Guitar accompaniment to popular songs. Guitar accompaniment on the synthesizer

For example, we need to harmonize a melody or write an accompaniment for a song, we do the following: choose the key, minor or major; if the melody is written in notes, then the tonality is known, but if there are no notes or we are dealing with a song, we rely on hearing. We try to harmonize in a minor, it doesn’t work - we move to a major. We write out the notes of the tonality, for the frequently used on the guitar La Minor this is la, Xi, Before, Re, Mi, F, Salt. The stable steps are I, IV and V, which means that when harmonizing we mainly use chords formed from the 1st, 4th and 5th notes in this key and parallel to it (parallel La Minor - C major; look - parallel are located one under the other). We need the chords:

Am Dm E 7

For a minor on the 1st and 4th steps, minor chords, on the 5th - a dominant seventh chord, for a major on the 1st and 4th steps, major chords, on the 5th also a dominant seventh chord. In harmonization, generally speaking, all known chords can be used, but these six are the main ones. If, say, the tone we need F major, then the main chords will be:

F H C 7

Dm Gm A 7

Example: we want to pick up chords for an Old French song. It is written in the tone E minor(seen from the notes). Key notes E minor in order: Mi, F, Salt, la, Xi, Before, Re. Notes of a key parallel to it G major: Salt, la, Xi, Before, Re, Mi, Fa. Main chords:

Em Am H 7

However, the chords have already been written, they only need to be selected from the notes:

A new chord always begins with a strong beat, that is, at the same time as a stressed note in music (at the beginning of a measure) or a word stress in a song. Also, at the end of a phrase, the accompaniment very often falls into the tonic through the dominant seventh chord, in this case in Em through H 7 .

And in conclusion, I would like to say the following: any technique, even the best one, has reverse side- it interferes and limits the scope for creativity. If you are learning to play by yourself, it is better to rely on intuition than on books. If you study with a teacher, keep in mind that very often he is not aimed at teaching you how to play, but at teaching. What suits you better: the first or the second is a matter of choice.

There are many sites with guitar backing tracks. We represent what others do not have - guitar backing tracks Russians songs.

"Minus track", speaking on plain language is a music track that lacks one of the instruments or vocals. Hence the name: minus one instrument/part. Most often, we are used to using this term precisely in relation to music in which there is no vocal part of the performer at all, or only the backing vocals accompanying it remain. But there are also instrumental backing tracks, including guitar ones. This means that in the track with special programs removed the guitar part.

The search for backing tracks is also available through the songbook. The page with the backing track contains, as far as possible, tabs and notes for ease of execution.

Guitar backing tracks are created not only for the purpose of learning or training, but also for real performances and even concerts. A fully live performance, for example, in a restaurant is often quite difficult in terms of connection, setup, instrument placement. This affects the final cost for the restaurant and the public. But performances to the phonogram where "live" sounds not only vocals, but also the guitar - much simpler and cheaper. At the same time, that "magic" of a live performance is preserved.

But still, the main role of backing tracks is training. For example, if you need to rehearse the same part of the work at home, or the guitarist simply does not have musicians accompanying him. Often, "minus" is used by musicians to play along with the compositions of their favorite artists. In this case, you can play both the original guitar part and practice the art of improvisation.

The backing tracks of the same song may differ from each other, both in sound quality and in the length of the sound track. In the latter case, this is often due to the fact that the original contains a technique or solo part that is too difficult for an ordinary guitarist to perform, or a large number of repetitions that needed to be reduced.

Today on the Internet you can find great amount backing tracks for guitar for every taste. Unfortunately, the quality of many of them leaves much to be desired. Why is this happening? This is because different methods are used to create a backing track. Conventionally, they can be divided into the following categories:

• Original. Such a backing track is created on recording studio and, often, by the composers themselves. Further use such a track: concert, rehearsal, less often further sale.
• Arrangement. This type of backing track may differ from the original sound, as it is recorded in the studio professional musicians, which simply replay the song, as close as possible to the original.

