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John Myung Gear's

John Myung of Dream Theater

John Myung has three instruments onstage: a prototype Signature Series Yamaha 6-string (see "Building a Dream Bass"), a fretless Yamaha TRB6, and a Chapman Stick. He selects these via a custom-built noise gate, which is essentially a Boss NS-2 in a rackmount case. He has three pedals onstage; one controls his Rocktron Rack Interface, one controls a VCA for volume, and one uses MIDI to control on of his two MESA/Boogie Triaxis preamps. One Tri-Axis provides his clean sound and his monitor signal, while the other is for high gain or dirty tones. His strings are D'Addarios, custom gauges 0.032-0.130. (Thanks to John's tech, Mark Snyder, for help with the signal chain.)

  

  

John Myung  - Free Port jam - On Progesif Bass Concept

John Myung Biografi

Jazz Guitar Chord Theory

Jazz Guitar Chord Theory (part 1)

How are guitar chords built?  What makes a chord minor or major?  If you’re not sure about this then read on …  Some background theory makes a tremendous help  when learning how to play guitar chords. Let’s get started with the C major scale : C Major Scale C    D    E    F    G    A   B 1    2    3    4    5    6    7 Triads (a chord that is built with 3 notes) and seventh chords (chords that are built with 4 or more notes) are based on thirds. There are 2 kinds of thirds (or 3rds) : minor third interval of 3 half steps symbol : b3 major third interval of 4 half steps symbol : 3 Let’s start by stacking 2 thirds on the 1 (first note)  of the C major scale: C    E    G 1    3   5

The result is a C major triad or C.  From C to E is a major third 

and from E to G a minor third : every major chord has this structure.
The thing to remember here is what we call the chord formula for major chords: 1 3 5
Another thing to remember : another name for the 1 of a chord is the root.

Let’s do the same for the 2 of the C major scale :

D    F    A

1    b3   5

The result is a D minor triad or Dm.  From D to F is a minor third and 

from F to A is a major third : every minor chord has this structure.
Again the thing to remember is the chord formula for minor chords : 1 b3 5

Now we’re going to skip a few notes and stack thirds on the 7 of the C major scale :

B    D    F

1    b3   b5

The result now is a B diminished triad or Bdim.  From B to D is a minor third and f

rom D to F is also a minor third : every diminished triad chord has this structure.
So the chord formula of diminished chords is : 1 b3 b5

I’ll summarize and complete the other notes of the C major scale :

	Notes	Formula	Chord Name	Symbol
1	C    E    G	1     3     5	C major	C
2	D    F    A	1  b3      5	D minor	Dm or D- or Dmin
3	E    G    B	1  b3     5	E minor	Em or E- or Emin
4	F    A    C	1     3     5	F major	F
5	G    B    D	1     3     5	G major	G
6	A    C    E	1  b3     5	A minor	Am or A- or Amin
7	B    D    F	1  b3  b5	B diminished	Bdim or B°

There are 2 ways to construct chords

1. The first way starts from the major scale.

1. Find the major scale of a given key. If you’re not sure how to do this, 
   go here: How To Construct a Major Scale. If you need to find 
   for example the notes of a Gm chord then find the G major scale : G A B C D E F#
2. Construct the major chord : 1 3 5. In our G major example that would be : G B D
3. Apply the chord formula to the major chord. The chord formula for minor 

•  chords is 1 b3 5. This means the 3rd of the major chord has to be lowered half a step : G Bb D

2. The second way involves some memorization and will be explained in part 4, 

after we covered seventh chords and tensions.

Jazz Guitar Chord Theory (part 2)

In part 1 of jazz guitar chord theory we covered the construction of triads, chords that contain 3 different notes. If you are new to chord theory, I suggest you read part 1 first.

