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Understanding Chord Progressions For Guitar



66 page pdf - 6.9MB

Chords, by themselves, have about as much value
as words in a dictionary; words take on more meaning
when they are used in sentences, and chords take on
more meaning when they are used in progressions.
Just as a story is made up of sentences, the harmony
of a song is made up of progressions.
In this book you will learn some of the more frequently used
progressions in folk, blues, pop and jazz.

Contains:
Introduction
Chords of Rest
Chords of Movement
The V-I Progression
The II-V Progression
The II-V-I Progression
The I-IV-V Blues Progression
Variations on the Blues Progression
The I-VI-II-V Progression
Some Jazzier Chords (I Chords; V Chords; II Chords)
Playing The II-V Progression with Jazz Chords
II-V-I with Jazz Chords
The I-VI-II-V Progression with Jazz Chords
The Cycle
Extending and Altering The I Chord
Extending and Altering the V Chord
Extending and Altering the II Minor Chords
Dressing Up Your Progressions
Chord Substitution

The Tritone Substitution
Changing Chord Quality
Substituting the III Chord for the I Chord
Combining Substitutions

Chords with the 5th in the Bass
Chords with the b5 in the Bass
Moving Lines in the Bass
Moving Lines in the Top Voice
The Harmonized Major Scale
Improving the Weak Progression

Fill-In Chords
Chromatic Passing Chords
The Diminished 7 Chord

The Half-Step-Approach Chord
Modulations
Introductions
Tag Endings
The Turnaround
Back to the Blues

Bebop Blues Variation
Another Blues Variation

Chord Suspensions
Playing the Minor II-V-I
The Im-Im(maj7)-Im7-Im6
Substitute for II-V
Three-Note Chords
Playing the II-V-I Progression with Three-Note Chords
II-V Chords in Cycle Movement
Three-Note Chord Forms for Im-Im(maj7)-Im7-Im6
The Im-Im+-Im6 Chord Sequence

The Rock History Reader



Theo Cateforis “The Rock History Reader"

These days "rock music" courses are ubiquitous
at most universities and colleges, but until recently
 instructors seeking an anthology of readings on
the History of Rock have looked in vain. The Rock
 History Reader aims to fill that gap. Through a
 variety of primary source materials, the Rock History
 Reader introduces students to the conflicts, critical
 tensions and inspired creativity that have defined rock
 music as a social practice throughout its five decade
 history. Featuring nearly sixty chapters, the Reade
r ranges from the vivid autobiographical accounts of
 such rock icons as Chuck Berry, Ronnie Spector and
 David Lee Roth to the writings of noted rock critics
 like Lester Bangs and Simon Reynolds. Beyond this,
 readers will find selections from the pens of media critics,
 musicologists, fanzine writers, legal experts, sociologists
 and prominent political figures like Tipper Gore. Many
 entries also deal specifically with distinctive styles such
 as Motown, punk, disco, grunge, rap and indie pop. With
 numerousreadings that delve into the often explosive issues 
 surrounding censorship, copyright, race relations, feminism,
 youth subcultures and the meaning of musical value,
 the Rock History Reader will appeal to scholars and students
 from a variety of disciplines.

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mali dodatak:
C akordi C# akordi

C: 3 3 2 0 1 0
C: 0 3 2 0 1 0
C: 3 3 5 5 5 3
C: 8 10 10 9 8 8
Cm: 8 10 10 8 8 8
Cm: 3 3 5 5 4 3
C7: 3 3 5 3 5 3
Csus4: 3 3 5 5 6 3
Cm7: 3 3 5 3 4 3
C7: 3 3 2 3 1 0
Csus4: 3 3 2 0 1 1
Cmaj7: 3 3 5 4 5 3
Cmaj7: 3 3 2 0 0 0
Cm: x 3 1 0 1 x
C7: x x 5 5 5 6
C6: x x 5 5 5 5
C13: 3 3 2 3 3 5
Cdim: x x 1 2 1 2
Cm7: x x 5 5 4 6

