• Prontuario degli accordi

    7 Min Read

     

       Gli accordi sono gli elementi armonici fondamentali, che danno la possibilità a un chitarrista di suonare anche da solo, senza accompagnamento di altri strumenti. Con gli accordi più semplici si può iniziare a fare musica quasi fin da subito, mentre quelli più complessi vi apriranno le porte del stravagante mondo del jazz e blues e della musica d’avanguardia. Tranne a conoscere gli accordi, un chitarrista coordinato deve pure sapere quando e come suonarli nell’ambito di una qualsiasi formazione con altri musicisti.

    Ulteriori informazioni consulta articoli ➡️ Gli accordi (parte 1), Gli accordi (parte 2), Armonizzazione della scala maggiore  e pagine: Accordo, Enarmonico (Enarmonia)

    Le pagine consecutive accolgono tutti gli accordi di cui avete bisogno per costruire un dizionario chitarristico adeguato a ogni occasione o stile musicale

     

    English text

     

    Chords are the fundamental harmonic elements, which give a guitarist the possibility of playing alone, without the accompaniment of other instruments. With the simplest chords you can start making music almost immediately, while the more complex ones will open the doos to the extravagant world of jazz and blues and avant-garde music. Aside from knowing the chords, a coordinated guitarist must also know when and how to play them as part of any formation with other musicians.

    The consecutive pages contain all the chords you need to build a guitar dictionary suitable for every occasion or musical styler

     

    Come usare il prontuario degli accordi

     

    Gli schemi di questo articolo vi aiuteranno a imparare le forme di centinaia di accordi e saranno una pratica guida di riferimento per eseguire o per scrivere musica. 

    Anche se lo studio delle diteggiature possa parere noioso e inutilizzabile, ricordatevi che più ampio è il vostro dizionario di accordi, più versatile sarà il vostro stile esecutivo e competitivo. Avere una buona conoscenza degli accordi diventa ancora più importante se suonate con altri musicisti. Non vorrete certo mostrare insicurezza con la diteggiatura quando il leader della band vi chiede un sol minore!

    Gli accordi sono divisi per tonalità, da La a Sol ♯ (A to G ♯).

    A ogni tonalità è dedicata una doppia immagine:

    1. la prima rappresenta i principali accordi che dovete imparare, ognuno raffigurato con tre diteggiature o posizioni differenti. Conoscere diverse posizioni per ogni accordo può essere utile, soprattutto quando li si esegue in una progressione. Quando per esempio ci si trova a suonare sulla parte più alta della tastiera, è meglio evitare di dover tornare sui primi tasti per formare altri accordi.
    2. la seconda immagine contiene alcune delle forme più avanzate, che possono essere utili nelle progressioni, nei passaggi o nelle improvvisazioni. Per queste forme vengono indicate solo due posizioni, per poter accogliere una maggiore varietà di accordi.

     

    How to use the chords handbook

     

    The diagrams in this article will help you learn the shapes of hundreds of chords and will be a handy reference guide for performing or writing music.

    Even if studying fingerings may seem boring and unusable, remember that the broader your chord dictionary, the more versatile your playing and competitive style will be. Having a good understanding of chords becomes even more important if you play with other musicians. You don’t want to show insecurity with your fingering when the band leader asks you for a G minor!

    The chords are divided by key, from A to G♯.

    A double image is dedicated to each shade:

    • the first represents the main chords you need to learn, each depicted with three different fingerings or positions. Knowing different positions for each chord can be helpful, especially when playing them in a progression. For example, when you find yourself playing on the highest part of the keyboard, it is better to avoid having to return to the first keys to form other chords.
    • the second image contains some of the more advanced shapes, which can be useful in progressions, passages or improvisations. For these shapes only two positions are indicated, to accommodate a greater variety of chords.

     

    Spiegazione degli schemi

     

       Tutti gli schemi raffigurano la tastiera in posizione verticale con il Mi cantino a destra. Una doppia linea in cima allo schema rappresenta il capotasto. Per le diteggiature in posizioni più avanzate sulla tastiera, un numero in alto a sinistra indica il tasto dal quale inizia l’accordo.