Let’s get started again with the C major scale :

C Major Scale	C    D    E    F    G    A   B
	1    2    3    4    5    6    7

The construction of seventh chords follows the same principle as constructing triads : stacking 3rds on top of each other.
Triads were made by stacking 2 thirds on top of the root.  Seventh chords are constructed by stacking 3 thirds on top of the root.

Let’s stack 3 thirds on the 1 of the C major scale :

C    E    G    B

1    3   5    7

The result is a C major 7 chord or Cmaj7.  From C to E is a major third, from E to G is a minor third and from G to B is a major third : every major 7 chord has this structure.
So the chord formula for major 7 chords is : 1 3 5 7

Let’s do the same for the 2nd note of the C major scale :

D    F    A    C

1    b3   5    b7

The result is a D minor 7 chord or Dmin7.  From D to F is a minor third, from F to A is a major third and from A to C is a minor third : every minor 7 chord has this structure.
So the chord formula for minor 7 chords is : 1 b3 5 b7

Now let’s skip some notes and stack 3 thirds on top of the 5th note of the C major scale :

G    B    D    F

1    3   5    b7

The result is a G dominant 7 chord or G7.  From G to B is a major third, from B to D is a minor third and from D to F is a minor third : every dominant 7 chord has this structure.
The chord formula for dominant 7 chords is : 1 3 5 b7

We’ll skip some more notes and stack 3 thirds on top of the 7th note of the C major scale :

B    D     F     A

1    b3   b5    b7

The result is a B half diminished chord or Bm7b5.  From B to D is a minor third, from D to F is a minor third and from F to A is a major third : every half diminished 7 chord has this structure.
The chord formula for half diminished 7 chords is : 1 b3 b5 b7

I’ll summarize and complete the other notes of the C major scale :

	Notes	Formula	Chord Name	Symbol
1	C    E    G    B	1     3     5    7	C major 7	Cmaj7
2	D    F    A    C	1  b3      5    b7	D minor 7	Dm7 or D-7 or Dmin7
3	E    G    B    D	1  b3     5    b7	E minor 7	Em7 or E-7 or Emin7
4	F    A    C    E	1     3     5    7	F major 7	Fmaj7
5	G    B    D    F	1     3     5    b7	G dominant	G7
6	A    C    E    G	1  b3     5    b7	A minor 7	Am7 or A-7 or Amin7
7	B    D    F    A	1  b3  b5    b7	B half diminished	Bm7b5 or Bmin7b5

Jazz Guitar Chord Theory (part 3)

In part 2 we had a look at how seventh chords are constructed. In part 3 we’ll focus our attention on tensions.

Tensions are notes that are part of a chord, but are not chord tones (1 3 5 7).

Let’s have a look again at the C major scale :

C Major Scale	C    D    E    F    G    A   B
	1    2    3    4    5    6    7

If we construct a chord on C, we get a Cmaj7 :

C    E    G    B

1    3   5    7

There are 3 notes left in the major scale that are not chord tones : 2, 4 and 6.
If we add these tones to the chord, they become tensions.
Most of the time we play tensions an octave higher then the chord tones because else they might get in the way of the chord tones (the chord would sound ‘muddy’ most of the time).  That’s also the way they are notated : 2 becomes 9 (2+7(one octave)=9), 4 becomes 11 and 6 becomes 13.

So if we add the 2 to Cmaj7 we get Cmaj9

C    E    G    B    D

1    3   5    7    9

The two other notes that are left, the 4 and 6, are special cases in combination with a major chord.

First of all here is something we call avoid notes : notes that are a half tone above a chord tone.  Avoid notes sound disharmonic so they are almost never used.
If we have a look at the 4 of the C major scale we notice that it is a half step above the e, what is the 3rd of Cmaj7.  So the 4 (f) is an avoid note for Cmaj7.
A solution for this is to raise the 4 a half tone: f becomes f# and is no longer an avoid note and the basic scale is no longer C major, but C Lydian (see jazz guitar modes).  This chord would be called Cmaj7(#11).

