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Exposed - How Gospel Musicians Backtrack A Major Triad - Hear and Play Music Learning Center
Exposed - How Gospel Musicians Backtrack A Major Triad - Hear and Play Music Learning Center
Exposed:HowGospelMusiciansBacktrackAMajorTriadHearandPlayMusicLearningCenter
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Exposed:HowGospelMusiciansBacktrackAMajorTriad
inGeneralMusic,Gospelmusic,Piano,Theory
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Exposed:HowGospelMusiciansBacktrackAMajorTriadHearandPlayMusicLearningCenter
Like Onepersonlikesthis.Bethefirstofyourfriends.
Youarrivedatthispagebecauseyouwanttolearnhowgospelmusiciansbacktrackamajortriad.
Thebacktrackingconceptisoneofthevitaltechniqueseveryseriousgospelmusicianmustbewith.Althoughmostconceptscaneitherbeclassifiedaseithertraditional
orcontemporary,thebacktrackingconcepthascontinuedtoappealtobothtraditionalandcontemporarylisteners.
Illbetakingyoubythehandandshowingyoustepbystep,theinsandoutsofthebacktrackingconceptinthislesson.
TheBacktrackingConceptExplained
Preliminaries
Chordprogressionsthatdescendinfifthsarethestrongestchordprogressionsintonalmusic.ThestrongestoptionofwhattheCmajorchord:
progressestoistheFmajorchord:
andthisisbecauseafifthbelowC:
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Exposed:HowGospelMusiciansBacktrackAMajorTriadHearandPlayMusicLearningCenter
isF:
ThisCFchordprogressioninthekeyofFmajor:
canbeconsidereda51chordprogressionfromthefifthdegree(akadominant)tothefirstdegree(akatonic)andisthestrongestdiatonicprogressioninthe
keyofFmajor:
Heresthemusicclock:
whichisageometricalrepresentationofthetwelvemusicalnotes:
infourth(counterclockwise)andfifths(clockwise),hence,itscalledthecircleoffourthsorcircleoffifths.
Cisatthe12oclockposition
Gisatthe1oclockposition
Disatthe2oclockposition
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Exposed:HowGospelMusiciansBacktrackAMajorTriadHearandPlayMusicLearningCenter
andsoon,uptoFatthe11oclockposition.
WhatIsBacktracking?
Thetermbacktrackingliterallymeanstoretraceonesstepsandcanbeappliedtooinmusic.Forexample,
youcanbacktracktheCmajortriad:
bygoingcounterclockwise(orretracingyourstepsinthemusicalclock):
fromC(atthe12oclockposition)toF(atthe11oclockposition.)
TobacktracktheCmajortriadyoullhavetoplayanFmajortriad(overConthebass):
beforetheCmajortriad:
CheckOutAnotherExample
TheEmajortriad:
canbebacktrackedbygoingcounterclockwise(orretracingyourstepsinthemusicalclock):
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Exposed:HowGospelMusiciansBacktrackAMajorTriadHearandPlayMusicLearningCenter
fromE(atthe4oclockposition)toA(atthe3oclockposition.)
TobacktracktheEmajortriadyoullhavetoplayanAmajortriad(overEonthebass):
beforetheEmajortriad:
Imcertainthatyouveunderstoodtheconceptofbacktracking,thereforeletsproceedtooneofthemostimportantthingsonemustconsiderwhilebacktracking.
VoiceLeadingConsiderationsInTheBacktrackingConcept
BacktrackingisanawesomeconceptandImgladthatwevedefinedit.However,oneofthethingstoconsiderwhenbacktrackingachordissmoothness.
InthebacktrackingoftheCmajortriad:
Fmajor/C:
Cmajortriad:
themovementfromtheFmajortriadtotheCmajortriadinvolvestwochordsthatareaperfectfourthapartfromeachotherandisnotsmoothwhenplayedorheard
becauseofthelargeintervalbetweenthechordtones.
