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05-22-2009, 09:49 AM
| | Registered User | | Join Date: Oct 2007 Location: London , UK | | | chord recognition
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Ok guys I had a little look on the forum but couldn’t immediately see anything,
so lately in theory class we have been doing chord recognition, I am not to bad at it but I could be better, I can instantly recognise sus chords, minor and major triads, 7ths augmented chords and so on there all quite easy, but its the half dims, diminished triads and dim7 chords that are getting to me. allot of my friends are pianists so when I ask "how can you tell" they reply with I just can ,so I thought id ask you guys is there any particular way to distinguish them from one another.
Thanks |
05-22-2009, 10:01 AM
| | Registered User | | Join Date: Aug 2003 Location: MD | | | Are we talking aural recognition, or recognition on the page?
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05-22-2009, 10:05 AM
| | Registered User | | Join Date: Oct 2007 Location: London , UK | | | Sorry there played on a piano from the front of the room and were to right down what they are |
05-22-2009, 11:42 AM
| | Registered User | | Join Date: Oct 2007 Location: London , UK | | | any one? |
05-22-2009, 12:09 PM
| | | | It will benefit you to play through some of these chords on the piano or guitar and play them with their resolutions so you can hear how the chord tones relate to each other.
What helps me is to focus on the tension in the chords. So when you hear that sus4 chord, you're hearing that tension of the fourth and relating it to the third of the chord. It's the same with diminished chords. Try playing a G7 resolved to a C, and then contrast that with a G#dim resolved to a C. Just drill it over and over again and you'll begin to get familiar with the tension. |
05-22-2009, 02:51 PM
| | Registered User | | Join Date: Oct 2007 Location: London , UK | | | il try it out tomorow thanks |
05-22-2009, 08:30 PM
| | | | No problem. As with everything else in music, practice and repetition is the only sure road to mastery. |
05-22-2009, 08:38 PM
|  | Registered User
Endorsing Artist: Rosado Guitars, D'addario/Planet Waves Products | | Join Date: Jan 2009 Location: New York City (Uptown) | | Quote:
Originally Posted by kingbee  It will benefit you to play through some of these chords on the piano or guitar and play them with their resolutions so you can hear how the chord tones relate to each other.
What helps me is to focus on the tension in the chords. So when you hear that sus4 chord, you're hearing that tension of the fourth and relating it to the third of the chord. It's the same with diminished chords. Try playing a G7 resolved to a C, and then contrast that with a G#dim resolved to a C. Just drill it over and over again and you'll begin to get familiar with the tension. | +1
But if your focusing on resolutions..
the resolution of G7 to C is very good.
But a for a diminished chord going to C,
use B diminished (B D F)
or if you want to use the G# dim. then
that would typically resolve to either Amaj or Amin.
If i'm not mistaken..
Just my two cents... |
05-22-2009, 08:53 PM
| | Registered User | | Join Date: Mar 2003 Location: USA, PNW | | | Not to sound Smart Alecish, but is there really a reason to know all that stuff? Do you need to know that stuff to be able to play bass good?
Anyone?
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05-22-2009, 09:22 PM
| | | Quote:
Originally Posted by WOOFMAN Not to sound Smart Alecish, but is there really a reason to know all that stuff? Do you need to know that stuff to be able to play bass good?
Anyone? | Practicing ear training coupled with theoretical analysis is about the best thing a musician can do to better themself. IMO...
Threadstarter: Sit in front of that piano and hack it out. There are online ear trainers available. Try playing the chords both stacked and arpeggiated, and then arpeggiated some more. Look for the intervals between the pitches.
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Lefty Union #153
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05-23-2009, 08:54 AM
| | | Quote:
Originally Posted by TheBasicBassist +1
But if your focusing on resolutions..
the resolution of G7 to C is very good.
But a for a diminished chord going to C,
use B diminished (B D F)
or if you want to use the G# dim. then
that would typically resolve to either Amaj or Amin.
If i'm not mistaken..
Just my two cents... | You are one hundred percent correct. I was just suggesting that you hear the G#dim to C change to hear how it relates to the G7 to C change. It's sometimes useful to think of dim chords as being seventh chords with the root raised a half step.
If you want to hear it in a real musical progression then, yeah, you'd go G to G#dim to Am. |
05-23-2009, 11:45 AM
| | | | Bdim7 = B D F Ab
G7(b9) = (G) B D F Ab
Your ear can hear the latter as a dominant 7, a diminished 7, or both. Both will resolve to C. Neat!
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Lefty Union #153
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05-23-2009, 01:37 PM
| | Registered User | | Join Date: Oct 2007 Location: London , UK | | | so i spent most of today with an ear trainer and a piano and ive got the dim triads down now, they realy sound like they need to resoulve they dont want to linger, even so those half dims and dim 7 just arnt sticking out
Last edited by clefface : 05-23-2009 at 01:42 PM.
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06-05-2009, 01:51 PM
| | Registered User | | Join Date: Oct 2007 Location: London , UK | | just thought id thank the guys who helped me out there, i got my test back with 97% was very pleased, so thanks guys  | | Thread Tools | Search this Thread | | | | 
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