The 6 is also a special case in combination with major chords.  Most of the times when we add a 6 to a major chord, the 7 is omitted and there is no octave added to the 6.   This is because the 6 and 7 might get in each other’s way.
So if we add the 6 to C major we get a C6 :

C    E    G    A

1    3   5    6

The same goes for 6 in combination with a minor chord : the 7 is omitted.
If we add the 6 to Dm7 we get Dm6 (Look out : the 6 is no longer A because the root of the chord changed to D.   The six is now B (D E F G A B C) :

D    F    A    B

1    b3   5    6

The 4 is not an avoid note in combination with minor chords because it is two half tones above the b3 and not one half.
So we can safely add the 4 to Dm7 and we get Dm11 :

D    F    A     C      G

1    b3   5    b7    11

The 4 is also a special case in combination with dominant chords.
When a 4 is added to a dominant chord, the 3 is omitted.  Chords like these are called sus4 chords.
Chords like these often function as a delay for a dominant chord.
Sus4 chords often come with a 9 on the guitar :

G    C     D      F    A

1    4     5     b7    9

There’s also something called altered tensions (b9, #9, b5, b13).  This topic is covered later in another lesson.

The different chord types and their tensions :

Chord Type	Added Note	Symbol
Major	2	Cmaj9
	4 #4	/ Cmaj7#11	avoid note. #11 comes out of lydian scale
	6	C6	omitted 7
Minor	2	Cm9
	4	Cm11
	6	Cm6	omitted 7
Dominant	2 b2 #2	C9 C7(b9) C7#9	b2 and #2 come out of altered scale
	4	C7sus4
	6 b6	C13 C7(b13)	b6 comes out of altered scale

Jazz Guitar Chord Theory (part 4)

In jazz guitar chord theory part 3 we had a look at chord tensions.
In part 4 we’ll summarize the chord formulas and have a look at some examples.

Here’s a summary of the chord formulas we covered until now + some additional chord types :

Chord Type	Chord Formula
Major Triad	1     3      5
Minor Triad	1    b3     5
Diminished Triad	1    b3    b5
Augmented Triad	1    3     #5
Major 7	1     3      5     7
Minor 7	1    b3    5    b7
Dominant 7	1     3     5    b7
Half Diminished 7	1    b3    b5    b7
Diminished 7	1    b3    b5   bb7
Augmented 7	1    3     #5    b7
Suspended 4	1    4       5    b7
minor/major 7	1    b3       5    7

In jazz guitar chord theory part 1we saw the first way to construct chords.
Here’s anther way :

1. The first step is memorizing the chords and chord tones of the C major scale and the chord formula‘s:
   

   Cmaj7	C    E    G    B
   Dm7	D    F    A    C
   Em7	E    G    B    D
   Fmaj7	F    A    C    E
   G7	G    B    D    F
   Am7	A    C    E    G
   Bm7b5	B    D    F    A

   You must be able to picture the chord types and chord tones of C major without thinking.
2. Now that you know the chords of C major, it’s easy to find chords of other keys.For example : to find the chord tones of Cm7 :
   1. You know the chord tones of Cmaj7 : C E G B
   2. You know the chord formula of Cmaj7 : 1 3 5 7
   3. You know the chord formula of minor 7 : 1 b3 5 b7
   4. Adapt the chord tones of Cmaj7 to the formula of minor 7 : bring the 3 and the 7 a half step down
   5. Conclusion : the chord tones of Cm7 are : C Eb G Bb
   Example 2 : the chord tones of Ddim7 :
   
   1. You know the chord tones of Dm7 : D F A C
   2. You know the formula of Dm7 : 1 b3 5 b7
   3. You know the formula of diminished 7 : 1 b3 b5 bb7
   4. Adapt the chord tones of Dm7 to the formula of diminished 7 : bring the 5 and the 7 a half step down
   5. Conclusion : the chord tones of Ddim7 are : D F Ab B
   Example 3 : the chord tones of F#7 :
   
