatever note feels like home base is going to [G] be your key. In [Ab] both cases, we would label the [Bb] notes 1 with a [G] little hat on it. If you took a major scale and numbered the notes up from 1 to 7, you get the labels for the melodic notes like I mentioned [Ab] earlier. [Bb] So in the key of A, A is 1, [Gm] E is 5, and [Em] B is [Eb] 2, etc. In the key of C, [F] C is 1, G is [Eb] 5, and D is 2. If you were just listening to a [F] melody, you wouldn't be able to tell whether it's in the key of A or the key of C, but you would be able [Bb] to tell which notes are the 1 and which are the 5 because they sound [Eb] different. Granted, [Em] it does take a little bit of training to be able to recognize these sounds right [Eb] away, but [Bb] they are consistent no matter what [Fm] you listen to. [G] Building off of this concept, [Bb] let's take a look at chords. [Ab] Chords are labeled much the same [G] way, only instead of regular [Eb] numbers, we use Roman numerals. [B] Take the major scale, build a chord off of each note, and then number them up [Eb] from 1 to 7. Chords operate [F] within the exact [B] same concept. [Eb] A 1 chord [F] always sounds like a 1 chord no matter what key you're in. [Bb] Where it gets a little more complex [Eb] is the quality of the chords, whether they're major, [G] minor, dominant, and so on. If you're only [Bb] using notes from your major key, the 1, 4, and 5 are always major, and [G] the 2, 3, and 6 are [Bb] always minor. [F] That's how we decide whether to use uppercase or lowercase Roman [G] numerals for the notation. Oh, what? Oh, the 7. Uh_ Yeah, uh_ We don't really_ we don't really talk [Dm] about this. But [G] most of the time a song [Eb] doesn't just use notes from one key. [F] So the 4 [Eb] can be minor, the 2 can be dominant, basically the world is your oyster. You [Dm] also will frequently see [B] chords from in-between scale degrees. [F] A flat 3, or a [Bb] sharp 4, or a flat 7. [Db] [E] So really the important part for labeling [G] purposes is the root of the chord, or the note that a [Bb] chord is built off of. For example, a [G] chord built off of the fourth scale degree is called a 4 chord. Whether it's a 4 minor 7, or a 4 7 sharp 9, it doesn't matter, it's always a 4 chord. If you want to start analyzing music yourself, [Dm] analyzing chord progressions is probably the easiest [Eb] place to start. When you turn everything [Dm] into Roman numerals, you start to see the [Eb] patterns and relationships between the chords better. [F] You see when things are coming [Bb] in from outside the key, and you can ask [Ab] yourself why, and you can see that different songs will use the same [G] types of chords, or the same chord progressions. [Bb] Speaking of different types of chords, these chords are [Fm] all defined by the notes [G] that are used to build them. These [Bb] notes are called chord tones. The notes in a [G] chord relate to each other in much the same [Eb] way that notes in a key relate to each other. All [G] chords have a root. 90% of the time, this is the lowest sounding note in a chord. So if you [D] take the root and picture [Eb] a scale where that root is the 1, [C] then take all the other notes of the chord and see where they fall in the scale, you'll be able to see what kind of [Eb] chord you have. [D] If your chord has the first, third, [F] and fifth, it's a triad. If the third is [Eb] a major third away from the root, it's a major triad. If you flatten the third, you get [Em] a minor triad. If you flatten the fifth too, [Bb] you get a diminished chord, which is, [Ab] uh_ _ [G] _ We don't talk about that. So if you see an A, C-sharp, and E being played at the same [Eb] time, it's most likely an A major triad, because [Gm] those notes are the first, third, and fifth of the A [Eb] major scale. If you see a G, A-flat, [F] E, and B-flat played at the same time, [Eb] well, you'll just have to figure [Dm] out for yourself what the hell that is. [Bb] [Eb] Naming chords can get pretty complicated depending on the style of music, so just suffice it to say that labeling [Bb] these chord tones with numbers can be very useful. You've probably heard this [G] sound before. _ That's [Bb] called [D] a major chord with a sustained fourth [E] moving down [G] to a third. You can call that a 4 [Eb]-3 suspension, and having a name [Bb] for it allows you to more easily recognize and understand it whenever you [Eb] hear it in music. [G] Well, I think that about wraps up this tutorial level. [Eb] Was it educational? Was [Dm] it still incredibly confusing? Was it a [Eb] boring video for babies? [Dm] Or would you like to see more videos like this? [B] Let me know along with any [F] questions you may have in the comments below, or tweet me [Bb] questions on my new Twitter [B] account at 8-Bit Music [Eb] Theory, and thank you for watching! _ [G] _ _ _ _ [Bb] _ _ _ [Ab] _
_ _ [G] _ _ [Bb] _ _ _ _
[Eb] _ [Ab] When starting this channel, I specifically [G] didn't want to cater to beginners, because the stuff that I find the most interesting in music
requires somewhat of a base of knowledge to fully [Eb] understand.