Usingatechniqueknowntomusicscholarsasvoiceleading:
Thenotesofthechordscanbeconsideredasvoicesorvoiceparts.
Similarvoicesintwoconsecutivechordsshouldberetained.
Othervoicesshouldmovetotheclosestvoicespossible.
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Exposed:HowGospelMusiciansBacktrackAMajorTriadHearandPlayMusicLearningCenter
InthebacktrackingtheCmajortriad:
Fmajor/C:
Cmajortriad:
itisimportantforustoapplyvoiceleadingtechniquesontheFmajor/CchordforasmoothermovementtotheCmajortriad.
Oneoftherulesofvoiceleadingsaysthatsimilarvoicesintwoconsecutivechordsshouldberetained.Asaresult,wellstartbyidentifyingthenote(s)thattheF
majorchord:
andCmajorchord:
haveincommonandthatsC:
Inanutshell,inthemovementfromtheFmajor/CtotheCmajorchord,Cshouldberetained.Thenanotherrulesaysthatothervoicesshouldmovetotheclosestvoices
possible.
ApplyingbothvoiceleadingrulestothebacktrackingoftheCmajortriad,wellhavetheFmajor/Cchord:
movesmoothlytotheCmajortriadbytheretentionofthisC:
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andthemovementofothervoices(FandA):
totheclosestvoicespossible:
F:
movestoE:
whileA:
movestoG:
Altogether,wellhaveasmootherbacktrackingoftheCmajortriadfromtheFmajor/C:
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totheCmajortriad:
TheGoalOfBacktracking
Atthispoint,Ifeelitsnecessarytostateoneofthegoalsofbacktracking.Thebacktrackingconceptisprimarilyusedtocreateanticipation.
InthebacktrackingoftheCmajortriad(smoothversion):
Fmajor/C:
Cmajortriad:
thetargetchordistheCmajortriad.However,playingtheFmajor/Cchord:
whichisadisplacementoftheCmajortriadontherighthandcreatesananticipationfortheCmajortriad:
Inanutshell,ifyouwanttocreateananticipationforagivenchord,goaheadandbacktrackit.
FinalWords
Imhappythatyoumadeitthroughtotheendofthislesson.Somanypeoplereadonlytheintroduction,othersstoppedhalfway,butyoumadeitthroughbecauseyou
wanttolearnaboutthebacktrackingconceptandthatsagoodthing.
Goaheadandapplythistechniquethebestwayyouknowhowto,andpleasedontforgettoexploreitinalltwelvekeys.
Allthebestandseeyouinanotherlesson!
Bio
LatestPosts
ChukuOnyemachi
MusicConsultantatHearandPlayMusicGroup
Hello,I'mChukuOnyemachi(aka"Dr.Pokey")amusicologist,pianist,author,clinicianandNigerian.InspiredbymyrolemodelJermaineGriggs,
IstartedteachingmusiciansinmyneighborhoodinApril2005.Today,I'mprivilegedtoworkasamusicconsultantandcontentcreatorwith
HearandPlayMusicGroupsharingmywealthofknowledgewiththousandsofmusiciansacrosstheworld.
Relatedposts:
1.Exposed:TheStructureOfTheMajorTriad
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Exposed:HowGospelMusiciansBacktrackAMajorTriadHearandPlayMusicLearningCenter
2.Exposed:TheAltoVoiceInAChordAndWhatToDoWithIt
3.ChoralPerspectivesToTheA&BVoicingsOfMajorSeventhAndMinorSeventhChords
4.CyclicalExercises:A&BVoicingsOfTheMajorSeventhChord
5.WhetherGospelOrJazz,These251ChordProgressionsRock
6.Revealed:TheMagicNumberInRootProgressions
7.Harmonization202:Drop2VoicingOfNeighboringChordCouples
Taggedas:anticipation,backtracking,thebacktrackingconcept
{1commentreaditbeloworaddone}
1Joe
Doesthebacktrackingconceptfunctionsthesamewayasthesus4resolvingonthemajor3rd,oristheiradistinctdifference?
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