video 1: introducing the triad hierarchy 2

VIDEO 1: INTRODUCING THE TRIAD HIERARCHY 2

1.1 TRIADS 2

1.2 KEYS AND CHORD QUALITIES 4

1.3 TRIAD VOCABULARY in C MAJOR 4

1.4 CHORD QUALITIES 5

1.5 TRIAD HIERARCHY IN C MAJOR 6

VIDEO 2: THE TRIAD HIERARCHY REVISITED 7

2.1 RHYTHMIC FLUENCY 7

2.2 RIGHT HAND INVERSIONS 8

2.3 LEFT HAND INVERSIONS & IMPROVISATIONS 8

VIDEO 3: THE CLASSIC CHORD PROGRESSIONS 10

3.1 ’DOO-WOP’ 10

3.2 THE PACHELBEL 12

3.3 THE TRIAD HIERARCHY IN G MAJOR 13

3.4 TOWARDS MODULATION 14

VIDEO 4: THE CLASSIC CHORD PROGRESSIONS REVISITED 15

4.1 CONNECTED BASS LINES 15

4.2 INVERSIONS IN THE BASS 16

4.3 CHROMATIC CHORDS 16

4.4 THE CIRCLE OF FIFTHS 17

© The Curious Piano Teachers September 2020 | Getting started with the Circle of 5ths | p.!1

VIDEO 1: INTRODUCING THE TRIAD HIERARCHY

In this video we will be covering:

1. Chords – constructing and memorising

2. Chord Qualities – major; minor; diminished.

3. The Triad Hierarchy – understanding keys and their chords.

1.1 TRIADS

A Triad is a three note chord built on the ‘Root’ of the chord with an added third and then

fifth. Like this:

!

Here is a scale, with a Triad Chord (a three-note chord in thirds) for each note: we call this the ‘Triad Vocabulary’. Memorising this is a key component of understanding how

chords are spelt and described (A chord, B chord etc….) as they remain unchanged throughout all the music theory we will learn.

Here it is….

! ACE BDF CEG DFA EGB FAC GBD ACE A chord B chord C Chord D chord E Chord F Chord G Chord A Chord


ACTIVITY 1

Say it and Play it several times a day and soon enough you will have it fixed in your memory.

Here are several ways you might practise this exercise…

EX. 1

!

EX. 2

!

EX. 3

!

EX. 4:

Do the exercises above but in descending order, again saying it and playing it.

EX. 5:

Now change the RH chords to inversions, but continue to say ACE, BDF etc… this reinforces the idea that when the notes are inverted the chord identity remains constant.

EX. 6:


When familiar with inversions, look at voice leading to created smoother transitions

between chords in the right-hand through selection – this exercise is crucial for musicality, see below:

!

1.2 KEYS AND CHORD QUALITIES A key is decided when we select one of the chords as chord 1 – the key chord. Let’s start

with the key of C, and number each of the subsequent chords in its vocabulary.

These are the same chords but now given a tonal determinism.

1.3 TRIAD VOCABULARY IN C MAJOR Once we have established the notes that make up a C scale we can look at how melody (the scale) fits with harmony (the chords).

!

CEG DFA EGB FAC GBD ACE BDF CEG

C Chord D chord E Chord F Chord G Chord A Chord B chord C Chord

I (one) ii (two) iii (three) IV (four) V (five) vi (six) vii (seven) I (one)

ACTIVITY 2

Play through this triad vocabulary in C in all the ways you did the earlier triad vocabulary: Say it and Play it!


!

1.4 CHORD QUALITIES

Listen to chord qualities to establish the primary triads

Students should notice that the two chords with the same ‘quality’ (major/minor/

diminished) as the key chord CEG are FAC and GBD.

• They are all MAJOR chords. That is why they are called the ‘Primary Triads’.

• They are numbered as chords 1, 4, 5 because of their degree on the scale.

• Often written as Roman numerals: I - IV - V (upper case = major).

• A major triad consists of a major third interval (C-E) followed by a minor third (E-G)

• The other chords: 2, 3, 6 are all MINOR chords

• In Roman form, ii, iii, vi, (lower case = minor):

• A minor triad consists of a minor third interval (A-C) and a major third (C-E).

• Chord vii is a DIMINISHED chord – we can ignore this chord for now, but, for the record,

a diminished chord is made from two minor third intervals (B-D) (D-F).

Having established this quality of chords, we can establish a Hierarchy.

The top is the Tonic chord, followed by the Two other Primary chords 4 and 5, and then the bottom layer are the three minor chords which are also relative minor chords so can

be usefully deployed as ‘substitution’ chords.


1.5 TRIAD HIERARCHY IN C MAJOR

THIS PATTERN IS THE SAME FOR ALL MAJOR KEYS

Students can play round with the Hierarchy selecting any chord, and inversion in the right-

hand, using the root notes in the left, and in any rhythm they choose.

At this point we can start to consider the dominant 7th chord.


