Triads And Chords

Is there any questions on the sections or positions of any of that stuff? No, but I will say, a light bulb went off in my head. As far as, I mean, I know we've talked about their relationship, the Dorian and the major scale and how it's derived from that, but when I played them side by side like this, the triads themselves, the major triad, and then the minor, and then the diminished, and all, it just, I don't know, something just clicked in my brain and I'm no longer afraid of scales. I don't know why, they seem, I seem to understand their relationship to each other better. Cool. That seems silly, I mean, I know you've explained it to me a million times, but it just didn't, the sound, the A being the sound, you know, one sound, and then the next sound with the number. I think the function numbers actually made the connection with the actual sounds that you already knew. Yeah, I think so. Well, great, great. Like, oh yeah, okay, this isn't so bad, because the majority of the stuff you're going to play is basically either going to be major or minor. So it's just dealing with those two main things. Now, there's obviously more to it, but those are the two main camps. You know, what makes, and I can't remember this from piano world, but what makes a chord like a seventh, like a G7? Well, the triad is the most basic chord you can have, you know that, right? I mean, that's as simple as you can get and still maintain, legally, the name chord. Now, some people, you know, that double stop thing I was just doing with the pick, technically as far as the book goes, that's not a chord, that's a double stop. Basically, you have to have three different notes to actually earn the name chord from a harmony and theory standpoint. The most basic chords that you can have are called the triads, the one three five of the scales. Now, when you start building chords, basically you stack in thirds. You stack every other one, one, skip two, add three, skip four, add five, then you skip six, add seven. So when you get to seventh chords, you just added that next note. So instead of just one three five, now it's one three five seven. I don't know if I can play all this, but one three five seven, or if I flat the seven, one three five flat seven, or one flat three five flat seven. So all those different combinations make up the different sort of chord notations that you see. So you'll have major sevens, minor sevens, dominant sevenths, minor sixes where you replace the sixth degree for the seven, major sixes, you can even have minor major sevens, one flat three major seven. Then you can start adding another note, you add the two on top, but you don't call it two, you call it nine. And you can sharp the nine, or you can flat the nine, but you're still just adding that next tier. Then you can add the sharp elevens, then you can add the thirteens, flat thirteens, which is like the six, eleven is four, and thirteen is six. So you just continue to stack up. So if you look at it that way, you can almost say every, well, you can say that every note of the scale is a chord tone, but the twos, fours, and sixes are referred to as secondary arpeggio notes, secondary chord tones. They're like the icing on the cake, where the triad is the batter and the eggs and the stuff that makes the actual cake itself. The nines, elevens, and thirteens are the chocolate icing, whatever you like on top. Okay, cool. Now with the triads, is there any questions on running through those different sections or positions? No, I've just been practicing. Okay, just as you do it, do each one, just kind of run through them, kind of like this. One three five, three one three five, three one five three, five one five three, five one flat three, five flat three one flat three, five flat three one five. I'm well down here, but you know. Yeah, that's what I've been doing. That's how your slides are organized also. Okay, and just make sure you're aware of sections and positions that you're in. So if I said, okay, do a minor triad, right side, position, section two, you know what I was talking about. Yeah, and I've been trying to memorize them, I've got a little ways to go on that, but section one I feel good about, section two and three, all right, but anyway, that's what you want to get to on that. So just keep drilling those. Okay.