    Le note da suonare sono rappresentate da numeri inseriti in cerchietti, ognuno dei quali corrisponde a un dito (➊= indice; ➋= medio; ➌= anulare; ➍= mignolo).

    Una X sopra una corda indica che quella corda non deve essere suonata del tutto e dovrebbe preferibilmente essere smorzata, per evitare che risuoni accidentalmente. Una O sopra una corda indica invece che quella corda deve essere suonata a vuoto.

    Quando la stessa nota può essere rappresentata in due modi diversi, per esempio Do♯ o Re♭ (C♯ o D♭), è stata scelta la versione in cui è più probabile trovare nella pratica comune.

     

    Explanation of the schemes

     

    All diagrams depict the keyboard in an upright position with the treble E to the right. A double line at the top of the diagram represents the nut. For fingerings in more advanced positions on the keyboard, a number at the top left indicates the fret from which the chord begins.

    The notes to be played are represented by numbers inserted in circles, each of which corresponds to a finger (➊= index; ➋= middle; ➌= ring finger; ➍= little finger).

    An X above a string indicates that that string should not be played at all and should preferably be muted, to prevent it from ringing accidentally. An O above a string indicates that that string must be played open.

    When the same note can be represented in two different ways, for example C♯ or D♭, the version that is most likely to be found in common practice has been chosen.

     

     

    Quando un accordo contiene un intervallo alterato da un diesis () o da un bemolle (), per esempio ♯5ª, potete trovare la nota corrispondente suonando un tasto più indietro ( per un bemolle) o più avanti ( per un diesis) rispetto alla nota dell’intervallo giusto. Nelle tonalità che contengono un alto numero di diesis o bemolle in chiave, a volte negli accordi diminuiti o aumentati sono presenti doppi bemolle (♭♭)e doppi diesis (x). Un doppio bemolle è la nota due tasti più indietro rispetto all’intervallo giusto, un doppio diesis è quella due tasti più avanti.

     

    English text

     

    When a chord contains an interval altered by a sharp (♯) or a flat (♭), for example ♯5th, you can find the corresponding note by playing one key further back (for a flat) or further forward (for a sharp) than to the note of the right interval. In keys that contain a high number of sharps or flats in the key, double flats (♭♭) and double sharps (x) are sometimes present in diminished or augmented chords. A double flat is the note two frets further back than the right interval, a double sharp is the note two frets further forward.

     

     

     

    Pagine degli Accordi (Chords Pages)

     

    1.  Accordi base A (La)

     

    2. Accordi avanzati A (La)

     

    3. Accordi base B♭/ A♯(Si♭/ La♯)

     

    4. Accordi avanzati B♭/ A♯(Si♭/ La♯)

     

    5. Accordi base B (Si)

     

    6. Accordi avanzati B (Si)

     

    7. Accordi base C (Do)

     

    8. Accordi avanzati C (Do)

     

    9. Accordi base C♯/D♭ (Do♯/Re♭)

     

    10. Accordi avanzati C♯/D♭ (Do♯/Re♭)

     

    11. Accordi base D (Re)

     

    12. Accordi avanzati D (Re)

     

    13. Accordi base E♭/D♯(Mi♭/Re♯)

     

    14. Accordi avanzati E♭/D♯(Mi♭/Re♯)

     

    15. Accordi base E (Mi)

     

    16. Accordi avanzati E (Mi)

     

    17. Accordi base F (Fa)

     

    18. Accordi avanzati F (Fa)

     

    19. Accordi base F♯/G♭ ( Fa♯/Sol♭)

     

    20. Accordi avanzati F♯/G♭ ( Fa♯/Sol♭)

     

    21. Accordi base G (Sol)

     

    22. Accordi avanzati G (Sol)

     

    23. Accordi base A♭/G♯ (La♭/Sol♯)

     

    24. Accordi avanzati A♭/G♯ (La♭/Sol♯)

     

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  • Playing in a band

    4 Min Read

     

     

       By practicing alone you can become excellent musicians, especially if you are able to concentrate on your tasks, but when you start playing together with others your musical education will benefit enormously as well as guaranteeing guaranteed fun…

     

    The Roles

    Playing together with other musicians doesn’t necessarily mean smashing each other’s eardrums with the amplifier volumes at maximum (at least not right away):you can start making some music together with another guitarist, for example, and see what happens .

