Looking online tool finding all chords with 1 note

For example, let’s say that you have a G. It could belong to the chords G, Gm, C, Cm Em, Dsus4, Eb, A7, Am7, and a bunch more.

Is there a online tool where I can find out all the chords for a certain note in this case a G note

Originally Posted by: bcraig4J

For example, let’s say that you have a G. It could belong to the chords G, Gm, C, Cm Em, Dsus4, Eb, A7, Am7, and a bunch more.

You can play any note in any chord. For example, you can add the note G to any given chord. So, the answer is that it is virtually limitless.

You question is kind of like asking is there a list of words that contain the letter "e". Even if you could compile such a list, what are you going to do with it? What practical benefit would it have?

It's probably a better use of your guitar practice time to learn & practice how chords are formed, then work on playing each type of chord (major, minor, dominant 7, 9th, 11th, 13th, suspended, added, etc.).

I have many tutorials on chord theory if you need that material!

Chords & Inversions

https://www.guitartricks.com/tutorial.php?input=824

Major Scale Harmony

https://www.guitartricks.com/tutorial.php?input=2387

Minor Scale Harmony

https://www.guitartricks.com/tutorial.php?input=2393

Dominant 7th Chords

https://www.guitartricks.com/tutorial.php?input=479

Major & Minor 7th Chords

https://www.guitartricks.com/tutorial.php?input=501

Hope that helps!

[br]Hi there Sir,

from Utah

How are You doing?

Even if you could compile such a list, what are you going to do with it? What practical benefit would it have?

let use C note instead of G

Ok First I will start to arrange the notes in the Chord so that top melody is the C note by using inversion

Second I want use voice leading for each chord into the next chord as smooth as possible

but making sure that the C note is always the top note melody

[br]

in my daw Logic Pro X

1 track in a string patch playing just a C note drone

2 track I will be using a piano patch just playing all the chord that had C in them over track1

[br]

I found this I hope others can use it

[br]

Guitar Chord Finder - Enter note names in the box below (with a space between each note) and find out which chord they create:

put in C

[br]

https://www.8notes.com/guitar_chord_chart/chord_finder.asp

[br]

Piano Chord Finder - Enter note names in the box below (with a space between each note) and find out which chord they create:

put in C[br]

https://www.8notes.com/piano_chord_chart/chord_finder.asp

Originally Posted by: bcraig4J

How are You doing?

[/quote]

Fabulous, thanks! How are you? :)[br]

Originally Posted by: bcraig4J

Ok First I will start to arrange the notes in the Chord so that top melody is the C note by using inversion

Second I want use voice leading for each chord into the next chord as smooth as possible

but making sure that the C note is always the top note melody

[p]Voice leading is a wonderful tool! But if C is always the top note then your melody is going to be quite monotone.

Having the chords change under a stationary melody note is called oblique motion. And it can typically work for a measure or two, but after a while, the melody needs variation or to go somewhere. It needs a story arc!

A great example of this is Bach's Air on a G String. At the beginning of the main phrase the melody note stays stationary for 2 bars & into the 3rd! While the chords change underneath.

https://www.youtube.com/watch?v=GMkmQlfOJDk

But notice that the melody eventually does change to different notes to keep things moving along & interesting.

Another more frequently used oblique technique is to have the bass note remain stationary while the chords & melody above provide the motion & interest. Bach again in his Prelude in C Major is a great example.

https://www.youtube.com/watch?v=frxT2qB1POQ

But even there the bass note doesn't always stay on just one note.

Anyway, voice leading is a great concept to understand & use. And oblique motion is one of the types of contrapuntal motions along with similar & contrary. It's a good idea for a composer to be familiar with all these concepts & techniques!

[quote=bcraig4J]1 track in a string patch playing just a C note drone

2 track I will be using a piano patch just playing all the chord that had C in them over track1

With that in mind you might enjoy my series of tutorials on music theory.

https://www.guitartricks.com/collection/music-theory

This lesson in particular mentions voice leading.

https://www.guitartricks.com/lesson.php?input=11531&s_id=495

And this lesson explicitly focuses on oblique motion in the context of harmony lines.

https://www.guitartricks.com/lesson.php?input=24389&s_id=2000

Hope that helps!

Hi Christopher,

Doing perrty good but Utah not so much there has been alot of fires here in Utah due to how dry is.

