“Stand Tall” is a song written and performed by Canadian musician Burton Cummings. The chord progression in this song is very beautiful and few chord used in song that is not very common like C6 or D Augmented and G Augmented Chord. It was released as a single in 1976 and appeared on Cummings’ album “Dream of a Child”. The song was a hit in Canada, reaching number one on the RPM 100 national singles chart. The song is considered one of Cummings’ most popular and enduring songs. Today we will learn Stand Tall Chords.
“Stand Tall” is a ballad that deals with themes of self-empowerment and self-confidence. The song features Cummings’ powerful vocals and emotive delivery, as well as a strong piano and guitar-based arrangement.
Stand tall message of self-empowerment resonated with audiences, and helped to establish Cummings as a respected and influential artist and the song’s success helped to launch Cummings’ career in the 1970s, and he went on to become one of the most successful and respected musicians in Canada.
Chord Used in this song:
In this song, the chords used are G, Gaug, G6, G7, Cmaj7, Cm7, D, and C. The chord progression in the verses and chorus follows a pattern of ii-V-I in the key of G major also uses a lot of inversions, which give a different harmonic structure to the chords and add color to the overall sound.
Stand Tall Chords in verse G, Gaug, G6, G7, Cmaj7, Cm7, C/D and G Sus. The chords G, Gaug, G6, G7 are all diatonic chords within the key of G major. The G chord is the tonic chord. The chords Cmaj7, Cm7 are non-diatonic chords. The Cmaj7 chord is a IV chord in G major and the Cm7 is iv chord, they are added to create a sense of tension and dissonance. The chords G, C/D are used as a transition chord between different sections of the song. The C/D chord is a slash chord, where the letter on top of the slash indicates the root note of the chord (C), and the letter on the bottom indicates the bass note of the chord (D).
An odd time signature is a musical time signature that does not have a simple whole-number ratio between the number of beats in a measure and the note value that represents one beat. Examples of odd time signatures include 5/4, 7/8, or 11/4,These time signatures can create a complex and irregular rhythmic feel, and are often used in jazz and experimental music. Composers and musicians often use odd time signatures to create a sense of tension and dissonance, and to challenge the listener’s sense of expectation and familiarity. You can start with these odd time guitar plucking exercise.
Some song examples with Odd time signature:
The Count Of Tuscany – Dream Theater : 15/8 and 9/4
Last Goodbye – Circus Maximus : 7/8 & 9/8
Plini – Selenium Forest : 7/4
Frame by frame – King Crimson : 7/4
I hung my head – Sting : 9/8
Example 1: 15/8 and 9/4 count:
“The Count of Tuscany” is a song by the American progressive metal band Dream Theater. It is the opening track on their ninth studio album, “Black Clouds & Silver Linings”. The song is known for its complex and dynamic structure, featuring multiple time signature changes and shifting musical themes. The song is also considered as one of the longest songs in Dream Theater’s catalog, clocking in at over 20 minutes in length. The particula part we learn from this song today is 15/8 and 9/4.
This part is from Song “The last goodbye” by Circus Maximus. One of my most favorite band of all time and this song is from my favorite Album Nine (2012). In this part they mostly used 7/8 but in 4th bar only they used 9/8 in a beautiful natural way. I prefer natural way that most progressive bands are miss in these days.
“Selenium Forest” is a song by Australian instrumental progressive rock/metal musician Plini. The song is from his second studio album “Impressions” released in 2018. It features a complex and intricate guitar work, with a mix of melodic and technical playing. The song showcases Plini’s skill as a guitarist and composer, with a delicate and nuanced approach to both melody and rhythm and has been well received by critics and fans alike and is considered as one of Plini’s standout tracks, praised for its emotional depth and musical virtuosity. The song is also part of a number of playlists of instrumental progressive rock and metal.
This partiucalr part is one of the main theme that used in whole song and its on 7/4 Count.
“Frame by Frame” is a song by the British progressive rock band King Crimson. It is the opening track on their fifth studio album, “Discipline”, released in 1981 and Most of this song is on 7/4 count and some parts are in 4/4.
“I Hung My Head” is a song written and performed by Sting, and was released on his 1996 album “Mercury Falling”. The song was covered by Johnny Cash and released on his album “American III: Solitary Man” in 2000 which was critically acclaimed. The song was also featured in the movie “The Corruptor” and the TV series “The Sopranos” This is the intro from the song.
A chord progression is a sequence of chords played in a piece of music. The most common type of chord progression in Western music is the major chord progressions. This progression is built on the foundation of the major scale. A songwriter/ musician / Guitarist can mix and match chords from other scales and modes to add variety, tension, and release to the chord progression. The possibilities are endless when you master this progression and it will give a solid base to start creating your own music.