CHORD I TONIC GBD

CHORD IV SUBDOMINANT

FAC

CHORD V DOMINANT

GBD(F)

CHORD iii MEDIANT

EGB

CHORD vi SUBMEDIANT

ACE

CHORD ii SUPERTONIC

DFA

VIDEO 2: THE TRIAD HIERARCHY REVISITED

In this video we will be covering:

1. Adding rhythm to the chord progressions

2. Right Hand Inversions using primary triads.

3. Left Hand Inversions and Alberti Bass patterns.

2.1 RHYTHMIC FLUENCY Having acquired some familiarity with the Triad Hierarchy by playing the chords, it is really

important that we ensure the student has some rhythmic fluency so the changes have purpose and momentum. Don’t forget you can play the same chord more than once if you wish, and try to think in terms of four and eight bar phrases to begin with (one chord per bar)

Here are some examples to start you off….

ACTIVITY 3

CLOCKWISE IN C

!

ANTI-CLOCKWISE IN G

!


2.2 RIGHT HAND INVERSIONS

Using the Triad Hierarchy in C, we can begin to harmonise simple note patterns.

The simplest of these of course is the C major scale.

• We want to encourage the student to make quick selections of inversions while maintaining harmonic integrity. To promote this, we ask the student to ‘harmonise’ a major scale using only the chords of the Primary triads.

• In this case, the LH plays the root notes of the chords, and the right hand plays the inversions per chord with the top note outlining first the ascending scale, and then

descending.

• This helps the student make ‘on the go’ choices of inversions to match the melody note and the harmonic progression. This requires nimble thinking and nimble fingers.

• This can be done as blocked or broken chords… and to make it more challenging change the RH top note to move from on E to E, or G to G, but still in the key of C.

• Now we ask the student to repeat the exercise, but include one substitute chord from the minor chords on the bottom row of the Hierarchy. The obvious choice is chord ii on the A (Dm chord) before resolving to the B (G chord) and finally the Tonic C. This is a ii

- V7 - I progression.

2.3 LEFT HAND INVERSIONS & IMPROVISATIONS

The Left hand can also be challenged by introducing the Alberti bass figure. This allows

the LH to become more fluid and flexible.

As with the Right Hand we begin with a simple scale, harmonised by the Primary triads:

!

Then we break them up into Alberti style bass accompaniment. And then we do the same descending.


As with the Right Hand we then begin to include ‘substitute’ chord options, and again the

choices are for the student to make, but we can guide them to make good choices.

!

ACTIVITY 4

Harmonise a C major scale:

• LH plays the root of the chord

• RH plays the inversions per chord with the top note outlining the ascending scale.

• Do the same with the descending scale.

• Repeat the exercise but use one substitute chord from the Chord Hierarchy.

ACTIVITY 5

Harmonise with the LH playing an Alberti style bass accompaniment.

ACTIVITY 6

Choose one other key and go through the same process.


VIDEO 3: THE CLASSIC CHORD PROGRESSIONS

In this Video we will be considering:

1. The ‘Doo-Wop’ Chord Progression

2. The Pachelbel Chord Progression

3. The Triad Hierarchy in G

Having acquired some familiarity with the Triad Hierarchy by playing the chords randomly,

we find that some changes are more satisfying than others. These changes, to a large extent, become established as useful accompaniment figures for many musicians.

3.1 ’DOO-WOP’ C Amin Dmin7 G7 Repeat…I vi ii7 V7

In Music Hall Britain this chord progression was often the default for the pianist waiting for the punchline of a comedian or the start of a song: it became known as a ‘til ready’.

Then, especially in the 1950s, vocal groups would use this sequence as the basis of their style of singing. Just play through the shapes and inversions of the chords using the techniques like arpeggiating and waltzing. Here are two examples to start you off:

!

!

• What is noticeable is that the root notes move for the most part in fourths and fifths.

• This typical chord pattern derives directly from the relationships of the neighbouring

chords in the Circle of fifths.


• A feature of this chord progression is that it can start on any of the chords and still

remain convincing: vi – ii – V7 – I, or, ii – V7 – I – vi, for example.

• Additionally, add sevenths to the ii and vi chord makes this a slightly jazzy progression which feels nice for students.

• These variations can be added to the basic model to create longer chord progressions

or simply as a B section in an AABA structure.

• Once established, this chord progression works very comfortably with almost any major

key melody you choose to make up. Using this as an accompaniment in any key, ask your student to add melodies to develop phrasing and melodic structure.

ACTIVITY 7

• Play the ‘Doo-Wop’ progression in C major using whatever patterns your fingers

find.

• Choose one other key and repeat the activity.


3.2 THE PACHELBEL This chord progression is familiar and especially useful because if we ‘substitute the

penultimate IV chord with ii7 we cover all the chords in the Triad Hierarchy.

‘PACHELBEL’

C G7 Amin Emin F C F (Dmin7) G7 Repeat… I V7 vi iii IV I IV (ii7) V7

!

