I haven't the faintest idea of what these bars could mean. They're thick and mostly horizontal with a slight tilt. Some sort of run perhaps? How do you effect the dynamics/notes these bars are referring to?
EDIT: For reference, this specific example is from Offenbach's Galop infernal, but I've seen it in other pieces I've played and never quite knew what to make of it.
Melanie Shebel
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TanakiTanaki
2 Answers
It's a tremolo. There are two types of tremolos. One between two different notes like in your example above and a second with the bars going though the stem of the note.
In your case, it is like a trill where you go back and forth pattern them in that patter at at a speed related to the bars connecting the two notes. So the two bars in the first measure would equate to 16th note speed and the three bars in the second measure would equate to 32nd note speed. The idea is that when the tremolo is finished you have played both notes the duration notated, but alternated at a certaint speed based on the number of bars. Here is the link I used to confirm the notation:http://en.wikipedia.org/wiki/Tremolo#Notation
I would listen to a few examples so you get a good idea of what they are before you dive right into them. Hope this helps.
Dom♦Dom
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This is tremolo notation. The beams indicate the speed of the tremolo.
In the first bar, you should alternate between the D-F# chord and the A in 16th notes.
In the second bar, you should alternate between the two sets of notes in 32nd notes technically, or 'as fast as possible' if 32nds are infeasible.
NReilinghNReilingh
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I'm wanting to start playing along with popular songs and the easiest way to find lyrics and music only has guitar chords. I can play those chords on the piano but it just sounds boring. How should I be filling the space between chords to make it sound more interesting and more full?
mrstein2mrstein2
8 Answers
A guitarist has exactly the same problem as you do. If you just strum the chord on the downbeat, or on every beat, it sounds boring. You have to play more interesting patterns.
The guitarist does have a couple of advantages over a pianist in this respect. Early on, a guitarist learns to get more rhythmic interest out of a basic chord, by varying the rhythm of strokes, and by muting. Some of these effects are more difficult on a piano, and some are impossible.
The simple guitar chords a beginner learns are in a variety of inversions, so that level of interest is added 'automatically' to a beginner's guitar playing.
Fallout new vegas companion guide. At the very basic end of what a guitarist might also do:
Of course, from there, there are plenty of variations. Learn by copying.
But you're on a piano. Fortunately, all of the above have direct equivalents on a piano keyboard:
In addition, some songs are driven by their chord progression, so you can get away with block chords without it sounding boring.
Some songs have few, or no, chord changes, and interest is provided by the riff. In cases like these, you're going to need to create an approximation of the riff (or develop your own riff that fits).
As with all music, listen to the sort of stuff you'd like to sound like, and copy what they do.
slimslim
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Make Chords more Interesting
You can try different inversions of the chords. For example, you might use chord
Ic (second inversion) when approaching a cadence. E.g. in the key of C, instead of playing C E G, you would play G C E. I find on the piano that if you play chords in such inversions that you don't end up moving your hand as much, it can sound nicer, as subtle movements which create a larger harmonic change are often more interesting to the ear.
Fill out the chords
Try experimenting with adding notes in, for example, in a perfect cadence, you might you V⁷ (dominant seventh) instead of just chord V. In the key of C, that would be G B D F. There are many other notes you can add into chords to vary/thicken the sound - for example if you add the 6th into a chord it can often make it sound more jazzy. The best way is to experiment and find ways that you like of varying the chords.
Alex CoplanAlex Coplan
I'm a pianist for a contemporary church, and 90% of the time, I only have chords to work off. The main elements are broken chords and rhythm. I will seem a bit dictative here but I don't want to talk too much and feel free to experiment around. (Will use C Major as an example, / = rest)
When you play a song with just the piano, you have to fill out every register, so with two hands I try to spread out as much as possible. Left hand will always play bass and right will go from G upwards.
It will sound blockly but this is what I normally do for fast songs.. with some mixing...
This is pretty much my base for songs and what I work off. The left hand will retain the beat with broken chords and the right will be more flexible with rhythm.
It is really hard to explain without showing you, there's a lot more to explain, ideas for improvisation, adding dissonance, building a song, rhythm with both hands etc. if you're interested, just ask and I shall blabber on because improvisation on chords is a joy to play.
fordiumfordium
Start by playing inversions and partial chords/bass notes with the rhythm of the song. It's hard to explain, but don't just play block chords in both hands, mix it up a little.
You don't have to go crazy, but even just playing some inversions mixed in with partial chords to fill in spaces… you'd be surprised at the change it can make. Also, don't always expect the guitar chords sites to always have the correct chords, so if something sounds wrong… it probably is.
Once you learn a pattern that works well, remember it, because as you've probably realized… a lot of popular music is based on the same patterns, rhythms and harmonic structure.