   1. You know the chord tones of Fmaj7 : F A C E
   2. To find the chord tones of F#maj7 you just have to raise each chord tone a half step : F# A# C# E#
   3. You know the formula of major 7 : 1 3 5 7
   4. You know the formula of dominant 7 : 1 3 5 b7
   5. Adapt the chord tones of F#maj7 to the formula of dominant 7 : bring the 7 a half step down
   6. Conclusion : the chord tones of F#7 are : F# A# C# E

Jazz Guitar Chord Theory (part 5)

Now you know how to find the notes of a chord, but how do you translate this to the guitar?

For starters: here are 2 chord charts that will help you in the process.

The first thing you need to know is that not every chord tone is equally important :

• 3 and 7 are the important notes of a chord because they decide the chord type. They are also important for voice leading.
• The 1 is the least important note, because it is most of the time played by the bass player.
• The 5 is not so important either and can be disturbing sometimes.
• Tensions add color and interest to a chord, so it’s preferable to use tensions instead of 1 and 5.

Another thing you need to know is that 1 half step equals one fret on the guitar.

Here’s an example with guitar chord diagrams :

• We’ll start with a C triad : C E G (1 3 5)
  Let’s have a look at the guitar chord diagram :
  X15135 :  C from left to right (from low E string to high E string) we have here :
  
  • X : the low E-string is not played
  • 1 : the 1 or root of the chord is played on the A-string
  • 5 : the 5th of the chord is played on the D-string
  • 1 : again the root, but now on the G-string
  • 3 : the third is played on the B-string
  • 5 : the 5th is played again, but this time on the high E-string
  You see that it is ok to duplicate chord tones, like the 1 and the 5 in our example, but it may sound a bit sluggish.
  This chord doesn’t sound very jazzy though, so let’s spice it up a bit :
  
  X15735 :  Cmaj7
  Instead of duplicating the root on the G-string, we exchanged it for the 7 of the chord.
  Now let’s add some color :
  
  X1379X :  Cmaj9
  We exchanged the 5th on the D-string for the 3rd and we changed the 3rd on the B-string to a 9.
  This would be a nice chord if you’re playing bossa nova, solo guitar or in duo setting, but if you play with a bass player and you don’t want to get in his way, it’s better to omit the root and to play on the higher strings only :
  
  XX3795 :  Cmaj9/E
  Instead of playing the root of the chord, we now play the 5th on the high E-string.
  A chord like this is called a chord inversion : a chord that has a note other then the root in the bass.  There are three types of chord inversions : with the 3rd in the bass (first inversion), with the 5th in the bass (second inversion) or with the 7 in the bass (third inversion).
  In our example we have got a Cmaj9 chord with the 3rd (E) in the bass.
  Now what needs to happen if we want to make this chord dominant?
  Simple : the 7 has to go a half step down (major is 1 3 5 7, dominant is 1 3 5 b7).
  Have a look at the chord diagram:
  
  XX3b795 :  C9/E
  And if we want to make this chord minor?
  Starting from the dominant chord we have to lower the 3rd a half step, as you can see on the guitar chord diagram:
  
  XXb3b795 :  Cm9/E

A great tool to help you with the constuction of guitar chords is the guitar chord finder.

To conclude our tutorial I give you some chords where you need to find the chord tones of 

(the solutions are on the next page) :

For example :  Fm7 : F Ab C Eb

Now it’s your turn :

Gm7 :
Abmaj7 :
C#maj7 :
A9sus4 :
B7 :
Edim7 :
Gdim7 :
D7b9 :
D#m7b5 :
Dmaj7 :

Jazz Guitar Chord Theory (part 6)

The solutions to the chord exercises of guitar chord theory part 5 :

Gm7 : G Bb D F
Abmaj7 : Ab C Eb G
C#maj7 : C# E# G# B#
A9sus4 : A D E G B
B7 : B D# F# A
Edim7 : E G Bb Db
Gdim7 : G Bb Db E
D7b9 : D F# A C Eb
D#m7b5 : D# F# A C#
Dmaj7 : D F# A C#

