YMSD Improvisation Workshop 3

In this continuing installation, we shall focus on triads (chords). Chords provide the harmony that accompanies the melody and improvised melody. Music without the support of chords will sound empty and not so interesting to listen to.

In music theory, the study of Triads lead to understanding chords. Let's quickly summarize what triads are:

• Triads are the most basic form of chords consisting of three notes, which are; the tonic, third and fifth.
• Each triad has three positions, namely Root position, 1st inversion and 2nd inversion.
  
• Each position creates a slightly different sound of the same chord.

Let's begin with a simple chord progression using chord I and chord V in C major key. This chord progression requires you to start with C chord going to G chord and back to C chord again.

Chord I is C chord, which consist of three notes namely, C E G.

Chord V is G chord, which consist of three notes namely, G B D.

Since there are three positions for each chord, there will be three variations of playing this chord progression as shown below. Be attentive to the finger positions and movement of the chord progression below.

Notice that any chord progression will sound good when there are shared common notes, and by keeping the movement of chord notes as minimal where possible, within a whole tone or semitone. Try the examples below to know better.

1. Begin with C chord in root position going to G chord in 1st inversion and back to C chord in root position again. You will realize; the finger movement between the two chords are easier to play, it sounds better and there is room for the melody. Therefore, movement has to be kept as minimal as possible. The common note between these two chords is G note. Play this chord sequence one octave below Middle C.


C chord in root position


G chord in 1st inversion

2. Compare the above example with the one below, starting with C chord in root position and going to G chord in 2nd inversion. Notice that the E and G note (in C chord) has to move up by a third to G and B (in G chord). It does not sound better than the above example.

Now, try playing C chord in root position going to G chord in root position and you will realize it sounds even more unmusical.

Play the following chord sequence one octave below Middle C.


C chord in root position


G chord in 2nd inversion

3. Begin C chord in 1st inversion going to G chord in 2nd inversion. The common note between these two chords is G note. This chord progression sounds better than the one above. The left hand thumb is on Middle C note.


C chord in 1st inversion


G chord in 2nd inversion

4. Begin C chord in 2nd inversion going to G chord in root position. The common note between these two chords is G note. Left hand 2nd finger on Middle C note.


C chord in 2nd inversion


G chord in root position

Now that we have studied these two chords, let's apply them to the improvised melody of 'Mary Had A Little Lamb' from Piano Lesson Made Easy Level 1. In the video clip below, two young students play this together. One plays the chords in Alberti bass accompaniment, while the other plays the improvised melody.

• Primary Chords
• YMSD Improvisation Workshop
• YMSD Improvisation Workshop 2
• YMSD Improvisation Workshop 4
• YMSD Improvisation Workshop 5
• YMSD Improvisation Workshop 6
• YMSD Composition: Encouraging the young musicians

Part 2: To learn music is to apply music

Recently, I sent out a questionnaire to some musicians about learning music theory. Among the replies, I have selected two to feature here from accomplished musicians who did not begin their musical journey by taking formal music lessons. Obviously, they chose a career in music because of their passion for music.

Their realization about the relevance of music theory came when pursuing a career as a musician. Here are some words of encouragement and advice from these musicians to share with all of you.

This is what bassist and band leader Frankie Chai of "Jazzhats" has to say:

1. How did you decide upon choosing a career in the musical arts?
When I was 20 and when asked by a friend to join their band.

2. What instrument do you play and what made you choose your principle instrument?
I actually started with the acoustic guitar. One day a friend told me they were looking for a guitarist for their band, and if I was interested. I said yes, met the band and found out they were actually looking for a bassist, which was how I got started on the bass. From then on, the bass has been my principle instrument.

3. Did you formally learn music when you were young?
No, I did not have the opportunity.

4. If you did not learn music formally, how did you begin to perform music?
I just listened and memorize all the bass parts just to reproduce almost exactly.

5. What made you decide on learning music rudiments and theory?
I started late upon realizing the importance of music literacy. It was difficult having to catch up on so much music theory that is required to understand music.

