12/1/2016

Exposed:HowGospelMusiciansBacktrackAMajorTriadHearandPlayMusicLearningCenter

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Exposed:HowGospelMusiciansBacktrackAMajorTriad
inGeneralMusic,Gospelmusic,Piano,Theory

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Exposed:HowGospelMusiciansBacktrackAMajorTriadHearandPlayMusicLearningCenter

Like Onepersonlikesthis.Bethefirstofyourfriends.

Youarrivedatthispagebecauseyouwanttolearnhowgospelmusiciansbacktrackamajortriad.
Thebacktrackingconceptisoneofthevitaltechniqueseveryseriousgospelmusicianmustbewith.Althoughmostconceptscaneitherbeclassifiedaseithertraditional
orcontemporary,thebacktrackingconcepthascontinuedtoappealtobothtraditionalandcontemporarylisteners.
Illbetakingyoubythehandandshowingyoustepbystep,theinsandoutsofthebacktrackingconceptinthislesson.

TheBacktrackingConceptExplained
Preliminaries
Chordprogressionsthatdescendinfifthsarethestrongestchordprogressionsintonalmusic.ThestrongestoptionofwhattheCmajorchord:

progressestoistheFmajorchord:

andthisisbecauseafifthbelowC:

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Exposed:HowGospelMusiciansBacktrackAMajorTriadHearandPlayMusicLearningCenter

isF:

ThisCFchordprogressioninthekeyofFmajor:

canbeconsidereda51chordprogressionfromthefifthdegree(akadominant)tothefirstdegree(akatonic)andisthestrongestdiatonicprogressioninthe
keyofFmajor:

Heresthemusicclock:

whichisageometricalrepresentationofthetwelvemusicalnotes:

infourth(counterclockwise)andfifths(clockwise),hence,itscalledthecircleoffourthsorcircleoffifths.
Cisatthe12oclockposition
Gisatthe1oclockposition
Disatthe2oclockposition
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Exposed:HowGospelMusiciansBacktrackAMajorTriadHearandPlayMusicLearningCenter

andsoon,uptoFatthe11oclockposition.

WhatIsBacktracking?
Thetermbacktrackingliterallymeanstoretraceonesstepsandcanbeappliedtooinmusic.Forexample,
youcanbacktracktheCmajortriad:

bygoingcounterclockwise(orretracingyourstepsinthemusicalclock):

fromC(atthe12oclockposition)toF(atthe11oclockposition.)
TobacktracktheCmajortriadyoullhavetoplayanFmajortriad(overConthebass):

beforetheCmajortriad:

CheckOutAnotherExample
TheEmajortriad:

canbebacktrackedbygoingcounterclockwise(orretracingyourstepsinthemusicalclock):

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Exposed:HowGospelMusiciansBacktrackAMajorTriadHearandPlayMusicLearningCenter

fromE(atthe4oclockposition)toA(atthe3oclockposition.)
TobacktracktheEmajortriadyoullhavetoplayanAmajortriad(overEonthebass):

beforetheEmajortriad:

Imcertainthatyouveunderstoodtheconceptofbacktracking,thereforeletsproceedtooneofthemostimportantthingsonemustconsiderwhilebacktracking.

VoiceLeadingConsiderationsInTheBacktrackingConcept
BacktrackingisanawesomeconceptandImgladthatwevedefinedit.However,oneofthethingstoconsiderwhenbacktrackingachordissmoothness.
InthebacktrackingoftheCmajortriad:
Fmajor/C:

Cmajortriad:

themovementfromtheFmajortriadtotheCmajortriadinvolvestwochordsthatareaperfectfourthapartfromeachotherandisnotsmoothwhenplayedorheard
becauseofthelargeintervalbetweenthechordtones.
Usingatechniqueknowntomusicscholarsasvoiceleading:
Thenotesofthechordscanbeconsideredasvoicesorvoiceparts.
Similarvoicesintwoconsecutivechordsshouldberetained.
Othervoicesshouldmovetotheclosestvoicespossible.