TEORI MUSIK

bagian 1 (Tangga nada)

I. PENDAHULUAN

Musik bagaikan bahasa. Lihat saja paragraf tulisan ini sebagai contoh. Ia-nya terdiri dari kalimat-kalimat. Masing-masing kalimat terdiri dari kata-kata. Kata-kata ini tersusun darihuruf-huruf. Dan huruf-huruf ini diambil dari abjad yang sudah dikenal.

Musik juga memiliki abjad, disebut sebagai tangga nada (scale). Setiap nada identik dengan huruf yang nantinya bersama-sama membentuk chord (identik dengan kata-kata). Kemudian chord bersama-sama membentuk frasa (kalimat musik). Sekumpulan frasa yang baik membentuk lagu yang dapat dinyanyikan.

Jadi chord adalah kosa kata Anda. Dan Anda perlu tahu kosa kata ini. Tapi kosa kata saja tidak cukup, mestilah mampu membentuk kata yang bermakna ketika diucapkan. Dan akhirnya membentuk kalimat yang baik yang dapat dimengerti oleh orang lain [1].

II. TANGGA NADA

Dalam seni musik dikenal ada istilah tangga nada. Ini berisikan kumpulan nada-nada yang harmonis. Keharmonisannya terjadi karena ada ‘aturan’ dibalik itu semua.

II.1 Tangga Nada Kromatik

Kumpulan dari semua nada dalam musik disebut sebagai Tangga Nada Kromatik [2], sebuah nama berasal dari bahasa Yunani : chrôma, yang artinya warna. Dalam hal ini tangga nada kromatik berarti “nada dari tiap warna”. Sama seperti warna cahaya menyatakan frekuensi yang berbeda-beda maka demikian juga dengan nada.

Karena nada selalu berulang untuk tiap oktaf yang ada, maka istilah ‘tangga nada kromatik’ sering dipakai untuk ke-12 nada dari tiap oktaf. Tabel berikut ini menunjukkan frekuensi dari ke-12 nada antara nada A pada 440 Hz dan nada A satu oktaf di atasnya.

 

Perbedaan antara 2 buah pitch (nada) yang berdekatan disebut sebagai semiton. Meskipun ada 12 nada dalam 1 oktaf, tapi hanya 7 huruf pertama dari abjad yang dipakai untuk memberi nama pada nada, yaitu dari A sampai G. Kelima nada yang lain dalam tangga nada kromatik diberi nama dengan menempatkan tanda kres (#)1 atau tanda mol (b) setelah notasi nada. Tangga nada kromatik untuk piano dapat dilihat pada gambar 1 berikut ini :

Dan tangga nada kromatik untuk gitar dapat dilihat pada gambar 2 berikut ini :

 

dengan garis paling atas adalah senar 1 (pertama) pada gitar.
Ada banyak jenis tangga nada, yang dapat disusun dari nada-nada yang ada dalam tangga
nada kromatik. Karena dalam tangga nada kromatik ada 12 nada, maka dapat dibuat
berbagai tangga nada dengan membuat suatu susunan kombinasi dari nada-nada tersebut.
Bisa dengan menghilangkan beberapa nada [2]. 

bagian 2 (Tangga nada Mayor)

II.2 Tangga Nada Mayor Tangga nada mayor adalah tangga nada yang
     sangat umum dipakai untuk
     musik Barat western).
     Ketika dimainkan secara berurutan tangga nada
     mayor ini kita kenal dengan istilah : 
     do-re-mi-fa-so-la-si-do 2.

