HOw I remember chords to songs.

[soldieranointed]

All I can say is yall tough.  One day I'll understand theory like you all.  Right now, I just aint got it!     But I'm encouraged!

[Eggs]

Maybe I can help....

I asked about the D7 chord just to get some assurance on how I was thinking about theory.

But to those who are beginning the theory, and not used to it... what helped me, was to see
the numbers (i.e 7-3-6-2-5-1) as an easier way to think on your feet, and remember songs, which
is what the original topic of this thread was about.

In other words, when you play, it's easier to remember that "E" is the "3" of C major, and that the
bass of the song move to the "3", no matter what you might be playing in that right hand, which
could very well just be an inverted chord.

I hope this helps you understand the UTILITY of the numbered scale degrees a little better.  The circle
of fifth exercises that T-Block has given need to be practiced many times, so that you can do it almost
without thinking... like riding a bike.

I'm not there yet, but I'm working at it.

I hope this helps you out.

God bless,
Eggs

[soldieranointed]

thanx eggs.  Another question for whomever...I have been introduced to the 7-3-6-2-5-1, but i really don't fully understand it...i sort of have the 2-5-1 down, but i know i don't have it like i should...help plz 

[T-Block]

If you need help with 7-3-6-2-5-1, it's in the Practice Room.  Here is a link: http://forums.learngospelmusic.com/index.php/topic,18903.0.html

Also, I got all my posts on progressions in the Practice Room and on another site u can check out: www.musicianslearningcenter.com/music

[jlewis]

I'm probably going to throw a monkey wrench into the mix because I look at that chord 2 ways.


It could be a D7,  but typically the 3 chord is a minor ( now you can make it major if it fits within the song but it wouldn't sound as nice if you played it with the D in the bass vs the F#.... at least not to me).   I would look at it as  an F# diminished chord.  And most of us know that diminished chords want to resolve to  the chord ( major or minor) a half step away.  When you use them like that ( at least I do)  it gives you a nice "outside the key signature", type of dissonance and then returns right back into the key signature.


truth be told, I don't always view them that  way, but that how I hear it in this piece.

thats just me though. and my tastes are a little different.


jlewis

[rjthakid]

I'm probably going to throw a monkey wrench into the mix because I look at that chord 2 ways.


It could be a D7, but typically the 3 chord is a minor ( now you can make it major if it fits within the song but it wouldn't sound as nice if you played it with the D in the bass vs the F#.... at least not to me). I would look at it as an F# diminished chord. And most of us know that diminished chords want to resolve to the chord ( major or minor) a half step away. When you use them like that ( at least I do) it gives you a nice "outside the key signature", type of dissonance and then returns right back into the key signature.


truth be told, I don't always view them that way, but that how I hear it in this piece.

thats just me though. and my tastes are a little different.


jlewis

There is that kinda feel to it, but I've read in my handy dandy theory book that you can add the 6th to a diminished chord and nothing else.  If you add anything else to a diminshed chord, it changes the chord completely. 

That said, it really does look like a D7 from here.

[T-Block]

F / A-C-F may....................5
F# / A-C-D live a-
G / G-Bb-D gain, the............6

I'm probably going to throw a monkey wrench into the mix because I look at that chord 2 ways.


It could be a D7,  but typically the 3 chord is a minor ( now you can make it major if it fits within the song but it wouldn't sound as nice if you played it with the D in the bass vs the F#.... at least not to me).   I would look at it as  an F# diminished chord.  And most of us know that diminished chords want to resolve to  the chord ( major or minor) a half step away.  When you use them like that ( at least I do)  it gives you a nice "outside the key signature", type of dissonance and then returns right back into the key signature.


truth be told, I don't always view them that  way, but that how I hear it in this piece.

thats just me though. and my tastes are a little different.


jlewis

There is no "it could be" about it, it is a D7 chord.  When you want analyze a chord, take all the notes then stack them in 3rds.  So, let's take the chord F# / A-C-D, and rearrange it by stacking it in 3rds:  D-F#-A-C  There is no denying that this chord is a D dominant 7th chord.  The reason why the F# is in the bass is because that's how it is on the CD. 

If you want to play an F# diminished chord, you would have to have F#-A-C-Eb, and by looking at the original chord, there is no Eb, so it can't be called a diminished chord of any kind, although playing that chord would also sound good.  And it does resolve to the G minor chord next, which is a 1/2 step away.

You are correct that the 3 chord is usuall minor, but once you make it major, it becomes a secondary dominant chord, which wants to resolve to 6.  And as you can see in the example, it does go to 6.  And it will sound nice with the D or the F# in the bass, all depends on what sound you want.  So, really you have a     3-6 progression right there disguised as a 5-#5-6 progression.