    You will soon realize that playing two instruments in the same way (with or without two voices singing the same text or melody) will get boring rather quickly. Two guitarists rehearsing together almost instinctively begin to take on different roles, playing complementary parts and possibly harmonizing the vocal ones: when this happens, you are starting to create an arrangement.

     

    To each his own

     

          The list of acoustic classics with interesting guitar parts, from simple duets like the Stones’ Wilde Horses and Guns N’ Roses’ Patience, to more complex two-guitar intros like I’ve Just Seen a Face, is practically endless. What they have in common is the fact that the musicians collaborate with the aim of building sounds that work, both thanks to well-written and corresponding parts, and because somehow the composition creates an atmosphere that transmits unique emotions to the listener.

    The most useful tools to achieve something valid by playing with other musicians are the ears (listening skills) and communication; for example when you work on your own composition, you give free rein to your personal creativity, without however criticizing the ideas of others too much. When you meet the ideal musicians to form the nucleus of a band, you will understand it immediately.

     

    Form a group

     

        How many famous groups do you know whose personnel never changed from their inception until their decline? It has happened to some, but generally a band is forced to make numerous changes before finding the right lineup. Furthermore, if your technical skills have already advanced to the point that the rest of the group requires a high technical level, you may be forced to recruit other musicians outside of your close circle of friends.

     

     

     

    Finding the right partners

     

         Many bands are formed between neighborhood friends or classmates who share the same musical interests. A beginner, however, will do well to broaden his possibilities by also looking at different schools and elsewhere. Actively participating in musical initiatives even outside your city could prove to be a winning choice as well as asking the musicians you know and appreciate most if they are available to play with you or trying to participate in some sessions with other groups. Always present yourself as seriously motivated musicians who intend to start a band with other equally determined people. If you have organizational skills and business acumen, let these qualities shine through, which many professional-level musicians appreciate. And, logically, we must try to play well, otherwise all the good intentions will not stand up to the test of facts.

     

    Get serious

     

         More experienced musicians can consult advertisements in sector magazines and on the Internet, to participate in auditions or to look for other colleagues. If you already have a band the situation is simplified as the other musicians will contact you. Scrupulously examine potential suitors, but always treat them with respect, even if they aren’t right for you. In the end you will be able to form a promising group from a musical point of view, capable of at least giving you an opportunity to have fun and go some distance together. At that point you will be ready to start trying.

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  • The Sound of Silence / Simon & Garfunkel

    4 Min Read

    Breve introduzione

     

       La canzone The Sound of Silence di Simon and Garfunkel, datata ai primi anni ’60, è un capolavoro musicale che colpisce sia per la sua melodia coinvolgente che per il significato profondo del testo.

    Questa canzone affronta il tema dell’incomprensibilità umana, evidenziato sin dal titolo attraverso un poetico ossimoro: “il suono del silenzio”.

    The Sound of Silence è una canzone che cattura l’anima dell’incomunicabilità umana e dell’isolamento che spesso ricorriamo.

    Tramite metafore evocative e una melodia coinvolgente, Simon and Garfunkel ci invitano a ragionare sulla nostra incapacità di unire effettivamente con gli altri.

     

    Short introduction


    The song The Sound of Silence by Simon and Garfunkel, dating back to the early 1960s, is a musical masterpiece that strikes both for its engaging melody and for the profound meaning of the lyrics.

    This song addresses the theme of human incomprehensibility, highlighted right from the title through a poetic oxymoron: “the sound of silence”.

    The Sound of Silence is a song that captures the soul of the human incommunicability and isolation that we often experience.