Tangga nada ini disusun berdasarkan kekhususan aturan,yaitu kombinasi
interval semiton antara nada-nada yang ada. Aturannya adalah :

2 (tone)
2 (tone)
1 (semitone)
2 (tone)       cat. jarak 2 nada berdekatan disebut semitone, dan
2 (tone)       dua buah semitone disebut tone.
2 (tone)
1 (semitone)

¹Tanda kres (#) berarti nada yang dimainkan 1 semiton lebih tinggi nada semula, dan tanda mol (b) berarti nada yang dimainkan 1 semiton lebih rendah dari nada semula.
² Pengucapan doremisasi berasal dari teks doa Sancto Iohannes : Ut queant laxis, Resonare fibris, Mira gestorum, Famuli tuorum, Solve polluti, Labii reatum, Sancto Iohannes [3]

atau, ada juga yang menuliskan seperti di bawah ini ( contoh tangga nada C )
C – D – E – F – G – A – B – C
1 1 1⁄2 1 1 1 ⁄2
atau pada paranada 3 ditunjukkan seperti gambar 4 di bawah ini [4]

 

Berikut ini ditampilkan gambar dengan tangga nada mayor dari C pada piano dan gitar.

 

Gambar 4 Tangga nada mayor nada C (a) pada piano, (b) pada gitar

Misalkan saja ingin membuat tangga nada dari nada dasar G. Pertama sekali ditulis dulu susunan not dari nada G, seperti gambar 5 berikut.

Susunannya adalah : G – A – B – C – D – E – F – G
Kemudian diatur menurut pola seperti yang dijelaskan di atas, akhirnya menjadi seperti
pada gambar 6 berikut :

Susunan akhirnya menjadi : G – A – B – C – D – E – Fis – G
³paranada adalah gambar kelima garis sejajar yang mendatar, tempat menuliskan not balok

Dari uraian di atas maka dapat diambil kesimpulan untuk tangga nada G mayor diperlukan nada Fis (yaitu nada F dinaikkan 1 semiton). Maka dalam paranada tanda kres ditulis diawal paranada, seperti gambar 7 berikut.

Gambar 7 Tangga nada G mayor dengan tanda kres di depan

Dalam praktik, sangat diperlukan kefasihan dalam menyusun tangga nada dari berbagai macam nada yang ada dalam tangga nada kromatik. Silakan Anda berlatih menyusun tangga nada dari nada dasar C#, D, D#, dst.

Untuk menyusun tangga nada G mayor tampak adanya satu buah tanda kres (#). Hal ini sering disebutkan bahwa tangga nada 1 kres adalah tangga nada G mayor. Tentu ada pula tangga nada lainnya yang memakai 2, 3, dst. tanda kres. Hal ini memudahkan kita (khususnya jika bermain dalam not balok) untuk mengetahui apa nada dasar sebuah lagu. Sebaliknya ada pula tangga nada yang untuk memenuhi aturan tangga nada mayor memerlukan not yang diturunkan satu semiton (atau diberi tanda mol / b). Mengenai hal ini dapat lebih jelas dilihat pada gambar 8 berikut.

Dari lingkaran di atas tampak tangga nada 2 kres adalah nada D dan seterusnya. Demikian
pula tangga nada 2 mol adalah nada Bb (Bes) dan seterusnya.

bagian 3 (Ukuran Interval)

II.3 Ukuran Interval

Interval adalah jarak / selang antara dua buah nada [2,4]. Ada banyak ukuran interval yang dapat dibuat untuk membuat tangga nada. Dalam subbab sebelumnya interval yang dipakai (dalam satuan semiton) untuk membentuk tangga nada mayor adalah : 2-2-1-2-2-2-1, [2]. Tangga nada tidak hanya tangga nada mayor. Ada banyak jenis tangga nada yang lain. Dan itu semua dibuat berdasarkan aturan terhadap interval.