C#: 4 4 6 6 6 4
C#: x 4 3 1 2 1
C#: 9 11 11 10 9 9
C#m: 9 11 11 9 9 9
C#m: 4 4 6 6 5 4
C#7: 4 4 6 4 6 4
C#sus4: 4 4 6 6 7 4
C#m7: 4 4 6 4 5 4
C#7: x 4 3 4 2 x
C#sus4: x x x 1 2 2
C#maj7: 4 4 6 5 6 4
C#maj7: x 4 3 1 1 1
C#7: x x 6 6 6 7
C#6: x x 6 6 6 6
C#dim: x x 2 3 2 3
C#m: x x 2 1 2 0
C#m7: x x 6 6 5 7
C#13: 4 4 3 4 4 6

D akordi D# akordi

D: x x 0 2 3 2
D: x 5 4 2 3 2
D: 5 5 7 7 7 5
Dm: x x 0 2 3 1
D7: x x 0 2 1 2
Dm7: x x 0 2 1 1
Dm: x x 3 2 3 1
Dsus2: x x 0 2 3 0
D: 10 12 12 11 10 10
Dm: 10 12 12 10 10 10
Dm: 5 5 7 7 6 5
D7: 5 5 7 5 7 5
Dsus4: 5 5 7 7 8 5
Dm7: 5 5 7 5 6 5
D7: x 5 4 5 3 x
Dsus4: x x x 2 3 3
Dmaj7: 5 5 7 6 7 5
Dmaj7: x 5 4 2 2 2
D7: x x 7 7 7 8
D6: x x 7 7 7 7
D13: 5 5 4 5 5 7
Ddim: x x 3 4 3 4
Ddim: x x 0 1 0 1

D#: 6 6 8 8 8 6
D#: x 6 5 3 4 3
D#: 11 13 13 12 11 11
D#m: 11 13 13 11 11 11
D#m: 6 6 8 8 7 6
D#7: 6 6 8 6 8 6
D#sus4: 6 6 8 8 9 6
D#7: x 6 5 6 4 x
D#m7: 6 6 8 6 7 6
D#sus4: x x x 3 4 4
D#maj7: 6 6 8 7 8 6
D#maj7: x 6 5 3 3 3
D#7: x x 8 8 8 9
D#6: x x 8 8 8 8
D#dim: x x 4 5 4 5


E akordi F akordi

E: 0 2 2 1 0 0
E: 7 7 9 9 9 7
E: x 7 6 4 5 4
E: 12 14 14 13 12 12
Em: 0 2 2 0 0 0
Em: 7 7 9 9 8 7
Em: 12 14 14 12 12 12
E7: 0 2 0 1 0 0
Em7: 0 2 0 0 0 0
E7: 0 2 0 1 3 0
Em7: 0 2 0 0 3 0
Esus4: 0 2 2 2 0 0
E7: 7 7 9 7 9 7
Esus4: 7 7 9 9 10 7
Em7: 7 7 9 7 8 7
E7: x 7 6 7 5 x
Esus4: x x x 4 5 5
Emaj7: 7 7 9 8 9 7
Emaj7: x 7 6 4 4 4
E7: x x 9 9 9 10
E6: x x 9 9 9 9
E6: 0 2 2 1 2 0
E9: 0 2 2 1 0 2
E10: 0 2 2 1 0 3
Em6: 0 2 2 0 2 0
Edim: x x 2 3 2 3

F: 1 3 3 2 1 1
Fm: 1 3 3 1 1 1
F7: 1 3 1 2 1 1
Fm7: 1 3 1 1 1 1
F7: 1 3 1 2 4 1
Fsus4: 1 3 3 3 1 1
F: 8 8 10 10 10 8
Fm: 8 8 10 10 9 8
F: x 8 7 5 6 5
F7: x 8 7 8 6 x
Fsus4: x x x 5 6 6
Fmaj7: x 8 7 5 5 5
Fmaj7: x x 3 2 1 0
F6: 1 3 3 2 3 1
F9: 1 3 3 2 1 3
F10: 1 3 3 2 1 4
Fm6: 1 3 3 1 3 1
Fdim: x x 3 4 3 4