    Through evocative metaphors and an engaging melody, Simon and Garfunkel invite us to think about our inability to truly unite with others

     

    Text

     

    Hello darkness, my old friend
    I’ve come to talk with you again
    Because a vision softly creeping
    Left its seeds while I was sleeping
    And the vision that was planted in my brain
    Still remains
    Within the sound of silence

    In restless dreams I walked alone
    Narrow streets of cobblestone

    ‘Neath the halo of a street lamp
    I turn my collar to the cold and damp
    When my eyes were stabbed by the flash of a neon light
    That split the night
    And touched the sound of silence

    And in the naked light I saw
    Ten thousand people maybe more
    People talking without speaking
    People hearing without listening
    People writing songs that voices never shared
    No one dared
    Disturb the sound of silence

    “Fools,” said I, “you do not know
    Silence like a cancer grows
    Hear my words that I might teach you
    Take my arms that I might reach you”
    But my words like silent raindrops fell
    And echoed in the wells of silence

    And the people bowed and prayed
    To the neon god they made
    And the sign flashed out its warning
    In the words that it was forming
    And the sign said “The words of the prophets are written on the subway walls
    And tenement halls
    And whispered in the sound of silence”

     

    The Sound of Silence traduzione

     

    Salve oscurità, mia vecchia amica
    sono venuto a parlarti nuovamente
    perché una visione che fa dolcemente rabbrividire
    ha lasciato i suoi semi mentre dormivo
    e la visione che è stata piantata nel mio cervello
    ancora persiste
    nel suono del silenzio

    Nei sogni agitati io camminavo solo
    attraverso strade strette e ciottolose

    sotto l’alone di un lampione
    sollevo il mio colletto al freddo e all’umidità
    quando i miei occhi furono colpiti dal flash di una luce al neon
    che spaccò la notte
    e toccò il suono del silenzio

    E nella nuda luce vidi
    dieci migliaia di persone forse più
    persone che parlavano senza dire niente
    persone che sentivano senza ascoltare
    persone che scrivevano canzoni che non ne avevano mai condiviso le voci
    nessuno osava
    disturbare il suono del silenzio

    “Stupidi” io dissi, “voi non sapete
    il silenzio cresce come un cancro
    ascoltate le mie parole che potrei insegnarvi
    prendete le mie braccia che potrei raggiungervi
    Ma le mie parole caddero in silenzio come gocce di pioggia
    e riecheggiarono nelle sorgenti del silenzio

    e la gente si inchinò e pregò
    al Dio neon che avevano creato.
    e l’insegna proiettò il suo avvertimento,
    tra le parole che stava formando.
    e l’insegna disse “le parole dei profeti sono scritte sui muri delle metropolitane
    e sui muri delle case popolari.
    E sussurrò nel suono del silenzio”

     

    Sheets

     

     

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  • Yesterday canzone dei Beatles

    5 Min Read

     

    Yesterday

     

    Yesterday is a song by the Beatles, composed mainly by Paul McCartney but credited to the Lennon/McCartney duo.

    Released in 1965 on the album Help! (and subsequently included in the 45 rpm single Yesterday/Act Naturally.), according to the Guinness Book of Records it is the song that boasts the greatest number of covers, with more than 1,600 recorded versions. According to Broadcast Music Incorporated (BMI) during the twentieth century, it had approximately 7 million radio and television plays in the United States alone.

    In 1997 he received the Grammy Hall of Fame Award.

    In 1999, a vote conducted by the BBC’s second radio channel among listeners and experts awarded it the most beautiful song of the twentieth century.

    In 2000, MTV and Rolling Stone magazine chose it as the #1 pop song of all time.

    This song, which is part of the album Help, is among the most listened to and sung of all time. The first version (little more than an audition) dates back to 1964 and the first title that Paul McCartney gave it was Scrambled Eggs.

    Unlike all the other Beatles songs, this one is composed by McCartney alone, without the collaboration of John Lennon. Furthermore, in the recording, the other members of the group do not play, but external musicians hired specifically.

    The first version was designed by Paul for just voice and guitar, but it immediately appears too simple and “empty”.

    Then George Martin, the Beatles’ producer, suggests an accompaniment performed by a string quartet.

    The drums are excluded, because the rhythm of the percussion is considered too heavy.

    The four musicians who play the strings are so good that they perform the piece only twice: the first time as a “warm-up”, the second as a “good” one (the recording that ends up on the album is called “good”). The result is still a masterpiece.

    The piece begins with a brief introduction of the guitar alone playing the initial repeated chord; this is followed by Paul’s voice singing the very famous melody that begins with yesterday, which also becomes the new title of the song. Then the strings enter and accompany the voice until the end, with very refined and discreet sounds and interventions. (from Suona Subito – © ed. Petrini)

     

    Yesterday  (Italiano-Italy)

     

    Yesterday è una canzone dei Beatles, composta principalmente da Paul McCartney ma accreditata al duo Lennon/McCartney.

