5. Example 1
• Bass line in D major- Two sharps F
and C
• Very simple, only half notes
• Common time – 4/4
• GBDA
• Fa La Do Sol
6. Diatonic 7th chords
Major Minor
D Ma 7 B min 7
E min 7 C# min 7 flat 5
F# min 7 D Ma 7
G Ma 7 E min 7
A Dom7 F# min 7
B min 7 G Ma 7
C# min 7 flat 5 A Dom 7
8. First chord GMa7
• G Ma7= 1 3 5 7 – g, b, d, f,
• G it the root (1)
• B is the 3rd
• D is the 5th
• F# is the 7th
9. Second Chord Bmin7!
• B min7= 1 b3 5 b7 – b d f a
• B is the root
• D is the 3rd
• F# is the 5th
• A is the 7th
10. Third Chord DMaj7
• D Ma7= 1 3 5 7 – d f a c
• D is the root
• F# is the 3rd
• A is the 5th
• C# is the 7th
11. Fourth Chord ADom7
• A Dom= 1 3 5 b7-a c e g
• A is the root
• C# is the 3rd
• E is the 5th
• G is the 7th
12. Taking out the out of all 7th
chords
• G Ma7= 1 3 5 – g b d
• B min7= 1 b3 5 – b d f
• D Ma7= 1 3 5 – d f a
• A Dom= 1 3 5 – a c e
13. Brining out the
originality of your
instrument
Its great if you can bring out the things that make a guitar different
from other instruments. Such as bends, harmonics, open strings, and
etc
14. Taking the 5th out
To know what chord is being played
and to hear the function of the chord,
you essentially only need the root and
the 3rd. In other words the chord will
have the similar function even with
out the 5th or the 7th.
16. Conclusion
The 3rd and flat 3rd intervals have a completely
different sound when it is brought up an octave to
the 10th.
Now from here you can add any tensions you like
in between or a melody.
The lighter the harmony is, makes it more capable
of transforming in different shapes and sound.
Simpler the more melodic it becomes