F# akordi G akordi

F#: 2 4 4 3 2 2
F#m: 2 4 4 2 2 2
F#7: 2 4 2 3 2 2
F#m7: 2 4 2 2 2 2
F#7: 2 4 2 3 5 2
F#m7: 2 4 2 2 5 2
F#sus4: 2 4 4 4 2 2
F#: x 9 8 6 7 6
F#: 9 9 11 11 11 9
F#m: 9 9 11 11 10 9
F#7: x 9 8 9 7 x
F#sus4: x x x 6 7 7
F#maj7: x 9 8 6 6 6
F#maj7: x x 4 3 2 1
F#6: 2 4 4 3 4 2
F#9: 2 4 4 3 2 4
F#10: 2 4 4 3 2 5
F#m6: 2 4 4 2 4 2
F#dim: x x 1 2 1 2


G: 3 2 0 0 0 3
G: 3 2 0 0 3 3
G: 3 5 5 4 3 3
Gm: 3 5 5 3 3 3
G7: 3 5 3 4 3 3
Gm7: 3 5 3 3 3 3
G7: 3 5 3 4 6 3
Gm7: 3 5 3 3 6 3
G7: 3 2 0 0 0 1
Gsus4: 3 2 0 0 1 3
Gsus4: 3 5 5 5 3 3
G: 10 10 12 12 12 10
Gm: 10 10 12 12 11 10
G: x 10 9 7 8 7
G7: x 10 9 10 8 x
Gsus4: x x x 7 8 8
Gmaj7: x 10 9 7 8 7
Gmaj7: x x 5 4 3 2
G6: 3 5 5 4 5 3
Gm6: 3 5 5 3 5 3
G9: 3 5 5 4 3 5
G10: 3 5 5 4 3 6
G6: 3 2 0 0 0 0
Gdim: x x 2 3 2 3

G# akordi A akordi

G#: 4 6 6 5 4 4
G#m: 4 6 6 4 4 4
G#7: 4 6 4 5 4 4
G#m7: 4 6 4 4 4 4
G#7: 4 6 4 5 7 4
G#m7: 4 6 4 4 7 4
G#sus4: 4 6 6 6 4 4
G#: 11 11 13 13 13 11
G#m: 11 11 13 13 12 11
G#maj7: x x 6 5 4 3
G#6: 4 6 6 5 6 4
G#9: 4 6 6 5 4 6
G#10: 4 6 6 5 4 7
G#m6: 4 6 6 4 6 4
G#dim: x x 3 4 3 4


A: 0 0 2 2 2 0
A: 5 7 7 6 5 5
Am: 0 0 2 2 1 0
Am: 5 7 7 5 5 5
A7: 0 0 2 0 2 0
A7: 5 7 5 6 5 5
Am7: 5 7 5 5 5 5
A7: 5 7 5 6 8 5
Am7: 5 7 5 5 8 5
Asus4: 5 7 7 7 5 5
A: 12 12 14 14 14 12
Am: 12 12 14 14 13 12
Asus4: 0 0 2 2 3 0
Am7: 0 0 2 0 1 0
Amaj7: 0 0 2 1 2 0
A7: x x 2 2 2 3
A6: x x 2 2 2 2
A6: 5 7 7 6 7 5
A9: 5 7 7 6 5 7
A10: 5 7 7 6 5 8
Am6: 5 7 7 5 7 5
Am7: x x 2 2 1 3
Asus2: 0 0 2 2 0 0
Adim: x x 1 2 1 2