    Pubblicato nel 1965 sull’album Help! (e successivamente incluso nel 45 giri Yesterday/Act Naturally.), secondo il Guinness dei primati è il brano che vanta il maggior numero di cover, con più di 1.600 versioni registrate. Secondo Broadcast Music Incorporated (BMI), nel corso del ventesimo secolo, ha avuto circa 7 milioni di spettacoli radiofonici e televisivi solo negli Stati Uniti.

    Nel 1997 ha ricevuto il Grammy Hall of Fame Award.

    Nel 1999 una votazione condotta dal secondo canale radio della BBC tra ascoltatori ed esperti l’ha premiata canzone più bella del ventesimo secolo.

    Nel 2000, l’emittente televisiva MTV e la rivista Rolling Stone l’hanno scelta come canzone pop numero 1 di tutti i tempi

    Questa canzone, che fa parte dell’album Help, è tra quelle più ascoltate e cantate di tutti i tempi. La prima versione (poco più di un provino) è del 1964 e il primo titolo che Paul McCartney le assegna è Scrambled Eggs (Uova strapazzate).
    A differenza di tutti gli altri brani dei Beatles, questo è composto dal solo McCartney, senza la collaborazione di John Lennon. Inoltre, nella registrazione, non suonano gli altri componenti del gruppo, ma musicisti esterni ingaggiati appositamente.

    La prima versione è pensata da Paul per sola voce e chitarra, ma risulta subito troppo semplice e “vuota”.
    Allora George Martin, il produttore dei Beatles, suggerisce un accompagnamento eseguito da un quartetto d’archi.

    La batteria viene esclusa, perché la ritmica delle percussioni è considerata troppo pesante.
    I quattro musicisti che suonano gli archi sono talmente bravi che eseguono il brano solo due volte: la prima volta come «riscaldamento», la seconda come «buona» (è detta «buona» l’incisione che finisce poi nel disco). Il risultato è comunque un capolavoro.
    Il brano inizia con una breve introduzione della sola chitarra che esegue l’accordo iniziale ribattuto; a questa segue la voce di Paul che intona la famosissima melodia che inizia proprio con yesterday, che diviene anche il nuovo titolo del brano. Poi entrano gli archi e accompagnano la voce fino alla fine, con sonorità e interventi molto raffinati e discreti. (da Suona Subito – © ed. Petrini)

     

    Text

     

    Yesterday,
    all my troubles seemed so far away,
    Now it looks as though they’re here to stay,
    Oh I believe in yesterday.

    Suddenly,
    I’m not half the man I used to be,
    There’s a shadow hanging over me.
    Oh yesterday came suddenly.

    Why she had to go?
    I don’t know she woldn’t say.
    I said something wrong,
    now I long for yesterday.

    Yesterday,
    love was such an easy game to play,
    Now I need a place to hide away,
    Oh I believe in yesterday.

     

    Music sheet

     

     

     

     

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  • Circle of fifths

    4 Min Read

    Circle of fifths: it is a circular graph that takes its name from the arrangement of the tones and the distance between the tones. It also allows us to see which scales are relative to each other and which alterations they have. Each diatonic scale is a subsystem made up of seven of the twelve notes of the chromatic scale. The circle of fifths is a graph used to show the relationships between the twelve notes that make up the chromatic scale. Every time you pass from fifth to fifth, a # is added to the seventh of the fifth found. The circle of fifths is defined in this way because the fundamental note of each scale is the fifth note of the scale to its left.

    To illustrate all these relationships between twelve notes we refer to the following illustration, where the notes starting from C are inserted clockwise in a succession of perfect fifths in a clock face. In this way all twelve notes are represented. In a clockwise direction each note is adjacent to its dominant, while in an anti-clockwise direction each note is close to its subdominant (in the case of C: F is subdominant and G is dominant).

    To determine the number of sharps or flats that are inserted in the key for a given key, move clockwise for sharps and counterclockwise for flats.

    For example, starting from C major, which has no alterations in the key, we move to G which has a sharp in the key (F♯), then we move to D major which has two sharps (F♯ and C♯) and so on.