6. Would you say that knowing music theory has helped you in your music career?
YES!! Definitely.

7. How did knowing music theory help you? What were you able to do with knowing music theory?
Learning and knowing music theory helped me understand music better. Now, I can compose music, arrange music and lead my band.

8. What are your thoughts about music theory? Is it important? Why?
Knowing music theory is very important!! Besides being able to read, write and transcribe music, music theory is required to analyze and know the inner workings of music better. Being able to read and understand music also allows me to be a recording studio musician as we need to read charts well.

9. What advice do you have for music students about learning music theory?
It is a must for all music students. As for me, it was really difficult at first because my command of the English language was poor. But I just wanted to learn it and finally I did manage to learn a lot of music theory and I am still learning. If you want to know how I did it without knowing much English, let me say its all about passion and a strong desire to learn to be better.


This is what guitarist and band leader Kelvyn Yeang of "Ocean of Fire" has to say:

1. How did you decide upon choosing a career in the musical arts?
I always had a passion from the start, and I guess it was somewhat a calling.

2. What instrument do you play and what made you choose your principle instrument?
I play the guitar because other instruments were too expensive and we had no pianos lying around at home.

3. Did you formally learn music when you were young?
No.

4. If you did not learn music formally, how did you begin to perform music?
It was a matter of listening and figuring things out. Joining the school marching band did help a little. I was a clarinetist with the school marching band.

5. What made you decide on learning music rudiments and theory?
I never forced myself, it was natural. When you see a need, you go ahead and do it. Admittedly, I do not have super levels of theory knowledge but learning as much theory as possible has enabled me to move forward musically. The basics were taught in school when I was with the marching band. After that, it was a gradual process.

6. Would you say that knowing music theory has helped you in your music career?
Yes.

7. How did knowing music theory help you? What were you able to do with knowing music theory?
You can expand your limits and you realize...its limitless!!!!

8. What are your thoughts about music theory? Is it important? Why?
It is similar to understanding grammar and literature in language. You speak more eloquently or with better "phrasing".

9. What advice do you have for music students about learning music theory?
Do it! You will thank yourself for it.


Knowing music theory opens up a whole world of music to you. There is a lot of music that is accessible to you. The music can be from different genres featuring diverse styles but you can make sense of it if you can read, understand and interpret the music.

With music theory, you can become a composer or an arranger like the two musicians featured in the above questionnaire. They compose and arrange original music of their own creation. That would be the greatest gratification for any musician, which is, to write and arrange their own original music.

Part 1: To learn music is to apply music

Music is a language on its own and like all languages, there are visual symbols used in writing music. It is through these symbols that musicians use to compose and communicate with each other when performing music. To gain literacy in music, one has to learn music rudiments and music theory to be able to read and write music.

With literacy comes the need to apply what one has learned. There are two main areas of application here, which are, to perform and to create music. To perform music well, one has to be able to understand every notation, symbol, musical term, style of music, etc. To create music is to compose music. Just like in languages, learning the alphabets and using them to write an essay is like composing a piece of music. Where composing and performing happens simultaneously, it is called music improvisation.

The knowledge of the music theory therefore empowers the musician to be able to read music, to perform music, to analyze music and to create music. While every music student learns music theory to be able to read and perform music, few use music theory to compose and/or arrange music. Even fewer know how to use music theory in improvisation. To me, this is where one of the thrills of learning and knowing music lies.

Improvisation is where music creativity is taken steps further. To improvise, one needs numerous facilities in their musical mind to work together. Here are some words to share with you from Jonathan Chen, a performing musician who has a Masters Degree in Music:

"I've been exposed to music since I was a child. However, it has only in the last five years or so that I've been able to fully appreciate the art of music making, which I discovered when first experimenting with contemporary Western music, namely, jazz. It involves improvisation, which simply put, it is spontaneous composition followed by the immediate execution of a particular musical idea. Such ideas are usually heavily dependent on what is, or has been played as an accompaniment at that particular time. Improvisation allows me to freely express my musical artistry as well as to see how I may push the boundaries of conventional harmony (making "wrong" notes correct ones, in a specific context)"