Josh FieldsJosh Fields
Everything above is reasonable advice, but I think an additional consideration is just learning lots and lots of songs, because the more you have under your hands, the more you will naturally draw on this expanding musical vocabulary. When you think it sounds boring, you can draw on the entirety of your resources to add interest, whether that is adding melodic interest with a counterline, harmonic interest by increasing the density of the sound (adding to or changing the basic chord structures), or rhythmic interest (don't forget that the piano is ultimately a percussion instrument).
Also don't forget that one way to add interest is to consider, when it is appropriate in the entire context, not playing at all. In a group context, this is something that is not considered frequently enough. When you lay out and then introduce the new element later, what seemed boring now may sound entirely new and interesting. Of course, this doesn't work for a solo piano setting, but in virtually every other context it is worthy of consideration.
One frustration for chordal instruments in play-along settings is that the background is usually pretty full, and there is just no space for an additional chordal instrument. Not much to do about this when playing along with an actual commercial recording of a song, but on properly done play-along materials, you should be able to dump the channel or track that contains the instrument you play, which will open up the sonic space.
JGivenJGiven
I usually improvise to include something like the melody, parts of the melody, harmony or an accompaniment. Sometimes I mix and mash with these things, or play a counter melody. Practice is key, eventually you can just sit at a piano and play most songs in an interesting way regardless of looking up chords (it is so much faster looking up chords though).
ImproImpro
The easiest thing to do is to add full sound. Figure out which key the song you are playing is in. Let's say it's the key of C. Since there are no accidentals in that key, it's easiest.
Read the top staff. If the note is C, play
C E G C , a C major chord plus the the root note octaved.
This pattern continues for every key there is. It's kind of tricky at first, but with practice it becomes second nature.
American Luke
Between The Bars Piano Chords Music
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Grace MilstenGrace Milsten
There's three starter ways to do this:
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Michael MartinezMichael Martinez
protected by Matthew Read♦Feb 6 '13 at 21:30
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In music theory, a ninth chord is a chord that encompasses the interval of a ninth when arranged in close position with the root in the bass.[1]
Dominant ninth[edit]
There is a difference between a major ninth chord and a dominant ninth chord. A dominant ninth is a dominant chord (and minor seventh) with a major ninth. A major ninth chord (e.g., Cmaj9), as an extended chord, adds the major seventh along with the ninth to the major triad. Thus, a Cmaj9 consists of C E G B and D play. When the symbol '9' is not preceded by the word 'major' or 'maj' (e.g., C9), the chord is a dominant ninth. That is, the implied seventh chord is a dominant seventh, i.e. a major triad plus the minor seventh, to which the ninth is added: e.g., a C9 consists of C, E, G, B♭ and D play. C dominant ninth (C9) would usually be expected to resolve to an F major chord (the implied key, C being the dominant of F). The ninth is commonly chromatically altered by half-step either up or down to create more tension and dissonance. Fétis tuned the chord 4:5:6:7:9.[5]
In the common practice period, 'the root, 3rd, 7th, and 9th are the most common factors present in the V9 chord,' with the 5th, 'typically omitted'.[2] The ninth and seventh usually resolve downward to the fifth and third of I.[2]
Example of tonic dominant ninth chords include Bobby Gentry's 'Ode to Billie Joe' and Wild Cherry's 'Play That Funky Music'.[6]James Brown's 'I Got You (I Feel Good)' features a striking dominant 9th arpeggio played staccato at the end of the opening 12-bar sequence. The opening phrase of Chopin’s well-known 'Minute Waltz' climaxes on a dominant 9th chord:
Chopin Waltz in D♭, Op. 64, No. 1. Listen
César Franck’s Violin Sonata in A Major opens with a dominant ninth chord (E9) in the piano part. When the violin enters in the fifth bar, its melody articulates an arpeggio of this chord.
Cesar Franck Violin Sonata in A major, opening bars. Listen
Debussy’s 'Hommage a Rameau', the second of his first Book of Images for piano solo climaxes powerfully on a dominant 9th, expressed both as a chord and as a wide-ranging arpeggio:
The starting point of Karlheinz Stockhausen’s piece for vocal sextet, Stimmung (1968) is a chord consisting of the notes B♭, F, B♭, D, A♭ and C.[7] According to Cook (1987, p.370),[8]Stimmung could, in terms of conventional tonal harmony, be viewed as ‘simply a dominant ninth chord that is subject to timbral variation. The notes the performers sing are harmonics 2, 3, 4, 5, 7, and 9 of the implied but absent fundamental—the B flat below the bass clef.’