That being [E] said, I think it might be beneficial to do some videos explaining the terminology
I use to people who may not be familiar with it, so that my main videos can be more thoroughly [Eb] enjoyed and maybe made more
accessible to more people.
[Bb] So,
welcome to my very [Eb] first tutorial level!
[Em] _ [Cm] No, we already [Eb] did that!
Music and [G] musical notation are as closely linked as [Bb] speaking and writing, but because music [E] is an entirely auditory medium,
[Bb] it's helpful to have methods of analysis that don't rely on musical [C] notation to make [Ab] sense.
[Eb] For instance, if I played a note,
could you tell me which note it [Bm] was?
Unless you're [Dm] one of the.01% of people who have perfect pitch, you probably couldn't. So if you're listening to a [B] piece of music and you think, wow, I really like that melody [Dm] line, [Eb] you'd want to have some way of analyzing what it is without having to get the sheet music or [G] figure it out for yourself on an instrument. [Bb] That's where labels come in. We can label specific sounds that we can recognize without seeing the sheet [Ab] music in front of us, whether they're melodies, chords, or [G] rhythms. The problem [Eb] is that everything is labeled with numbers, so [G] it can get a little confusing at times. Melody notes are numbers, chords are numbers, the notes in a chord are numbers, the space [Eb] between notes are numbers, and on and on and on. So you [N] could say the sixth jump from the four to the two hits the third and fifth of the two and five respectively, and it would make perfect sense. [B] _ [Eb] Right? To start with, I'm going to explain how [D] I label melody, [Bb] harmony, [F] and chord [Eb] tones. Let's start with melody. [B] All notes in a melody have a specific sound that works relative to the key of the [Ab] song. So if a song is in the key [Bb] of A, like Super Mario Sunshine's Delfino Plaza, the note A will always sound like an A. [Eb] If we're in the key of C, like in the original Super Mario Bros. theme, the note C will always sound like C. Here's the thing. In [Bb] the key of C, the note C sounds the [F] same as the note A sounds in the key of [Bb] A. In both [Eb] cases, the notes sound very final, very stable and consonant [G] in the exact same way. This is because they're the note the key is named [Bb] after. Whatever note feels like home base is going to [G] be your key. In [Ab] both cases, we would label the [Bb] notes 1 with a [G] little hat on it. If you took a major scale and numbered the notes up from 1 to 7, you get the labels for the melodic notes like I mentioned [Ab] earlier. [Bb] So in the key of A, A is 1, [Gm] E is 5, and [Em] B is [Eb] 2, etc. In the key of C, [F] C is 1, G is [Eb] 5, and D is 2. If you were just listening to a [F] melody, you wouldn't be able to tell whether it's in the key of A or the key of C, but you would be able [Bb] to tell which notes are the 1 and which are the 5 because they sound [Eb] different. Granted, [Em] it does take a little bit of training to be able to recognize these sounds right [Eb] away, but [Bb] they are consistent no matter what [Fm] you listen to. [G] Building off of this concept, [Bb] let's take a look at chords. [Ab] Chords are labeled much the same [G] way, only instead of regular [Eb] numbers, we use Roman numerals. [B] Take the major scale, build a chord off of each note, and then number them up [Eb] from 1 to 7. Chords operate [F] within the exact [B] same concept. [Eb] A 1 chord [F] always sounds like a 1 chord no matter what key you're in. [Bb] Where it gets a little more complex [Eb] is the quality of the chords, whether