CHORDS To form a chord, you typically need to select notes from a scale and play them simultaneously. The most common type of chord is a triad, which consists of three notes: the root, the third, and the fifth from the scale of the key you are in. The root note is the foundation of your chord and determines its name. For example, to form a C major chord, the root note is C. Count up the scale to the third note, in this case it would be an E. To find the fifth note, you count up the scale from the C to the G note. There are more complex chords that add additional notes to the triad, such as, seventh chords, or alter the triad to make diminished chords and suspended chords. However, we will mainly focus on the basic triads in this introductory book.
SAFE NOTES Chording refers to playing multiple notes simultaneously on your accompaniment instrument (typically piano or guitar). Safe notes are less likely to clash harmonically with other notes in a chord or melody. The safe notes are the root (the one), the third and the fifth note of the chord. For example, when playing the C chord, one would play C – E – G in the right hand. As these three notes are played at the same time, the left hand (bass hand) can play any of these three notes as they are complimentary to the C chord. The bass hand, when chording, typically plays octaves with the pinky finger and thumb: C – C, E – E, or G – G. These are safe notes and often can substitute for the C – C octave, again as they are harmonically complimentary. The octaves in the left hand are either played as a solid (together at the same time) or as a broken octave (pinky then thumb).
CHORD INVERSIONS Chord inversions involve rearranging the order of the notes within a chord. This changes the position of the chord’s root note, creating a different sound while maintaining the same harmonic function. When playing a chord in the root position, one plays C-E-G for example for the C chord. If you take the C note (played with the thumb) and move it to the top of the sequence one would play the first inversion of the C chord in this sequence E-G-C. The chord has the same notes just in a different sequence. If one takes the E in the sequence and moves that to the top of the chord, one would play the second inversion of the C chord, G-C-E. Each inversion has a unique sound and can be used to create smooth chord progressions or interesting harmonic textures in music.
LISTENING REPERTOIRE Familiarity with songs or tunes helps when chording. Developing a repertoire of melodies that stick in your head over time can greatly enhance your ability to play by ear and improvise chords effectively. Practice and exposure to different tunes can gradually build this listening repertoire. For example, many folks may be familiar with the following children’s songs: Row, Row, Row Your Boat, The Farmer in the Dell, and Frère Jacques. These melodies can be chorded to by playing the same chord throughout. Give it a try! Use the Major Piano Chords chart later in this book and sing out and chord to these songs in the key of C. Then try singing them in D and so on. Try it with the fiddle tracks provided on the website: capebretonpiano.com under the rhythms section. You will play the same chord on the main beat eight times to complete one round of the tune (then it repeats). The three children’s melodies have been arranged to be played as a reel, a jig and a strathspey in several major keys in sequential order. You can apply the various rhythms for each of these tune types as you get more comfortable with each rhythm (notated on the website and in this book). The audio tracks for these tunes are accessible on the website as noted above. Many traditional Cape Breton tunes have predictable patterns. That is one of the main focuses of this program. Chord charts are provided as a template and a visual representation to provide a clear guide as to the sequence of chord progressions for a tune. It is encouraged that you listen to a lot of Cape Breton fiddle music to build up your familiarity with the tunes. A good starting place would be to listen to Cape Breton music on YouTube, www.cbfm.ca or www.cbfiddle.com to start.
IRREGULARITIES IN TUNES Some tunes have unexpected chord changes, unusual rhythmic patterns, unconventional melodies, or unique harmonic progressions. These irregularities can add interest, complexity, and character to the music, challenging musicians to adapt and respond creatively. These tunes often take extra practice to master and require more attention to commit to memory. When a tune doesn’t follow a common pattern, you may have to try a chord in a related key. For example, if you are in A minor, you may try it’s relative major chord, C major, or vice versa. Another suggestion is to try a major chord in place of the minor chord. For example, the A minor chord may be an A major chord. You can also try going to the right or left a degree on the Circle of Fifths. For example, in the key of A major, you would switch to a D major chord/key or to E major chord/key. You can also be prepared to go up a whole step. For example, the tune could be in G major and then it shifts completely to A major. A tune may be in one key for the first part of the tune and then in a different key for the second part of the tune, in the case of a two part tune. Some tunes have three, four or more parts/turns. There may be unusual phrases that will require unexpected chords. It is common etiquette for the soloist to provide some heads up about these unexpected chords for their accompaniment.
PLAYING BY EAR Playing by ear is a valuable skill that allows musicians to learn and perform music without relying on sheet music or written notation. This skill requires a keen ear as well as an understanding of musical concepts such as melody, harmony, rhythm, and form. Practice and experience are key to developing proficiency in playing by ear. Having a built-up listening repertoire helps immensely. Common survival patterns will be explored in this book as ear training exercises.
DETERMINING THE KEY Determining the key of a tune involves finding the tonal centre. First, you need to listen for the overall “feel” of the tune. Major keys often sound brighter and happier, while minor keys tend to sound darker or more somber. The key signature, chord progressions, and final resolution note are the best key indicators. The most common keys to troubleshoot first in the Cape Breton tradition would be the keys of A, D, G in the major keys or A minor, E minor in the minor keys. Once you have exhausted exploring those keys, keep trying the other keys.