How do you transpose the piano? How piano chords are transposed

If it's a grand piano, step on the third pedal from left.

1st and 3rd chords.

Rotation of the first rotation of the stool.

The third chord has no root note.

In addition, there are two tones (three tones and five tones) so it can have two inversions, with three tones as the lowest note, which is called "first inversion", and five notes as the lowest tone, called the second inversion.

The first inversion of the third chord was followed by a new name, called the "sixth chord". This is because the relationship between the three tones, which are the lowest notes, is at this time six degrees in relation to the root note (the highest note), hence the name "six chords", which are still written in Arabic numerals.

6. Make a mark. 2. The second inversion of the third chord.

When the fifth note of the third chord is the lowest note, this is the "second inversion", and the second inversion of the third chord is called the "fourth and sixth chord", because the relationship between the fifth note and the root note at the lowest note at this time is the fourth degree, and the relationship with the highest note is six degrees, hence the name "fourth and sixth chord". The mark is still written with the numbers 4 and 6, but the way to write is 4 at the bottom and 6 at the top.

3. Seventh chord.

Transposition First Transposition.

The principle of the inversion of the seventh chord is the same as that of the third chord, except that the seventh chord has three notes in addition to the root note, so the seventh chord can have three inversions. The "first inversion" is still based on the third note as the lowest note and the root note as the highest note, and its first inversion is called "five or six chords".

4. The second inversion of the seventh chord.

The "second inversion" is the lowest note of the pentatonic note, and the name of this inverted chord is "third and fourth chords".

5. The third inversion of the seventh chord.

The "third inversion" is based on the seventh note as the lowest note, and the name of this inversion is called "second chord", which is marked "2". In addition, to distinguish the seventh chord from the third chord, the original seventh chord is marked with the Arabic numeral "7".

Since there is no automatic transposition function in the piano, you must be familiar with the 24 major and minor keys in order to switch freely. The 24 major and minor keys of the scale are more important and useful. Many large sonatas, music, and concertos have scales in many places, so it is necessary to master the scales well.

If you play the scale, you should pay attention to the sound of all the sounds, not light and heavy, you must pay attention to the control ability of the fingers, if you play the scale when there are still heavy and light, the control of the dynamics is not good, you may not be able to play the timbre and melody that you are satisfied with.

There are two types of 8-degree technique, the first one is performed with only the wrist and the second one is done with the arm and wrist. Wrist skills are required to play a long 8-degree segment, and arm strength is required to play a small 8-degree segment at the end of the length.

In this way, the imposing effect can be popped. If it is an 8-degree clip with the same two hands, you need to use the wrist and arm together, and if you only use the wrist or arm, it is difficult to pop the FF strength and jump well.

The key of G is Gabcde FG; D is DE FGAB C etc. If you have a good foundation in music theory, you will be able to understand it at all. Directly from G to F or A, F is F g a bb c d e f ; A is a b c d e f g. When transposing, you just need to grasp the same note and play it according to the law of "half of two, half of three". In the case of staves, the use of a fixed solfège is the basis for transposition.

Transpose Method:

1. Natural chord transposition: Using the natural chord common to the two keys as the medium, the chord is functionally transformed according to the scale of the new key, and the chord that clearly belongs to the new key is led to the new key, and affirmed by the constriction.

2. Variable chord transposition: The common chord used as a transposition medium is the natural chord of one key, and the other key is a variable chord, or both keys are variable chords.

3. Equal chord transposition: Transform a note or number of notes in a common chord into an equal tone to make it a chord of a new key, and continue according to the tendency of the new key.

The modulation with a single note as the medium is called the common tone transposition, and the chord notes of the main chord of the pre-key and post-key are often used as the medium. The modulation of a fragment of melody as a medium is called melodic modulation. The modulation of the medium with the harmony of fragments is mainly used for modulation and modulation, also known as transposition.

Pop him up according to the key of C, because the change of key only moves the position of the key of C and changes the position of the next one, and the law in it is unchanged.

Look at the position of his current do and C do, and count how many notes are spaced in the middle. His current do falls on **, if the do in the key of e is on e, and his do is on e, that is the key of e, depending on which note his do falls on, it is what key.

For example, C key 1155665, E key is to move 1 to 3 according to this law, and the law remains the same, or 1155665, the position has changed. Play his current key in C and see where his Do in E is in what key.