Learning and understanding chord progressions in guitar / Piano can help musicians play songs by ear and play along with other musicians. This improves performance skills and allows musicians to jam with other musicians more effectively.
Examples in diffrent keys:
C Major Chord Progression:
C – G – Am – F
C – F – G – C
C – G – F – C
C – Am – F – G
C – G – Am – F – C
C – F – C – G – C
C – Am – G – F – C
C – G – F – Am – G – C
C – G – Am – F – G – C
C – F – G – Am – F – C
Some Songs In C Major Chord: Here are some Beginner songs in C Major
Sweater Weather by The Neighbourhood
HallelujaH by Jeff Buckley
Burn Burn BurN by Zach Bryan
Dandelions by Ruth B.
Hey There Delilah by Plain White T’s
Count On Me by Bruno Mars
Save Your Tears by The Weeknd
Drops Of Jupiter by Train
Hey Soul Sister by Train
Dancing On My Own by Calum Scott
D Major Chord Progression:
D – A – Bm – G
D – G – A – D
D – Bm – G – A
D – G – Bm – A
D – A – G – D
D – Bm – A – G
D – G – A – Bm – G – D
D – A – G – Bm – G – D
D – G – Bm – A – G – D
D – A – Bm – G – A – D
Here are some easy Songs in D major Chord
Bad Moon Rising by Creedence Clearwater Revival
Leaving On A Jet Plane by John Denver
Gratitude Chords by Brandon Lake
Before You Go by Lewis Capaldi
You Belong With Me by Taylor Swift
Summer Of 69 by Bryan Adams
Cover Me Up by Morgan Wallen
With Or Without You by U2
Demons by Imagine Dragons
That Funny Feeling by Bo Burnham
E Major Chord Progression:
E – B – C#m – A
E – A – B – E
E – C#m – A – B
E – A – C#m – B
E – B – A – E
E – C#m – B – A
E – A – B – C#m – A – E
E – B – A – C#m – A – E
E – A – C#m – B – A – E
E – B – A – E – C#m – A
Some Songs In E Major Chord:
Dont Stop Believin by Journey
Where Did You Sleep Last Night Acoustic Chords by Nirvana
A dominant 7th chord is a chord that is made up of a root note, a major 3rd, a perfect 5th, and a flatted 7th Note (Or 7th note from minor Scale). It is called a “dominant” chord because it is often used to resolve to the tonic chord in a piece of music.
One of the defining characteristics of a dominant 7th chord is its dissonant sound. The interval between the root and minor 7th is a tritone, which creates a sense of tension and resolution when the chord is played. This dissonance is often resolved when the chord resolves to the tonic chord, creating a sense of resolution and resolution.
Dominant 7th chords are commonly found in blues, jazz, and other types of music that rely on tension and resolution. They are also commonly used in rock and pop music as a way to add interest and complexity to a chord progression.
One of the most famous examples of a dominant 7th chord is the opening chord of the song “A Hard Day’s Night” by The Beatles. The chord, which is played on a 12-string guitar, consists of the notes G, B, D, and F, creating a G7 chord.
Song examples in Dominant 7th Chord:
“A Hard Day’s Night” by The Beatles – This song opens with a G7 chord played on a 12-string guitar.
“Sweet Child o’ Mine” by Guns N’ Roses – The main guitar riff in this song is built on dominant 7th chords, with the verse sections featuring E7 and A7 chords and the chorus featuring D7 and G7 chords.
“Summertime Blues” by Eddie Cochran – This classic rock and roll song features dominant 7th chords throughout, with the verse sections featuring F7 and Bb7 chords and the chorus featuring C7 and G7 chords.
“Blue Bossa” by Kenny Dorham – This jazz standard features a series of dominant 7th chords in the A section, including D7, G7, and C7 chords.
“Hound Dog” by Elvis Presley – This iconic rock and roll song features dominant 7th chords throughout, with the verse sections featuring F7 and C7 chords and the chorus featuring G7 and D7 chords.
“Yellow Brick Road” by Elton John – In This song the last chord of verse is C7 and then in chorsu A7 and D7 used as well. This song is featured in our chord series – Song with great chording.
Dominant 7th Chord Chart:
There are many shapes available for each chord but i tried to use Open Chord in this chord chart or most easy and common shapes. Many of those barre chords are movable chords so you can use that same shape and play any chord by moving the frets ..
A7 Guitar Chord (A Dominant 7) means A major chord with a b7th note from A major scale (or 7th note of minor scale). So the notes are :A, C#, E and G.