B akordi H akordi

B: 1 1 3 3 3 1
B: 6 8 8 7 6 6
Bm: 1 1 3 3 2 1
Bm: 6 8 8 6 6 6
B7: 1 1 3 1 3 1
B7: 6 8 6 7 6 6
Bm7: 6 8 6 6 6 6
B7: 6 8 6 7 9 6
Bm7: 6 8 6 6 9 6
Bsus4: 6 8 8 8 6 6
Bsus4: 1 1 3 3 4 1
Bm7: 1 1 3 1 2 1
Bmaj7: 1 1 3 2 3 1
B7: x x 3 3 3 4
B6: x x 3 3 3 3
B13: 1 1 0 1 1 3
Bm7: x x 3 3 2 4


H: 2 2 4 4 4 2
H: 7 9 9 8 7 7
Hm: 2 2 4 4 3 2
Hm: 7 9 9 7 7 7
H7: 2 2 4 2 4 2
H7: 2 2 1 2 0 2
H7: 7 9 7 8 7 7
Hm7: 7 9 7 7 7 7
H7: 7 9 7 8 10 7
Hm7: 7 9 7 7 10 7
Hsus4: 7 9 9 9 7 7
Hsus4: 2 2 4 4 5 2
Hm7: 2 2 4 2 3 2
Hmaj7: 2 2 4 3 4 2
H7: x x 4 4 4 5
H6: x x 4 4 4 4
H13: 2 2 1 2 2 4
Hdim: x x 3 4 3 4

Koji je pass za Led Zeppelin??

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MARKO TAJCEVIC - OSNOVNA TEORIJA MUZIKE , 187 strana , ćirilica ,  1962 god , trece izdanje


OSNOVNI POJMOVI

   Muzika
   Zvuk   
   Ton
   Imena Tonova
   Tonski sistem
   Note
   Linijski sistem
   Kljuc
   Belezenje nota po G-kljucu
   Belezenje nota po F-kljucu
   Belezenje ostalih nota po G-kljucu
   Belezenje ostalih nota po F-kljucu
   Notni sistem
   Ostali kljucevi
   Pregled svih kljuceva
   Polozaj note c1 u svim kljucevima
   Ista nota procitana u razlicitim kljucevima
   Osnovna lestvica
   Stupanj i stepen u lestvici
   Osnovni intervali
   Trajanje tonova
   Pregled notnih vrednosti
   Pauze
   Povecanje notnih vrednosti


METRIKA

   Metar - Takt
   Jednostavni taktovi   
   Slozeni taktovi


RITMIKA

   Ritam
   Sinkopa
   Nepravilne tonske grupe
   Predtakt
   

MELODIKA

   Melodija
   Poviseni i snizeni tonovi.Predznaci
   Hromatski i dijatonski polustepeni i celi stepeni
   Pregled svih hromatskih i dijatonskih polustepena i elih stepena


LESTVICE (SKALE)

   Dijatonske durske lestvice
   Pregled durskih lestvica sa povisilicama
   Pregled durskih lestvica sa snizilicama
   Kvintni i kvartni krug
   Posebna imena lestvicnih stupnjeva
   Dijatonske molske lestvice
   Pregled paralelnih lestvica
   Pregled molskih lestvica sa povisilicama
   Pregled molskih   lestvica sa snizilicama
   Starocrkvene lestvice (modusi)
        Ostale dijatonske lestvice
        Pentatonske lestvice
        Celostepene lestvice
        Hromatske lestvice
        Enharmonski tonovi
        Pregled enharmonskih tonova
        Enharmonske lestvice


INTERVALI

   Vrste intervala
   Intervali u lestvicama
   Obrtaj intervala
   Enharmonski intervali
   Konsonantni i disonantni intervali
   

AKORD
   
   Kvintakord
   Lestvicni kvintakordi
   Mnogostranost kvintakorda
   Tonalitet
   Srodnost tonaliteta
   Obrtaji kvintakorda
   Septakord
   Obrtaji septakorda
   Nonakord
   Kvintakord u cetvoroglasnom stavu


DINAMIKA


TEMPO


RAZNI IZRAZI


ARTIKULACIJA


RAZNI POMOCNI ZNACI I SKRACENICE


ORNAMENTI


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