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Exposed:HowGospelMusiciansBacktrackAMajorTriadHearandPlayMusicLearningCenter

InthebacktrackingtheCmajortriad:
Fmajor/C:

Cmajortriad:

itisimportantforustoapplyvoiceleadingtechniquesontheFmajor/CchordforasmoothermovementtotheCmajortriad.
Oneoftherulesofvoiceleadingsaysthatsimilarvoicesintwoconsecutivechordsshouldberetained.Asaresult,wellstartbyidentifyingthenote(s)thattheF
majorchord:

andCmajorchord:

haveincommonandthatsC:

Inanutshell,inthemovementfromtheFmajor/CtotheCmajorchord,Cshouldberetained.Thenanotherrulesaysthatothervoicesshouldmovetotheclosestvoices
possible.
ApplyingbothvoiceleadingrulestothebacktrackingoftheCmajortriad,wellhavetheFmajor/Cchord:

movesmoothlytotheCmajortriadbytheretentionofthisC:

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Exposed:HowGospelMusiciansBacktrackAMajorTriadHearandPlayMusicLearningCenter

andthemovementofothervoices(FandA):

totheclosestvoicespossible:
F:

movestoE:

whileA:

movestoG:

Altogether,wellhaveasmootherbacktrackingoftheCmajortriadfromtheFmajor/C:

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Exposed:HowGospelMusiciansBacktrackAMajorTriadHearandPlayMusicLearningCenter

totheCmajortriad:

TheGoalOfBacktracking
Atthispoint,Ifeelitsnecessarytostateoneofthegoalsofbacktracking.Thebacktrackingconceptisprimarilyusedtocreateanticipation.
InthebacktrackingoftheCmajortriad(smoothversion):
Fmajor/C:

Cmajortriad:

thetargetchordistheCmajortriad.However,playingtheFmajor/Cchord:

whichisadisplacementoftheCmajortriadontherighthandcreatesananticipationfortheCmajortriad:
Inanutshell,ifyouwanttocreateananticipationforagivenchord,goaheadandbacktrackit.

FinalWords
Imhappythatyoumadeitthroughtotheendofthislesson.Somanypeoplereadonlytheintroduction,othersstoppedhalfway,butyoumadeitthroughbecauseyou
wanttolearnaboutthebacktrackingconceptandthatsagoodthing.
Goaheadandapplythistechniquethebestwayyouknowhowto,andpleasedontforgettoexploreitinalltwelvekeys.
Allthebestandseeyouinanotherlesson!

Bio

LatestPosts

ChukuOnyemachi
MusicConsultantatHearandPlayMusicGroup

Hello,I'mChukuOnyemachi(aka"Dr.Pokey")amusicologist,pianist,author,clinicianandNigerian.InspiredbymyrolemodelJermaineGriggs,
IstartedteachingmusiciansinmyneighborhoodinApril2005.Today,I'mprivilegedtoworkasamusicconsultantandcontentcreatorwith
HearandPlayMusicGroupsharingmywealthofknowledgewiththousandsofmusiciansacrosstheworld.

Relatedposts:
1.Exposed:TheStructureOfTheMajorTriad
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2.Exposed:TheAltoVoiceInAChordAndWhatToDoWithIt
3.ChoralPerspectivesToTheA&BVoicingsOfMajorSeventhAndMinorSeventhChords
4.CyclicalExercises:A&BVoicingsOfTheMajorSeventhChord
5.WhetherGospelOrJazz,These251ChordProgressionsRock
6.Revealed:TheMagicNumberInRootProgressions
7.Harmonization202:Drop2VoicingOfNeighboringChordCouples

Taggedas:anticipation,backtracking,thebacktrackingconcept

{1commentreaditbeloworaddone}

1Joe
Doesthebacktrackingconceptfunctionsthesamewayasthesus4resolvingonthemajor3rd,oristheiradistinctdifference?
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