It is not always possible to find an original or an arrangement on the Internet, so there are also simplified types of backing tracks.

• Slicing. If the quality and structure of the original track allow, then you can cut and “glue” the composition again. At the same time, the pieces in which the guitar part is present are cut out completely, or replaced with specially written and similar in sound.
• Driving. If there is a shortage of cut materials, the missing parts are added in the sequencer.
• Squeeze is a type of processing in which the part of a guitar or any other instrument is muffled using special programs. The quality of the product can be significantly affected in this case. In this case, several types of creating a backing track are combined, simply adding tracks from above.

The guitar is back in fashion, which means that everything more people would like to learn this musical instrument. At the same time, many people are not only interested in the very skill of playing, but would like to learn how to accompany on the guitar, that is, to combine music and singing. This is not as easy as it seems at first glance, and therefore it is best to combine singing and accompaniment while playing with a teacher, if one is available. For example, Alena Kravchenko's school has very talented teachers who can explain very sensibly, but if you are a complete beginner, it will be more useful to play the same guitar with the teacher so that he takes chords, and you play with your right hand.

How to learn to accompany: where to start?

At the same time, he begins to sing softly, and you need to try to sing along without losing the rhythm. It is equally convenient for two to learn and quickly rearrange chords, since the teacher can slowly play with his right hand, and you need to rearrange the chords. Guitar lessons with accompaniment is a rather complicated matter and is not given to everyone and not immediately. Many can master this technique faster during classes with teachers, and someone masters it quite easily on their own.

But if there is no teacher nearby, this does not mean at all that you should not try. At a minimum, you need to carefully study the guitar accompaniment video, where everything is shown and explained in detail. And you need to start practicing on a very light, literally three-chord song. First you just need to sing separately, then play separately to bring your game to automatism, so as not to think, but to play like a robot. As the first songs for training, "Cuckoo" in her simplified version with a fight, and someone will like Okudzhava's "Paper Soldier" on basses with a pinch. Everyone has different tastes, and therefore you need to focus on them so that it is interesting for you to learn guitar accompaniment.

And you should not initially take a song with a bust, since it is definitely more difficult to sing along to it. Let this song be somewhere in the fifth in a row, but definitely not the second and not the first. In any school that teaches guitar accompaniment, you will be told that the first song should not and cannot be very pleasant to you, because the first pancake is always lumpy. In addition, she is always very annoying, and therefore you don’t need to pay too close attention to it - it will be much better later on.

Video guitar accompaniment lessons are really effective teaching material, but you don't need to put a lot of emphasis on theory, you need to practice and practice a lot. It is best to take a specific song and work on it right away, gradually making the task more and more difficult for yourself. It should also be noted right away that learning to accompany the guitar is very difficult, especially if you do not take individual lessons from the teacher, but still it is possible if you follow the sensible recommendations and delve into them.

You can watch a lot of videos on how to accompany on the guitar, but sometimes you can not feel the result, and this is immediately frustrating. You don't need to cross yourself. If this or that type of training does not help you, this does not mean that you will not learn, it means that you need a competent teacher who can explain and understand exactly what the problem is. Try to learn for yourself, especially since guitar accompaniment tutorials and a variety of ways to learn are now available.

If you find that you are singing out of rhythm or your intonation is off, if you cannot control right hand and she goes astray to the words, then there are two scenarios for the development of events. In order to correct the rhythm, it is necessary to develop ear for music and a teacher can help. To fix everything else, you need to bring the game to automatism and not think, but just play, play not with the brain, but with motor skills.

Well, finally, we have come to the most crucial moment in playing the piano. In this lesson, you will learn how to improvise with your left hand. This means that after carefully reading this lesson and working hard, you can easily play any piece the way you like, knowing only the melody and chords to it.

What do you need to know for this?