Ukuran interval yang bervariasi akan memberikan tidak hanya suara terdengar yang berbeda tapi juga memberi kesan ‘rasa’ yang juga berbeda. Untuk ukuran interval tertentu campuran nada dapat ‘dirasakan’ begitu ‘pas’ atau cocok (consonant). Tetapi campuran nada yang lain bisa saja kedengarannya rada kurang ‘enak’ atau kurang cocok (dissonant). Kombinasi consonant dan dissonant sangat diperlukan dalam musik. Musik yang hanya berisiconsonant akan terdengar lembut dan lunak. Pemberian dissonant membuat ada ‘tekstur’ dalam musik.

Berikut ini diberikan tabel mengenai ukuran interval (dalam semiton) dan namanya serta penjelasan singkat.
Untuk kemudahan dalam istilah, maka bagian ini ditulis dalam bahasa Inggris.

Tabel 2 Nama dan ukuran interval

Nama dan ukuran interval di atas sangat penting, khususnya ketika membuat sebuah chord4. Ada banyak jenis chord, dan masing-masing dibuat berdasarkan formula yang unik dari pengkombinasian interval nada. Tiap interval diukur dari nada awal (dikenal sebagai nada dasar) dari tipe chord yang akan disusun. Misalkan ingin membuat chord D, maka nada D dihitung sebagai nada awal (dasar) dalam perhitungan interval.

°chord dibuat dengan mengkombinasikan interval yang ada dan memainkan tiga atau lebih nada secara serentak Interval dari tipe chord yang disusun dari nada dasar dikenal sebagai tingkat (degree).
Penamaan tingkat ini mirip dengan nama inteval, hanya tingkat ini lebih sering dipakai karena penulisannya yang singkat.
Berikut ini akan diberikan daftar penamaan tingkat dan ekivalennya dengan interval dan ukuran interval (dalam satuan semiton). Untuk tetap jelas, ditulis dalam bahasa Inggris.

Tabel 3 Penamaan tingkat

Sangatlah penting mengingat tingkat ini, karena sangat berkaitan dalam penyusunan sebuah chord. Misalkan saja, untuk membuat chord mayor diperlukan nada dari tingkat 1, 3, dan 5. Maka jika ingin menyusun chord C mayor, nada yang dimainkan adalah nada C, E, dan G (tingkat 1, 3, dan 5 dari tangga nada C mayor). Kefasihan menyusun tangga nada sangat diperlukan dalam tahap ini.

bagian 4 (Penyusunan Chord)

II.3.1 Penyusunan Chord

Contoh chord yang sederhana adalah tipe chord triad 5. Chord-chord yang lain merupakan kelanjutan (expanded) dari tipe triad ini. Yang paling dasar adalah tipe triad mayor. Yaitu penyusunan chord mayor dengan 3 nada penyusun. Triad mayor terdiri dari nada pada tingkat 1,3, dan 5.

Beberapa chord tipe triad lainnya dapat dilihat pada tabel 4 berikut ini. Perlu diingat untuk menuliskan chord ada simbol-simbol yang sudah disusun untuk memudahkan dalam penulisan. Simbol ini juga menyingkat penamaan sebuah chord.

˚triad adalah chord yang terdiri dari memainkan tiga nada yang memberikan suara harmonis

Dari tabel di atas, misalkan ingin menyusun chord Csus2, maka dari tangga nada C mayor :
Nada : C–D–E–F–G–A–B–C
Tingkat : 1–2–3– 4–5– 6–7–8
Chord Csus2 adalah dengan memainkan nada C-D-G. Selanjutnya silakan Anda berlatih menyusun chord triad berdasarkan rumus pada tabel 4 di atas.

Ada kalanya penyusunan chord tidak hanya 3 nada (triad). Dengan menambahkan beberapa nada lainnya maka chord yang dimainkan kedengaran lebih ‘enak’. Untuk hal ini di sini juga diberikan beberapa rumus untuk penyusunan chord dengan nada lebih dari tiga. Akan tetapi perlu diingat, ini sifatnya tambahan dari chord triad yang sudah di jelaskan di atas. Oleh sebab itu penguasaan terhadap chord triad sangat penting.

