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JAZZ |
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piling more thirds on top. But note that these more complex chords in 'close position' (i.e. with all the notes together on top of one another) tend to have a rather harsh and strained sound. Their effect may be made far smoother if they are spaced out differently (alternative spacings are here shown). However, don't forget what was said before: you don't necessarily want a 'smooth' voicing of your chord if you are deliberately aiming at 'rough' effects.
Then we have Cm—C minor—(C, Eb, G) and its variations as shown.
Finally, there is C+ —C augmented—(C, E, G#). And C dim—C diminished—(C, Eb, F#A), a handy neutral chord that may be used as a sort of junction for moving from one chord to another or one key to another.
And following are similar chords for a variety of commonly-used keys, with their chord symbols printed above.
You should experiment at the keyboard till you know your way round all these chords. The remaining keys you should easily be able to work out for yourself, following similar patterns.
Now let us turn back for a minute to our simple 'Blues' construction (page 16). This is built up in three lots of 4 bars each, making 12 bars in all.
The first group of 4 bars is devoted to establishing our 'home' key of C. In the last half of our fourth bar, the C7 chord is an indication that we are going to move away from home. |
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