I will spend sometime studying them

and soon I post a link to a unlisted youtube showing some of these ideas practices

God Bless Sir

used oblique technique Christopher is correct Air is using the melody and Prelude is using the bass?

Originally Posted by: bcraig4J

used oblique technique Christopher is correct Air is using the melody and Prelude is using the bass?

It's typical to call the highest notes present the melody, but in Bach that doesn't really make sense because his music is polyphonic, or uses counterpoint. This means that his music often consists of many melodic threads or lines happening at the same time.

This is also true of Air on a G String. Yes, the high voice is oblique through the 1st 2 measures & the first beat of the 3rd! And yes, this is sort of viewed as the melody. But Bach's music overall is best thought of as a weaving together of independent voices, instead of homophonic style music with a clearly separate single melody line & chordal accompaniment.

There are Bach works more homophonic in nature. But these 2 pieces are pretty typical polyphoni counterpoint.

I hope are you enjoying listening to & analyzing Bach!

Thank You Sir ,

I hope are you enjoying listening to & analyzing Bach!

Yes thank You

Bach's music overall is best thought of as a weaving together of independent voices,

So does this mean that the outer voices ,inner voices

Is this correct that Bach's music has each voice have a melody of their own ?

Outer Voices

1.Soprano

2.Bass

Inner Voices

1.Alto

2.Tenor

Because I thought that the two outer voices

Soprano ,Bass we’re herd much more up front by the listener’s ear

then the inner voices

Alto ,Tenor which blend in

And inner voices Alto ,Tenor

and these voices are to make the rest music sound more fuller and not so hollow sounding

forgive me I just learning😀

Originally Posted by: bcraig4J

Bach's music overall is best thought of as a weaving together of independent voices,

So does this mean that the outer voices ,inner voices

Is this correct that Bach's music has each voice have a melody of their own ?

[/quote]

In general, not always. I'll show you what I mean in an example!

[quote=bcraig4J]

Outer Voices

1.Soprano

2.Bass

Inner Voices

1.Alto

2.Tenor

Because I thought that the two outer voices

Soprano ,Bass we’re herd much more up front by the listener’s ear

then the inner voices

Alto ,Tenor which blend in

Yes! For sure. But keep in mind that in Bach's music, along with much Baroque music, polyphony rules the day! Since the classical period up to modern day the tendency of most music is to have one voice as the melody. And all the other voices or instruments are there to support the melody. In Bach's music you often have the soprano & bass lines are both independent lines carrying equal weight.

Consider any fugue, invention or lute suite by Bach. This video demonstrates polyphony in Bach.

https://www.youtube.com/watch?v=WUm0Y7Sr7XM

The Concerto in D minor for 2 violins is a great example of splitting or sharing the focus of attention for the melodic threads.

https://www.youtube.com/watch?v=teHzIUqs7uU

But that's a pretty dense sound! So with that in mind I think the Air in G is probably more well known & like to the modern day because it's an example of Bach's polyphony that is written in a way that lets each voice have enough sonic space to be heard in turn. The soprano line calms down & holds a note so the bass can be heard clearly. The bass calms down to a single repeated note or simple descending scale line when the soprano gets more active.

Here are the first 12 measures with the focus of attention highlighted! Listen to the piece while looking at the score. Notice that the focus of attetion shifts from one voice to another to form an overall tapestry of sound.

So, yes, you are right that often the outer voices (soprano & bass) are often most prominent, while the inner voices mostly flesh out the overall harmony. But sometimes those inner voices are highlighted! This particular piece is a great example of Bach making the overall sound a little less dense with all the voices being active so that each one has time to shine.

Hope that helps!

Thank You so much Sir for the very visual example I learn so much easier that way 😎👍

I am going to study what You have given me and get back to with questions

I really hope others can learn from all of this

I was wondering is there a way I can rename my main title of the thread ?

Thanks again Christopher 😀

Originally Posted by: bcraig4J

Thank You so much Sir for the very visual example I learn so much easier that way 😎👍

I don't have the admin tools to rename the thread. But I wouldn't worry about that. Once anyone reads through the content they can get the info it contains.

Christopher I going to start a new thread just on voice Leading

I will keep this one for study of Bach which will have voice leading as You have mention

is that ok ?

Originally Posted by: bcraig4J

Christopher I going to start a new thread just on voice Leading

I will keep this one for study of Bach which will have voice leading as You have mention

is that ok ?

Sure, that's fine.