The emotion of D7 is usually funky / uplifting with slight resolve but sometimes its dark as well (the emotion also depends on progression).
the open A7 chord is very popular in Blues music but also used in many rock ballads.
This sounds like this while streaming(standard tuning) :
Chord Formula: 1, 3, 5, b7
Notes used in A7: A, C#, E, G
Some alternative shapes are:
Some popular Songs that used A7 dominant:
I have Compiled 6 songs that used A7 chord. And i also put all those songs tab in a pdf that you can download from below.
See You – Foo Figther: Probably Our Favori Dave learnt that chord on that day and he used this almost on every line :P A great song and one of my most fav song by foo figther.
I saw her standing there – Beatles: E7, B7, A7, E9 .. you can learn many new chords in this song.
Sweet Home Chicago – The Blues Brothers: Lots of dominant and 5th chord used in this song.
Grow Old With You – Adam Sandler: When in chorus it says Grow old with you, chorus ends with A to A dominant 7th.. Nice shift : )
You ve got a friend – Carole King: A lot of people know this song as James taylor song but actually its originally from Carole king that released in 1971. I would say this one as advance song. A lot of advance chords used in this song.
Who Says – John Mayer: Another great song with lots of chord. There are diminished, minor 7, dominant 7 and sus 2& sus4 chord used in this song.
So its 3 Notes from Major Chord and Flatted 7th note so notes are A, C#, E, G.
Q: Is dominant 7 same as Major 7?
A: They are not same while Major 7 is Triad and the 7th note from the scale, In dominant chord we use Flatted 7 (b7) – Previous note of 7th note from the major scale.
Q: Why is A7 chord named as dominant 7th Chord?
A: Its because G is the 7th note of A dominant scale (A mixolydian).
Q: Is A7 dominant a Major or Minor Chord?
A: Theoritically its a major chord. However once i read somewhere they call dominant as 7majorminor Chord, LOL. They are not wrong either becuase its used a major triad (1, 3 and 5th note from the major scale) and 7th note from the minor scale.
In this lesson we will discuss 6 Country guitar licks and there are some amazing bending on those licks. This is basically for Intermediate / Advance level players. These are lesson by Arlen Roth, a great guitar player and was columist for Guitar player magazine during 1982-1992. I put guitar pro tabs and mp3 as well. Hope you will like it : )
# Lick 1 : Lots of Guitar Bending
This Country licks is pretty simple 1 but remember to focus on correct pitches while bends : )
Excellent Chording in the Song- Surrounded – Dream Theater
I believe if you want to be a good composer, the first thing we should focus on more is Chording. When writing the original song, we often stick with common chording’s that have already been used on millions of songs.
In this “Song with great Chording” Series I will suggest songs with some exotic/uncommon chording’s and hopefully you will learn new chords and their uses:)
Suggest me more songs in the comment box, please ;
In this episode we will discuss Chords of Surrounded by Dream Theater. This is 4th Track From Their second Album Images and Words, Released in July 7, 1992. This is one of Dt’s coolest chord progressions that fits beautifully.
Tuning: Standard Tuning
Key: G
Chord used in this song :
The intro is : D* Cadd9D* Cadd9
Here is the Verse 1 :
Instrumental part is the coolest chord progressions : G C D Cadd11, This played for 3 Times.
Then here is the second verse:
Then Verse 3:
Here is the bridge :
Outro is the most soothing one.. Here is the chord for the outro:
Guitar Harmonics Lesson: In This Lesson, we’re gonna talk about harmonics-how to get ’em, where you can find ’em and what you can do with ’em. There are a number of different ways you can make harmonics happen. You can induce ’em with your pick (pinch harmonics), you can tap ’em like Eddie Van Halen does sometimes (tap or touch harmonics) or you can get ’em by lightly resting one of your left-hand fingers on a string and then picking it. The last type is called natural harmonics, and they’re the suckers we’re gonna be dicking with.
HOW
The easiest place to get a natural harmonic on any string is at the 12th fret. All you do is lightly rest one of your lefthand fingers on a string directly above that fret and then pick it. Don’t let the string touch the fret, though, or it won’t work, dad! When you do this right you’ll hear a bell-like note that’s exactly one octave higher than the open-string note. To help make harmonics easier to get, use your lead (bridge) pickup and a lot of gain. When I first started experimenting with harmonics, I’d sometimes hook up two distortion boxes just to get my strings “frying,” which helped bring out the harmonics. Also, once you’ve chimed the harmonic, it’s not necessary to leave your finger on the string – in fact, if you let go of the string immediately after you pick it the harmonic will ring twice as well.