 

Selanjutnya berikut ini diberikan chord tambahan untuk triad minor.

Andy Timmons Biography

Andy Timmons

Andy Timmons

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ANDY TIMMONS OFFICIAL SITE

As guitarist for pop-metal band Danger Danger, he toured the world opening for Kiss and Alice Cooper, sold over a million records worldwide, and had two #1 videos on MTV, plus amassing a discography that includes 7 solo releases that range from blazing guitar instrumentals, to blues, and even a Beatles/Elvis Costello-inspired collection of pop tunes.

As a session player, he's been highly featured on CDs by drumming legend Simon Phillips, a live CD with Olivia Newton-John (Andy has been her music director/guitarist for several U.S. tours), two internationally acclaimed CDs by Kip Winger, recording sessions for Paula Abdul, Paul Stanley, and countless radio and television jingles. He has also played alongside many of his heroes such as Steve Vai and Joe Satriani (as a regular guest on their G3 tours in Dallas), Eric Johnson, Steve Morse, Mike Stern, Ace Frehley, Ted Nugent, and Pierre Bensusan, as well as some of his fave '60's singing stars such as the Beach Boys, Lesley Gore, and Gordon Waller (of Peter and Gordon fame!)

<!--So what hasn't this phenomenal talent done? Released a CD in America, that's what!! Andy has experienced great success with several of his solo releases in Europe and Japan, but "That Was Then, This Is Now (the best of X-tacy)" is his first worldwide CD that includes a US release!

This CD features 11 newly re-mastered tracks from his first two highly acclaimed solo releases, ear X-tacy and ear X-atcy 2 as well as five new songs recorded especially for this compilation that contain some of Andy's best playing ever. Songs such as the Hendrix inspired “Electric Gypsy”, the homage to Stevie Ray Vaughan, “I Remember Stevie”, a beautiful ballad “A Night To Remember”, the country chicken-picking barn-burner “Farmer Sez”, and the incredible tribute to George Harrison, “Slips Away”. These are just a few examples of why Andy has long been respected and admired in the guitar community. The common thread through all these musical genres seems to be Andy's passionate style and sense of melody.

Andy's musical career began in his hometown of Evansville, Indiana at the age of 13 with his first band, Taylor Bay. “Early on, I realized that making it in a rock band was such a long-shot, that I better figure out other ways of making a living playing guitar. I began reading about players like Steve Lukather and Larry Carlton who made their living as session musicians. This really appealed to me, since I really loved a wide variety of musical styles.”

The decision to pursue the studio scene led him to more serious music studies. He studied classical guitar for two years before moving to Miami to study jazz guitar at the University of Miami (largely because the Dixie Dregs, Pat Metheny, and Jaco Pastorius had all gone there). He eventually ended up in Dallas where he was very fortunate to get a foot in the door of a very good studio scene. In 1988, the Andy Timmons band was formed and he quickly gained a following in Texas. Around that time, Epic recording artists Danger Danger recruited him to finish their debut record, film several videos, and begin touring.

After 4 years in New York with Danger Danger, Andy returned to Dallas in 1993 to resume his studio career and the Andy Timmons Band. His first solo release, ear X-tacy, was released in 1994 to critical acclaim followed 1997's ear X-tacy 2. He then released Pawn Kings (1997), Orange Swirl (1998), The Spoken and the Unspoken (1999), and And-thology 1 & 2 (2000). In 2001 Andy signed with Favored Nations and released his first international record, That Was Then, This is Now, a compliation of the first two ear X-tacy records and and five new tracks. Resolution (2006) marks Andy's first full-length new release for Favored Nations.

Andy has been consistently voted a “Top 20 Favorite Guitarist” in most of Japan's rock music magazine's reader polls, as well as being voted “Musician of the Year” four years in a row in the acclaimed Dallas Observer Music Awards. He also has become one of the most respected and sought after clinicians representing Ibanez Guitars, touring the world on their behalf.