From: fvr@broom.bae.bellcore.com (Frank Ricciardi)
Subject: Re: More theory questions (groan)
Organization: Bell Communications Research
Date: Thu, 20 Aug 92 18:06:32 GMT

In article <1992Aug20.154416.21245@wam.umd.edu>, peugh@wam.umd.edu (Arthur Dent) writes:
|> 
|>   First of all i once again send out a big thanks to all those who've answered
|> my previous questions.  But i've got more :)
|>   When i asked about the chords someone said that in the ninth chord you should
|> play a seventh chord and move the root up to the ninth, an 11th chord is a 7th
|> with the third moved up to the 11th, etc. 
|>   I don't quite get the moving of the root or the third.  How is this 
|> accomplished, and what does it do?

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
	Art, 


	You are referring to my post here. 

Explanation:

	In music theory, a 7th chord is a 4 part harmony chord. i.e it is 
composed of 4 notes. Root, Third, Fifth, and Flat Seventh. A ninth chord is a 
5 part harmony chord (five notes), and eleventh & thirteenth follow suit. 

	In practical guitar application, you cannot play 5,6, or 7, notes at 
at time (standard tuning) simply because you don't have enough fingers. 
(unless you are from Mars or something)

	So to play a ninth chord, you simply substitue the ninth note for the 
root. We say then that the root note is implied. 

	I'll try to illustrate.


  This is one voicing (phrasing) of a D7 chord


    Notes      Fret #          String # 
           3   4   5   6      

      A   ___|___|_*_|___|        6      You see the Major triad formed by 
      x   ___|___|___|___|        5      the notes played on the 2nd, 4th, and
      F#  ___|_*_|___|___|        4      6th strings, D, F#, and A respectively.
      C   ___|___|_*_|___|        3      The flat 7th note (C) is played on the
      D   _*_|___|___|___|        2      third string.
      x   ___|___|___|___|        1


This is the derived D9th voicing achieved by moving the root note to the ninth.



    Notes      Fret #          String # 
           3   4   5   6      

      A   ___|___|_*_|___|        6      You see the Major triad formed by 
      x   ___|___|___|___|        5      the notes played on the 2nd, 4th, and
      F#  ___|_*_|___|___|        4      6th strings has been altered.
      C   ___|___|_*_|___|        3      The flat 7th note (C) is still played
      E   ___|___|_*_|___|        2      on the third string, however you have 
      x   ___|___|___|___|        1      moved the root note up one whole step
                                         to E (the ninth note in the D scale)
                                         Thus this chord is a D9. The root note
                                         is implied. 




|> 
|>   I was also wondering about resolution theory.  Resolving means when you play
|> suchandsuch a note in suchandsuch key the next note should be suchandsuch, 
|> right?  Well how does this work?
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

	Hmmmm,  I hate to use this phrase, "the next note should be..."  There
are really no "Should Be's" in music. However, resolution is a very important 
concept. All the better players use it during writing and soloing whether or
not the are conscious of it.

	Chord progressions can resolve, and solos can also use resolution. 

When I say a chord progression resolves, what I mean is it starts and ends on 
the same chord. 

example:

Comfortably Numb:

Verse:

Bm                     A                         C   Am/B Am

Hello is there anybody in there, just nod if you can hear me, 

         Bm
is there anyone home.

This piece of the progression is in B minor. It later switches to D major
for the "There is no pain..." part.  (this song is a study in and of itself
because it uses the concept of major key and relative minor so beautifully)


Anyway, this piece is in B minor. If you play it, when you get to the Am, 
you can hear the Bm coming. It just seems to belong there. This feeling, or
anticipation of a chord is called resolution. If the Bm doesn't come when 
you are expecting it, the progression can sound incomplete. (this technique
is uses sometimes to create tension or change of mood)
So thats chord resolution.

When you are talking about melodies, or solos. Resolution has to do with
playing certain notes over certain chords. i.e. one may be soloing over the 
Comfortably Numb progression and choose to land on a B note each time the 
progression resolves. You can also get cute and land on thirds, fifths, ninths,
etc... each one creates a different mood, or feel.

Maybe any followup should be done through Email.. 

Feel free to ask more questions... Glad to help!!



|> 
|>   Thanks.
|> 

-- 
________________________________________________________________________________
"If you got to it and didn't do it, may you never get to it, and do it again"


Frank V. Ricciardi

fvr@bae.bellcore.com

Newsgroups: alt.guitar