Where
You can also get harmonics happening above other frets like the 7th, 5th, and 4th. Some dudes seem to think that these are the only points where harmonics happen but, as far as I’m concerned, there is literally a harmonic to be found at any place on any string. Check this out and you’ll hear what I’m saying: rest your left-hand bird (middle) finger lightly over the highest fret of your fat E string. Then start chugging out a groove on that string with your pick. While you’re doing that, keep your left-hand finger resting lightly on the string and start moving it slowly towards the nut. You should hear a shit-load of different harmonics all over the string!
Some of my favorite harmonics are located between frets. There are two really cool ones between the 2nd and 3rd frets that I use a lot. One is at about a quarter of the way between the 2nd and 3rd frets and the other is at about three-quarters of the way. They’re pretty hard to get, so once you find ’em make a mental note of exactly where they are.
I use some pretty radical harmonics at the beginning of “Heresy” (“Cowboys From Hell”). FIGURE 1 shows a riff similar to the one I’m talking about and, as you can see, it uses harmonics on the low E string.
The best way to make sure you’re playing this right is to listen to the record real carefully and then find the exact spots where all the guitar harmonics are. Use your ears and your eyes, man–look and listen!
TO BAR OR NOT TO BAR
A lot of guitarists tend to only use harmonics when they want to make weird noises with their whammy bars. That’s cool but, as FIGURE 1 shows, you don’t need a tremolo arm to make harmonics wail. Two of my favorite players, Edward Van Halen and Randy Rhoads, did some real happening things with harmonics without reaching for their bars! FIGURE 2 is similar to the verse riff of “Mouth For War” [“Vulgar Display Of Power”].
In bar 4 I play a simple little fill using harmonics a quarter of the way between the 2nd and 3rd frets on the G and B strings to create a high-pitched percussive sound that gives the riff an extra dimension. And, once again, no whammy shit is going on.
Guitar harmonics s are cool to screw around with, so don’t be afraid to experiment with ’em. As long as you remember to look and listen you’ll do just fine. Next month I’ll tell ya all about how I get my trademark harmonic screams, like the ones at the end of “Cemetery Gates”(“Cowboys From Hell”). Until then…try, fail, live, learn–and die happy trying!
To quickly review, the last four columns have covered the following approaches to ear training: singing the notes of major and minor scales while playing them; playing pairs of notes and identifying the intervallic relationships between the notes; learning to identify different chord qualities (types) solely by hearing them; singing in harmony with single-note riffs and patterns that you play; and trying to recreate “random” sounds on the guitar with your voice.
In This Part, I’ve got a really tricky exercise for anyone who’s up to the challenge. In previous columns, the exercises involved playing notes on the guitar and then singing the same notes immediately afterward. In this exercise, you’re going to do the opposite: you’ll sing the note first, then play it to verify your pitch accuracy.
Before we get to this exercise, let’s review the intervallic relationships between the notes of a major scale and the notes of a chromatic scale. FIGURE 1a illustrates a D major scale in two octaves. First, play and sing each scale degree simultaneously. Then, try to sing each pitch in the scale before playing it, as shown in FIGURE 1b. Do this repeatedly up and down the entire two-octave range of the scale while trying to stay aware of each pitch’s intervallic relationship to the root note.
Now let’s apply the same concept to the chromatic scale, depicted in FIGURE 1c. First play and sing each note simultaneously, and then, as shown in FIGURE 1d, sing each successive pitch before you play it. Do this repeatedly up and down the two-octave range of the scale too. You will notice that singing the chromatic pitches in succession is much tougher; as the notes are only half steps apart, it will take a keen sense of pitch to sing them right on the money.
Now let’s expand the exercise by picking the D note on the fifth string at the fifth fret and singing different intervals above it. As shown in FIGURE 2, pick the D note, then sing the note a fifth above it, which is A. Then play the A note at the seventh fret on the fourth string to verify if you have sung this pitch accurately. Now play the D note again and sing a major seventh above it, C#. After you’ve sung the C# note, check your pitch accuracy by playing the C# note at the sixth fret on the third string.
Another way to approach this same exercise is to say the intervallic name of the pitch while singing it. For example, play a low D and sing the A note above it on the word “fifth” or “five.” When singing C# above the low D, form the words “major seventh” or “seven.” If you do this for all of the pitches you sing, you’ll additionally fortify your knowledge of these intervallic relationships.
These exercises are difficult to master and will require much diligent practice. But start simply; don’t bite off more than you can chew, because you’ll only become frustrated. When you get to the point where you can do this exercise with a high degree of accuracy, your ears will have become quite sharp.