they're major, [G] minor, dominant, and so on. If you're only [Bb] using notes from your major key, the 1, 4, and 5 are always major, and [G] the 2, 3, and 6 are [Bb] always minor. [F] That's how we decide whether to use uppercase or lowercase Roman [G] numerals for the notation. Oh, what? Oh, the 7. Uh_ Yeah, uh_ We don't really_ we don't really talk [Dm] about this. But [G] most of the time a song [Eb] doesn't just use notes from one key. [F] So the 4 [Eb] can be minor, the 2 can be dominant, basically the world is your oyster. You [Dm] also will frequently see [B] chords from in-between scale degrees. [F] A flat 3, or a [Bb] sharp 4, or a flat 7. [Db] [E] So really the important part for labeling [G] purposes is the root of the chord, or the note that a [Bb] chord is built off of. For example, a [G] chord built off of the fourth scale degree is called a 4 chord. Whether it's a 4 minor 7, or a 4 7 sharp 9, it doesn't matter, it's always a 4 chord. If you want to start analyzing music yourself, [Dm] analyzing chord progressions is probably the easiest [Eb] place to start. When you turn everything [Dm] into Roman numerals, you start to see the [Eb] patterns and relationships between the chords better. [F] You see when things are coming [Bb] in from outside the key, and you can ask [Ab] yourself why, and you can see that different songs will use the same [G] types of chords, or the same chord progressions. [Bb] Speaking of different types of chords, these chords are [Fm] all defined by the notes [G] that are used to build them. These [Bb] notes are called chord tones. The notes in a [G] chord relate to each other in much the same [Eb] way that notes in a key relate to each other. All [G] chords have a root. 90% of the time, this is the lowest sounding note in a chord. So if you [D] take the root and picture [Eb] a scale where that root is the 1, [C] then take all the other notes of the chord and see where they fall in the scale, you'll be able to see what kind of [Eb] chord you have. [D] If your chord has the first, third, [F] and fifth, it's a triad. If the third is [Eb] a major third away from the root, it's a major triad. If you flatten the third, you get [Em] a minor triad. If you flatten the fifth too, [Bb] you get a diminished chord, which is, [Ab] uh_ _ [G] _ We don't talk about that. So if you see an A, C-sharp, and E being played at the same [Eb] time, it's most likely an A major triad, because [Gm] those notes are the first, third, and fifth of the A [Eb] major scale. If you see a G, A-flat, [F] E, and B-flat played at the same time, [Eb] well, you'll just have to figure [Dm] out for yourself what the hell that is. [Bb] [Eb] Naming chords can get pretty complicated depending on the style of music, so just suffice it to say that labeling [Bb] these chord tones with numbers can be very useful. You've probably heard this [G] sound before. _ That's [Bb] called [D] a major chord with a sustained fourth [E] moving down [G] to a third. You can call that a 4 [Eb]-3 suspension, and having a name [Bb] for it allows you to more easily recognize and understand it whenever you [Eb] hear it in music. [G] Well, I think that about wraps up this tutorial level. [Eb] Was it educational? Was [Dm] it still incredibly confusing? Was it a [Eb] boring video for babies? [Dm] Or would you like to see more videos like this? [B] Let me know along with any [F] questions you may have in the comments below, or tweet me [Bb] questions on my new Twitter [B] account at 8-Bit Music [Eb] Theory, and thank you for watching! _ [G] _ _ _ _ [Bb] _ _ _ [Ab] _
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