The possibilities using this sequence are endless and as we go through each key and related Hierarchy, the student begins to know all the available chords within a given key –

for transposition or accompanying from a lead sheet this is invaluable preparation.

ACTIVITY 8

Play through the Pachelbel Progression, singing the chord numbers as you play. Do this

until you have it all from memory.


3.3 THE TRIAD HIERARCHY IN G MAJOR As we move forward we can introduce each new key with its own Hierarchy. As we do this, to begin with I will set out a framework so they can complete the picture. For each

additional key I will include the framework but with less information until the Hierarchy can be completed without the teacher’s help.

ACTIVITY 9

Fill in the blanks in the G major Chord Hierarchy, then play the Pachelbel Progression in G

major.


CHORD I G MAJOR

GBD

CHORD ____MAJOR

FAC

CHORD V7 ___________

DF#A(C)

_________ _________ _________

_________

_________ _________

CHORD__A MINOR________

3.4 TOWARDS MODULATION Apply all the techniques used for the C major example including the scales, Alberti Bass,

and the classic progressions… as they develop these skills, we can, with the addition of an accidental or two begin the introduction of modulation.

ACTIVITY 10

Choose at least one new key, complete the Chord Hierarchy and apply all the techniques

used so far.


_________

_________ _________

_________

_________ _________

_________

_________ _________

_________

_________ _________

_________

_________ _________

_________

_________ _________

VIDEO 4: THE CLASSIC CHORD PROGRESSIONS REVISITED

In this Video we will be looking at:

1. Bass-lines – adding fluency and movement.

2. Bass-lines - Using Inversions to add interest to standard chord progressions.

3. Chromatic Chords – chords that include notes that are outside the key.

4.1 CONNECTED BASS LINES

Using the Pachelbel Progression we can connect the bass notes using passing notes: this

adds interest to the bass, but also adds a linear texture which propels the music forward.

Here is the basic model: simply connect the root notes perhaps using a crotchet/quaver/quaver rhythm…so bar 1 might be C, BA, G, FG|A etc…

!

ACTIVITY 11

Play the Pachelbel Progression connecting the root notes as suggested above.

ACTIVITY 12

Play the Pachelbel Progression again, but in a new key, connecting the root notes as suggested above.


4.2 INVERSIONS IN THE BASS

This is a giant leap for the improviser. Many times students prefer the safety of the root note in the bass, because it clearly defines the harmony. However, when a chord uses the

root of the fifth as the bass note, it changes the character of the chord. It allows the bass to become a form of melody which is characterised in the idea of a ground’ bass - this is a bass melody over which variations can be improvised. Here is an example of the

Pachelbel using a descending bass line that uses inversions in the bass.

!

ACTIVITY 13

Play the Pachelbel Progression using inversions as suggested above. Look out for the 1st

inversion chords and notice how the 3rd of the chord is missing from RH.

ACTIVITY 14

Play the Pachelbel Progression in a new key, using inversions as suggested above.

4.3 CHROMATIC CHORDS These add colour to a progression and can suggest a modulation without actually

completing the key change. They are useful as a variation on a chord sequence, but also just for exploiting the gravity of the CIRCLE OF FIFTHS

ACTIVITY 15

Using the Pachelbel progression try making one of the MINOR chords a MAJOR chord.

• E MINOR as E MAJOR implies an interrupted cadence in A minor but quickly

resolves back to C.

• D MINOR 7 as D MAJOR 7 also suggests modulation to G, but a G7 quickly cancels

this and we return to C.

However both these events add interest and colour to the music and expand a student’s understanding of the Circle of fifths.


4.4 THE CIRCLE OF FIFTHS


THE CIRCLE OF FITHS

is the natural laws of music in the same way that Gravity governs the way we exist

at the experiential level. It is a balance of tonalities based on the

harmonic series which is a scientific fundamental – the Circle is a natural

phenomenon which should be practically understood by students especially if they

are concerned with creativity and improvisation.

As students leave behind Grade V and concern themselves with the ‘repertoire’ it becomes more integral to performance. In my book So You Want To Learn To Improvise, I

use Bach’s Prelude in C to demonstrate how a student might learn to play ‘round’ the whole circle using a simple pattern. This is a challenging exercise that translates the circle into a practical, aural experience and cannot be achieved without a thorough

understanding of each triad hierarchy which makes up the full circle.

!

Following the anti-clockwise version above, we use the ‘Doo-Wop’ progression to move clockwise, and then we add Minor key anti-clockwise and clockwise. This may appear like a lot of work, and it is, but just as with scales and arpeggios, this technical understanding

of the circle provides the basis for dexterity in transposition, interpretation, improvisation and composition.

Click here for Andrew’s book So You Want To Learn To Improvise. Also available from Alfred UK.


https://www.elenacobb.com/product/want-learn-improvise-andrew-higgins/

video 1: introducing the triad hierarchy 2

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