Dominant minor ninth[edit]
A dominant minor ninth chord consists of a dominant seventh chord and a minor ninth. In C: C E G B♭ D♭. Fétis tuned the chord 8:10:12:14:17.[5] In notation for jazz and popular music, this chord is often denoted, e.g., C7♭9. In Franz Schubert’s Song Der Erlkönig, a terrified child calls out to his father when he sees an apparition of the sinister Elf King. The dissonant voicing of the dominant minor ninth chord used here (C7♭9) is particularly effective in heightening the drama and sense of threat.
(Extract from Schubert's 'Der Erlkönig.' Link to passage)
Writing about this passage, Taruskin (2010, p.149) remarks on the “unprecedented… level of dissonance at the boy’s outcries…The voice has the ninth, pitched above, and the left hand has the seventh, pitched below. The result is a virtual ‘tone cluster’…the harmonic logic of these progressions, within the rules of composition Schubert was taught, can certainly be demonstrated. That logic, however, is not what appeals so strongly to the listener’s imagination; rather it is the calculated impression (or illusion) of wild abandon.”[9]
Minor ninth[edit]
The minor ninth chord consist of a minor seventh chord and a major ninth. The formula is 1, ♭3, 5, ♭7, 9. This chord is written as Cm9. This chord has a more 'bluesy' sound and fits very well with the dominant ninth.
Major ninth[edit]
Notable examples[edit]
The major ninth chord consist of a major seventh chord and a major ninth. The formula is 1, 3, 5, 7, 9. This chord is written as Cmaj9.
6/9 chord[edit]
Tonic minor 6/9 chord on C, featuring the raised sixth degree of the ascending melodic minor.[11]Play
The 6/9 chord is a pentad with a major triad extended by a sixth and ninth above the root, but no seventh, thus: C6/9 is C,E,G,A,D. It is not a tense chord requiring resolution, and is considered a substitute for the tonic in jazz. The minor 6/9 chord is a minor triad with an added 6th of the Dorian Mode and an added 9th, and is also suitable as a minor tonic in jazz.[12]
Heinrich Schenker, though he allowed the substitution of the dominant seventh, leading-tone, and leading tone half-diminished seventh chords, rejected the concept of a ninth chord on the basis that only that on the fifth scale degree (V9) was admitted and that inversion was not allowed of the ninth chord.[13]
Second[edit]
In music, the secondfactor of a chord is the note or pitch two scale degrees above the root or tonal center. When the second is the bass note, or lowest note, of the expressed chord, the chord is in third inversionPlay. However, this is equivalent to a gapped eleventh chord.
Conventionally, the second is third in importance to the root, fifth, and third, being an added tone. It is generally not allowed as the bass note since that inversion resembles an eleventh chord on the second rather than an added tone chord on the original note. In jazz chords and jazz theory, the second is required due to its being an added tone.
The quality of the second may be determined by the scale, or may be indicated. For example, in both a major and minor scale a diatonic second added to the tonic chord is major (C–D–E–G or C–D–E♭–G) while one added to the dominant chord is major or minor (G–A–B–D or G–A♭–B♭–D), respectively.
Bladed rounds. The second is octave equivalent to the ninth. If one could cut out the note in between the fifth and the ninth and then drop the ninth down an octave to a second, one would have a second chord (C–E–G–B♭D′ minus B♭ = C–D–E–G). The difference between sus2 and add9 is conventionally the absence or presence, respectively, of the third.
Added ninth[edit]
An added ninth chord is a major triad with an added ninth. Thus, Cadd9 consists of C, E, G and D. (The D, which might be called an added second, is two fifths up from the root.) Added ninth chords differ from other ninth chords because the seventh is never included.
See also[edit]Sources[edit]
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Ninth_chord&oldid=891275615'
EDIT: For reference, this specific example is from Offenbach's Galop infernal, but I've seen it in other pieces I've played and never quite knew what to make of it.
Melanie Shebel
66333 gold badges1515 silver badges3434 bronze badges
TanakiTanaki
2 Answers
It's a tremolo. There are two types of tremolos. One between two different notes like in your example above and a second with the bars going though the stem of the note.
In your case, it is like a trill where you go back and forth pattern them in that patter at at a speed related to the bars connecting the two notes. So the two bars in the first measure would equate to 16th note speed and the three bars in the second measure would equate to 32nd note speed. The idea is that when the tremolo is finished you have played both notes the duration notated, but alternated at a certaint speed based on the number of bars. Here is the link I used to confirm the notation:http://en.wikipedia.org/wiki/Tremolo#Notation
I would listen to a few examples so you get a good idea of what they are before you dive right into them. Hope this helps.
Dom♦Dom
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This is tremolo notation. The beams indicate the speed of the tremolo.
In the first bar, you should alternate between the D-F# chord and the A in 16th notes.
In the second bar, you should alternate between the two sets of notes in 32nd notes technically, or 'as fast as possible' if 32nds are infeasible.
NReilinghNReilingh
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