Yes?? The first time I heard about playing a piano tune... It's not the accompaniment of the song, why do you transpose it, it's against the original intention of the composer.

It's not difficult if you have to turn it, for example, you have to play the key of G to play the key A, so you can use the second degree of play, and so on.

First inversion of the first and third chord inversions.

In addition to the root note, the third chord has two celery middle notes (third note and fifth note), so it can have two inversions, with the third note as the lowest note, which is called the "first inversion", and the fifth note as the lowest note, called the second inversion.

The first inversion of the third chord was followed by a new name, called the "sixth chord". This is because the relationship between the three tones, which is the lowest note, is now six degrees in relation to the root note (the highest note), hence the name "six chords", which are still marked with the Arabic numeral 6 when notation.

2. The second inversion of the third chord.

When the fifth note of the third chord is the lowest note, this is the "second inversion", and the second inversion of the third chord is called the "fourth and sixth chord", because the relationship between the fifth note and the root note at the lowest note at this time is the fourth degree, and the relationship with the highest note is six degrees, hence the name "fourth and sixth chord". The mark is still written with Arabic numerals, 4 and 6, but the way it is written is 4 at the bottom and 6 at the top.

3. The first inversion of the seventh chord.

The principle of inversion of the seventh chord is the same as that of the third chord, except that the seventh chord has three notes in addition to the root note, so the seventh chord can have three inversions. The "first inversion" is still based on the third note as the lowest note and the root note as the highest note, and its first inversion is called "five or six chords".

4. The second inversion of the seventh chord.

The "second inversion" is the lowest note of the pentatonic note, and the name of this inverted chord is "third and fourth chords".

5. The third inversion of the seventh chord.

The "third inversion" is based on the seventh note as the lowest note, and the name of this inversion is called "second chord", which is marked "2". In addition, to distinguish the seventh chord from the third chord, the original seventh chord is marked with the Arabic numeral "7".

Splitting a column chord is splitting a chord, so splitting a chord also has the same inversion as a column chord.

For example, the column chord 1 (treble) 531 that sounds at the same time is the 1 3 5 1 (treble) that sounds from the bottom up in a sequential order.

Also, you said that the bass connection of the chords needs to be smooth or melodic. Column chords have the same harmonic effect when they are played as a deformed chord. The difference is just that

The time value of the column chord is longer (mostly 4th notes, as large as 2nd notes or even longer, the smallest is 8th notes), its rhythm is longer and slower, and it is suitable for expressing stable and majestic emotions, such as marches and carols (but when the dynamics are very weak, it can also express serene and calm emotions); Broken chords are generally shorter and have a faster tempo, generally 8th or 16th notes, which are suitable for expressing smooth and gentle emotions, such as lyrical ** (but when the dynamics are strengthened, they can also express intense and tense emotions).

Example. C major.

Major third chords. Original position.

With one-three-five fingers. 2nd transposition.

Use one, two, five fingers.

The third turn is 513

With one-three-five. If yes.

Major third chord of octaves.

In situ 1351

With one, two, three, five.

Finger. The first turn is 3513

Use one, two, four, five fingers. Second transposition.

With one, two, four, five.

Other keys should be based on the specific key, just like the scale, the fingering can not be exactly the same, the general principle, in the case of being able to play these notes, how to play comfortably, how to play smoothly, it is recommended to buy a book of scales and chord arpeggios, the book has detailed fingering, so that you don't want to try it yourself.

a harmony) minor scale (6 = a, (treble)

, its major third chord: 6, (treble, genus third chord: 3, ; Genus Seven Chords:

, (treble) 2; subordinate triad ; Upper third chord: 7, (treble; Middle 3rd chord, 5;Lower middle third chord, (treble) 1; Leading third chord: , (treble) 2

Mainly for the convenience of notation.

After the transposition, the temporary uphill and backward marks that were originally written before each note can be written after the clef, thus working on an entire line. The temporary ascending and descending notation only works on the homonyms within the measure, and if the key signature is not written, the beatmap will be a mess, and it will be difficult to write, analyze, and read the score.

In addition, the tonality came from the West, and the West does not use simple notation. Therefore, it is difficult for you to trace the tonality on the simple notation, but you can intuitively see the difference between the scores after the tonality is given on the staves.