ever wondered why some people seem to have a gift for music have you ever
wished that you could play by ear sing in tune improvise and jam you're in the
right place time to turn those wishes into reality
welcome to the musicality podcast with your host Christopher Sutton. In several
past episodes the same topic has come up a way of thinking about chords that
makes it much easier to play by ear improvise and get an instinctive feel
for what's going on in the music you hear Steve Myers
Sarah Campbell Shelley Soelberg Casey McCann Lisa McCormick and Scott Sharp
all these guests mentioned the one four five and six chords the band Blues
Traveler even start one of their hit songs by declaring it's just another one
four five so what are those chords and why do they matter this is one of the
most valuable things to wrap your head around in music and if you don't play
chords on your instrument please don't tune out understanding how harmony works
can help you to improvise melodies it can help you write your own music it can
help you decipher music notation and sight read more easily it's that
fundamental so what are the one four five and six chords simply put when
people talk about chords using numbers like this they are just referring to
chords relative to the key the tonic note it's a shorthand for the role that
each chord plays in the key and the things people say about chords using
numbers are true in any key in a recent episode we talked about finding chords
in scales and that's exactly what we're doing when we talk about the one four
five and six it's taking that number note from the keys scale and building a
chord on it let's get concrete for a moment the
power of this system is that it abstracts away from the particulars of
any one key but that can also make it a bit confusing at first
supposing we're in the key of C major note one in the scale is C note four is
f note five is G and note six it's a as covered in that previous episode we
can build a three note chord called a triad starting from each of these notes
when we do this from the note C we get the C major chord and that is our one
chord from the f note we get an F major chord and that's our four chord from the
G note we get a G major chord and that's our five and finally from the a we
actually get an a minor chord and that is our sex chord
you're probably wondering can we build chords from notes two three and seven as
well of course but we'll talk in a moment about why those aren't the ones
we're focusing on right now so we can build these four chords from the scale
and we can do that in any key if we do it in the key of G major instead of C
major we would end up with G major as our one chord C major as our four chord
D major as our five and E minor as our six we'll definitely be talking about
the circle of fifths in a future episode because that's a terrific way to
shortcut this process of figuring out these chords in any key without needing
to count through the notes of the scale but for now just know that you can
figure out what these one four five and six chords are in any key the one four
and five will always come out as major triads and the six will always be minor
so what's the point of all this in our episode on the power of sulfur we talked
about how naming or numbering the notes of the scale relative to the root note
is helpful because it gets us away from all the letter names and sharps and
flats that vary in every key and it gets us directly to the way we actually hear
music we interpret notes relative to the keys tonic note and so naming notes in
that way makes it far easier to start understanding what's going on in the
music you hear exactly the same thing is true of chords when we abstract away
from any one key and we talk in terms of these chords we go straight to the heart
of how harmony actually works and our ears are interpreting the chords we hear
here are a few questions you might have found yourself asking about chords
why do these chords sound good when I play them after each other but these
other ones don't how can I know what courts did use when I'm writing a song
if I want to play a song in a different key than the sheet music or the
recording I have how would I know what chords to play why is it that so many
pop and rock songs sound kind of the same even though they have different
melodies all of these questions can be answered easily when we think in terms
of cordis but they all get very complicated if you only think about the
literal names of chords in different keys for example the 1 4 & 5 chords are
the most commonly used chords in almost every genre of music with the 6 chord
following shortly after that means that a ton of music we hear each day is using
just those chords if we only thought in terms of keys and chord names that
wouldn't be obvious we would be able to hear that the songs chord progressions
sounded kind of similar but they'd all have different chords so it wouldn't be
clear why when we translate those chords into this one four five six naming
system it becomes immediately obvious they are all using exactly the same
chords just in a variety of keys that is a massive shortcut if you want to train
your ears to recognize chords because really what you want to learn isn't how
can I hear a CG a minor F progression it's how can I hear a one five six four
progression no matter what key it happens to be in
your ears really don't mind what key is being used and so you can quickly train
them to hear that same pattern in any key so the one four five and six chords
matter because they are the most frequently used in music and thinking
about them in this numbered system matters because it lets you focus on
what's actually going on harmonically and how your ears are actually
interpreting the chords musically the next question we have to tackle is Rome
or Nashville as I've been explaining this I've just been saying 1 4 5 and so
on but when it comes to writing the chords down there are actually a couple
of different systems the first is called the nashville
numbering system it's super simple we literally just write down the number we
write the number 1 for the 1 chord the number 4 for the 4 chord and so on
generally the major or minor quality of the chord is assumed based on what's
normal for the key so for the 6th chord you would just write the number 6 and
then the musician reading it knows that that will be a minor chord the second
system looks intimidating but is actually just as simple it's to use
Roman numerals for the chord numbers we write a capital I for the 1 chord a
capital I followed by a capital V for the 4 chord just a capital V for the 5
chord and then a lowercase V and I for the 6 chord that can look weird if
you're not used to Roman numerals but actually that weirdness is part of its
advantage we use numbers for lots of different things in music but we only
use Roman numerals for naming chords like this so when you see these symbols
written down you immediately know that it's referring to chords in the key you
do still say them out loud as 1 4 5 and so on so now you understand what the 1 4
5 & 6 chords are you can start taking advantage of this immediately next time
you're playing a piece of music ask yourself what the numbers are for the
chords being used you might be surprised how often it boils down to just these
three or four chords that's why you often hear people talking about 3 chord
songs and 4 chord songs the next big step is to start learning to recognize
these chords when they're used as I said before you have a huge shortcut here
because you know you're just looking for the same patterns no matter what key is
being used we have a whole roadmap and set of training modules for learning to
recognize and play chords by ear in musical U and it's centered on this
insight that focusing on just the 1 4 5 & 6 codes actually covers a huge amount
of ground yes there are other chords that can be used and yes the types of
court can go beyond just major and minor but if you get your mind and your ears
wrapped around the 1 4 five and six chords you've got the best
possible foundation for understanding and recognizing each and every chord you
hear thank you for listening to the musicality podcast this episode has
ended but your musical journey continues head over to musicality podcast comm
where you will find the links and resources mentioned in this episode as
well as bonus content exclusive for podcast listeners that's musicality
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