routemaster
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hi,I sometimes play tunes by ear or parts of songs after practice just off the top of my head on the treble side how can I put bass chords to them hope you know what I mean ? thanks in anticipation.
how to choose chords.
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You would benefit from understanding harmony and chord theory. Look up the three chord trick and the circle of fifths. There lots on t’interweb.
To elaborate a little on what Chris said. Try to find the "root" chord. This is the bass chord that just sounds best with most of the tune, and that the tune probably ends on. Also, if you are playing the tune with no black notes, it's probably "C" (the middle chord with the depression or jewel). 90% of the time, 90% of the other chords needed are the chords above and below the root chord. You just have to try the chords out to see what sounds good. Hope this answered the question you asked.
routemaster
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routemaster
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cheers chris
That's good and very concise advice from (the other) Tom!
As Chris Rayner says, a bit of "theory" is useful. If you know what notes are in a chord then it's easier to relate the chord to notes in a tune.
If the main notes in a bit of a tune are C E and G there's a very good chance C major will fit!
If the C major chord just doesn't sound right and your main tune notes are C and E then it would be helpful to know that C E and A make A minor.
It only takes a little bit of theory to get started.
Good luck!
TomBR
As Chris Rayner says, a bit of "theory" is useful. If you know what notes are in a chord then it's easier to relate the chord to notes in a tune.
If the main notes in a bit of a tune are C E and G there's a very good chance C major will fit!
If the C major chord just doesn't sound right and your main tune notes are C and E then it would be helpful to know that C E and A make A minor.
It only takes a little bit of theory to get started.
Good luck!
TomBR
donn
Prolific poster
As it sounds like you have a good feel for the right hand, you might lean on that for some insight into the left. Add some harmony on the right, and then poke around among the likely suspects on the left, to see who has those notes. Alternatively, you could just ignore your right hand for a while and learn the left like you did the right, just play some stuff over there for your amusement and it will start to catch on.
If the written material you're working with isn't anything like the tunes you play by ear, of course it might be interesting to dig some of that stuff up, likely easy to find online.
You may have noticed a fairly standard pattern, that moves around the left side depending on the key of your tune - three major chords, with the root in the middle, three minor chords above them. Depending on the tune - the last of those three minors may actually be a major / dominant 7. If you try the dominant 7 chord with your major chords, it will work better with one of them, and it will always be the same one (as long as the tune remains solidly in one key.) Don't bother with the diminished chords. This is in the same vein as the "three chord trick", I've just never cared for that term because 1) if I could stand to play anything with only three chords, they'd probably include at least one minor chord, and 2) "trick" sounds like there might be something going on other than just playing the chords that are called for.
If the written material you're working with isn't anything like the tunes you play by ear, of course it might be interesting to dig some of that stuff up, likely easy to find online.
You may have noticed a fairly standard pattern, that moves around the left side depending on the key of your tune - three major chords, with the root in the middle, three minor chords above them. Depending on the tune - the last of those three minors may actually be a major / dominant 7. If you try the dominant 7 chord with your major chords, it will work better with one of them, and it will always be the same one (as long as the tune remains solidly in one key.) Don't bother with the diminished chords. This is in the same vein as the "three chord trick", I've just never cared for that term because 1) if I could stand to play anything with only three chords, they'd probably include at least one minor chord, and 2) "trick" sounds like there might be something going on other than just playing the chords that are called for.
routemaster
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thanks Donn.
Depending on what you’re playing you may find that there is a repetitive “riff” which lies behind the tune. For example, “La Mer”, the great song written by Charles Trenet and recorded by him and numerous other French singers in the original, while translated into English as “Somewhere Beyond the Sea” the first few lines lay over a repeated Cmaj, Amin, Dmin, G7th progression. Pretty straightforward on a Stradella system. This progression is often to be found in other songs.
Much of Rhythm ‘n’ Blues is based on the twelve bar blues. This is not set in stone, but the usually accepted starting point, in the key of C, but other keys are equally valid, goes: CMaj for four bars, two bars of FMaj then two of CMaj, then G7th for two bars and finally CMaj for the final two bars. You will find these chords referred to a Tonic (CMaj), Subdominant (FMaj) and Dominant or Dominant 7th (GMaj or G7th). There are, of course, in blues, and possibly more so in jazz, the opportunities to scrunch in any closely associated chords for more bluesy/jazzy effects. Once you gain a certain amount of familiarity with the chords you will find yourself experimenting with changes to see how they sound.
I could go on, but I’m sure you will find enough out there to manage your own voyage of discovery. Bon Voyage.
Much of Rhythm ‘n’ Blues is based on the twelve bar blues. This is not set in stone, but the usually accepted starting point, in the key of C, but other keys are equally valid, goes: CMaj for four bars, two bars of FMaj then two of CMaj, then G7th for two bars and finally CMaj for the final two bars. You will find these chords referred to a Tonic (CMaj), Subdominant (FMaj) and Dominant or Dominant 7th (GMaj or G7th). There are, of course, in blues, and possibly more so in jazz, the opportunities to scrunch in any closely associated chords for more bluesy/jazzy effects. Once you gain a certain amount of familiarity with the chords you will find yourself experimenting with changes to see how they sound.
I could go on, but I’m sure you will find enough out there to manage your own voyage of discovery. Bon Voyage.
routemaster
Member
thanks Chris rayner
I would suggest studying a few common chord progressions. A lot of jazz, folk and pop songs are based on several standard progressions. Of course there are a lot of exceptions, but knowing a few will help you anticipate the next chord. Also knowing which chord buttons to use for each key would be very helpful. For example, in the key of C, if I were to play a G in the bass, the first chord button I would try would be the dominant 7. A standard jazz progression would be (on stradella bass) d minor, G7, C major. (Or what would be called ii-V7-I). This can be applied to any key, and on the accordion, it works well because it will always be the same finger pattern.
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