The point of these exercises is to deepen the connection between the notes you play on your instrument and the strength of your mental connection to the pitches you’re playing. Correctly singing intervals before you play them is the first step in putting the mind’s awareness of pitch recognition ahead of simply mimicking what you hear as it’s produced on the instrument. The next big step would be to eliminate the guitar completely and create an exercise of just singing everything, in which it is illegal” to pick up the guitar to check yourself. One fun thing to do is to memorize a favorite guitar solo, learn to sing it in its entirety and, instead of just singing the pitches, recite the interval names as you sing. FIGURE 3 illustrates an example of this approach.
Back when I played with Frank Zappa, I was faced with learning very difficult music in a short period of time. To help, I tried this technique: I’d record the music I needed to learn, and I’d set a timer on my tape player. Then, when I went to bed, I’d have the timer set to start the tape machine when I was sure to be sleeping. I believed that, in this way, I would actually be learning the music in my sleep: the tape would play, and all of this information would be entered into my subconscious. Now, I can’t say whether this really worked, but I was not nearly the musician that some of the guys in the band were, and I always seemed to have the music memorized faster than anyone else.
In last column, I showed you a way to hone your pitch and interval recognition skills by singing in harmony with every note you play on the guitar. To review quickly, we began with a simple A minor pentatonic scale as our area of focus. As each note in the scale was played, we were to sing in harmony a fifth above that pitch: For example, when playing an A note on the sixth string at the fifth fret, we were to simultaneously sing the E note above it (corresponding to the E at the seventh fret on the fifth string); while playing a C note, fifth string, third fret, we were to sing the G note above it (corresponding to the G on the fourth string at the fifth fret).
As you recall, we then applied this concept to chromatic melodies with no particular harmonic base. In other words, I encouraged you to play random pitches on the guitar while consistently singing fifths above these pitches. This exercise is far more challenging than the first one and, accordingly, is that much more beneficial, if you’re up to doing it.
Now let’s expand this exercise to the interval of major thirds. A major third is the note two whole steps above another note, which we’ll call the primary tone—i.e., if the primary tone is G, the major third of G is B, two whole steps higher; if the primary tone is Bb, the major third is D, two whole steps higher.
FIGURE 1a depicts a G minor pentatonic scale (G Bb C D F), while FIGURE 1b illustrates this same scale harmonized in major thirds. First, play the basic scale up and down a bunch of times, while singing in unison with each pitch you play. Then play the harmonized pairs of notes shown in FIGURE 1b while simultaneously singing the thirds above. Next, play only the single-note scale as shown in FIGURE 1a while singing the major third above each note. If you’re unsure of the notes you’re supposed to sing, refer to FIGURE 1b.
Once you feel you’re able to do this, proceed to FIGURES 1c and 1d. Remember, play only the lower note of each major third interval while singing the higher note (shown in parentheses). Start slowly and be sure to sing each harmonized pitch as purely and accurately as possible. Pick up the tempo as you become more comfortable, and then try branching off into your own permutations. I tell ya, you’ll amaze your friends!
Let’s now apply this study to the interval of a fourth. A fourth is the note located two and a half steps above the primary tone—i.e., if the primary tone is G, the fourth is C, two and a half steps higher; if the primary tone is Bb, the fourth is Eb, two and a half steps higher.
FIGURE 2a illustrates the G minor pentatonic scale harmonized in fourths. As you did in the previous examples, first play the harmonized pairs of notes while simultaneously singing the higher note of each pair (the fourth). Next, play only the lower note, which is the single-note scale shown in FIGURE 1a, while singing the fourth above each note as you play it.
You’ll probably find singing the fourth above each note more challenging than singing the fifth or major third, so it may take more practice and patience to get a firm grip on it. Once you get the hang of this, try playing and singing the harmonized melodies depicted in FIGURES 2b and 2c. Again, be sure to sing each harmonized pitch as purely and accurately as possible, and increase the tempo a little each time you practice the exercises.
As you get your ear chops together, don’t be afraid to venture off into unknown territory. Try expanding this concept to the interval of a minor third (one and a half steps above the primary tone) or a tritone (three whole steps above the primary tone), or even a minor ninth (six and one half steps — or an octave plus a half step – above the primary tone). But don’t bite off more than you can chew; anyone trying this for the first time may find it difficult just getting from one note to another while singing intervals of thirds or fourths above. If so, work with two notes only, and then expand to three notes. Who knows — you might even come up with something cool that you end up using in a hit song!
Now close this magazine and start playing and singing everything you play. You can even close your eyes and look to the ceiling. Try bouncing between intervals. Also, try to make odd sounds with your voice or words and attempt to get the guitar to mimic these sounds. And if you do write a hit song, I get half the publishing. Well…maybe not.