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learn piano chords

Quaverbox Manual Answers

Exercise 1.1

No From To Interval
1 C E maj 3rd
2 A G min 7th
3 E F# maj 2nd
4 F Bb perf 4th
5 C A maj 6th
6 G Db dim 5th
7 E F min 2nd
8 C# F# perf 4th
9 A F# maj 6th
10 D C# maj 7th
11 Bb B min 2nd
12 Eb Db min 7th
13 C Ab min 6th
14 Ab Bb maj 2nd
15 G F min 7th
No From To Interval
1 D E maj 2nd
2 A G# maj 7th
3 Bb Eb perf 4th
4 G D perf 5th
5 Eb Gb min 3rd
6 C A maj 6th
7 F Gb min 2nd
8 E Bb dim 5th
9 E D min 7th
10 D B maj 6th
11 G F# maj 7th
12 B E perf 4th
13 C Ab min 6th
14 Bb F perf 5th
15 B D min 3rd

Exercise 4.2

Here is the printed version of what I played on Track 5. Most of my right hand voicings are around the middle of the keyboard as that is where chords sound the richest, however it also makes it more difficult to read the notes as you have to work with ledger lines.  In the attached PDF, I've shifted everything up and octave for easier reading.

Exercise 8.1

Thinking of the relative major each time you come across a m7 chord symbol is very important. For example, when you play Em7, think of playing a G triad in the RH. You're already familiar with the 3 inversions of G major, so you therefore have 3 ways to voice your Em7 chord at your fingertips.

In future chapters, you will learn how to modify a G major triad into say a G2, or Gmaj7 chord. These voicings are also valid options for your RH when playing Em7 and result in richer, more complex minor sounds. So the sooner you associate Em7 with its relative major, G, the easier it will be for you when it comes to creating complex Em chords.

No m7 rel major
1 Bm7 D
2 Em7 G
3 Am7 C
4 Dm7 F
5 Gm7 Bb
6 Cm7 Eb
7 Fm7 Ab
8 C#m7 E
9 F#m7 A