    In the other direction, moving to F major we have a flat key (B♭), B♭ major has two (B♭ and E♭) and so on.

     

     

     

    Building basic chords with Circle of Fifths

     

     

    The circle of fifths is not only useful for finding flats and sharps in every key. It provides an easy way to build even basic chords. If, however, we consider the names of the notes as chords, they can help to visualize the harmonic movements of a typical progression such as the so-called second-fifth-first (often represented as II-V-I, i.e.: minor second – dominant major fifth – tonic). For example, starting from G, the typical G-7 / C7 / F progression appears counterclockwise.

     

    Major chords

     

    The main chords are built on the root note the major third and the perfect fifth. Since we’re looking at the circle of fifths, the perfect fifth will be adjacent to its root note clockwise from your root. Let’s build a C major chord. The circle of fifths says that the perfect fifth of C is G. So we have two notes in the C major chord: C and G. Simply move diagonally down from your perfect fifth to find the third note in your major triad to find the major third, an E. Your C major chord is: C – E – G.

     

    Minor chords

     

    Building minor chords is simple. The construction scheme is a little different. For this example let’s construct a C minor chord. Minor chords begin with the root note and its perfect fifth, clockwise. The note adjacent to the C note is a G. We found 2 notes in the C minor chord: C and G. The third note in the minor chords is a minor third. To find the minor third on the circle, simply draw a line diagonally and down from the perfect fifth. So in the case of C minor, it’s M♭. There it is, your C minor chord is: C – E♭ – G

    Circle of fifths is very important because it clearly represents the enharmonic bridge.

    The enharmonic bridge is a phenomenon generated by the succession of a series of scales (or tones) different in name but equal in the succession of sounds, therefore they are scales of equal pitches but with different names. These shades are:

    C# Major which is equal to D♭Major
    F# Major which is equal to G♭Major
    B Major which is equal to C♭Major
    A# Minor (relative of C# Major) which is equal to B♭Minor (relative of D♭Major)
    D# Minor (relative of F# Major) which is equal to E♭Minor (relative of G♭Major)
    G# Minor (relative of B Major) which is equal to A♭Minor (relative of C♭Major)

     

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  • Harmonic Turns

    3 Min Read

    Have you ever heard of harmonic turns? Surely. In any case, even if you don’t know what they are, don’t be scared: they are simpler than you can imagine. In fact, it is a question of having a circle of agreements, a succession of agreements that is repeated over time. For example, if I take the chords of C major and D minor, and decide to repeat this sequence of chords several times over time, a harmonic circle will be created

     

    The harmonic round is therefore a succession of chords that are repeated in the same order for the entire duration of the piece within a specific key.

     

    The harmonic turn often takes its name from the first of the chords on which it is built: for example, the C turn is built on the chords of C major, A minor, F major and G major, while the D turn is built on the chords of D major, B minor, G major and A major.

    This succession is obtained by following certain theoretical rules. In addition to having a didactic purpose, the harmonic circle is often used as a basis for improvisation and constitutes the basic harmonic structure of many pieces, particularly in pop music.
    The harmonic turn is obtained, within a given key, by taking four chords built on as many degrees of the major scale. In this regard, we consider the harmonization of the major scale reported below

     

     

     

    The harmonic round involves the use of the four chords found on the 1st, 2nd, 5th and 6th degree of the major scale. These chords, however, are played in the following sequence: I -VI -II -V, or in the variant: I -VI -IV -V. So in the case of the key of C major: C, A min, D min, G; or C, A min, F, G (in Italy it is commonly referred to as the “giro di C” or even “the barber’s tour” with reference to Gioacchino Rossini’s The Barber of Seville).

                                                                                  Turn of C

    A characteristic of harmonic turns is that the 5th degree chord is played as a seventh.

    Below is the table with all the harmonic turns in all keys:

    However, the main harmonic turns have already been built by others before us and it is good to know them because they are found everywhere (but especially in light and pop music).

    Examples:

    Turn of C:

    On the keyboard:

    On the guitar:

     

    Turn of G:

    On the keyboard:

     

    On the guitar:

     

    Turn of F:

    On the keyboard:

    On the guitar:

     

    Turn of Blues:

    On the keyboard:

     

    On the guitar:

     

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