1. The melody, I hope, you can already reproduce by notes.
2. To be able in their main form (major, minor, diminished).
3. Do chord inversions.
4. Have an idea about different types of accompaniment (accompaniment) and skillfully use them.

Aren't you scared? We have already done half the work, and this is already a lot. There are 3 and 4 points left. Let's look at them in order, then everything will fall into place. And you will understand that there is nothing complicated here (subject to a good assimilation of the first two points).

Until now, you have played these kinds of chords, which are called basic. What does this mean? What this means is that if you play a C or Cm chord (C major or C minor), the lowest note is C. It is the root note of the chord. Further, the notes of the chord are arranged in the following sequence: the main tone is followed by a third, and then a fifth. Let's look at an example.

In a C major chord (C):

• Do is the main tone
• Mi is third
• Salt is a quint

I hope everything is clear?

But in order to play a chord, it is absolutely not necessary to take its main form. Remember from mathematics: “The sum does not change from changing the places of the terms”? The same thing happens when playing a chord. No matter how you take it, in whatever sequence you put the original notes, it will remain the same.

Triad inversion - moving the lower sound of a chord up an octave or higher
the sound of the chord down an octave.

Let's take the familiar C major chord. It will remain so, no matter how we take it, and there are only three options: do-mi-sol, mi-sol-do, salt-do-mi.

What does this knowledge give us? And here's what:

• Appeals allow you to achieve subtle qualitative differences in the sound of a chord
• They also make it possible to be more comfortable with each other

For example, to connect chords C and F, it is enough to change the location of only two notes: we change mi and salt to fa and la (one key higher). In this case, the note "do" remains in place. This is much easier than moving the entire hand from the main C chord to the main F (F-la-do) chord.

Summarize. It is important to remember that the notes included in a chord can be composed in different ways. It is not necessary for the chord to have a root at the bottom. It can be built from any note included in its composition, choosing the type that is convenient for you in this moment, or whichever sound you prefer.

Try to play all the chords you know with their inversions.

It should look something like this:

The next step in mastering the invocations for you will be connecting different chords using different types of their arrangement. The main task at the same time is to keep the most smooth transitions from one chord to another, excluding large jumps between them.

Here is an example of what it should look like:

And now try to play it yourself, using the most smooth transitions from one chord to another:

• In C major - C - Em - Dm - G - C - Em - Am - Dm - F - G - C
• In D major - D - Hm - Em - A - Em - G - A - D
• In F major - F - B (this is B flat) - C - F - Dm - Gm - B - C - F
• well, in G major - G - Em - C - D - G

• big latin letter means you need to play a major chord from that note
• a capital latin letter with a small letter “m” is a minor chord
• major chord consists of b3 + m3 (large and then minor third), minor - vice versa - m3 + b3
• Latin designation of chords: C (do) - D (re) - E (mi) - F (fa) - G (sol) - A (la) - H (si) - B (si flat)

If it doesn't work out, try writing these chords on musical staff, analyze them, finding the shortest way to play them sequentially one after another (with the smoothest voice leading), using calls.

For those who are in music school is engaged in solfeggio, a table with information will certainly be useful,

What steps are chords built on?

Accompaniment

When you have mastered the inversion of triads well, you can start arranging melodies. Namely, add your own accompaniment to it. But how to do that?

Up to this point, you have simply used long chord backgrounds, this type of accompaniment is called "chord accompaniment".

Let's take the well-known melody "A Christmas tree was born in the forest", and using its example we will make an arrangement with different types escorts. Note that its character, depending on the accompaniment, will change, in some places - dramatically.

So, the chord type of accompaniment may not be as boring as you imagine. Incidentally, this is a very versatile type of accompaniment. Such an ostinato accompaniment (that is, a monotonous pulsation, repetition) creates

- at a fast pace - tension, expectation of some kind of denouement or - less often - inspiration, elation

- and at a slow pace - either the effect of a funeral procession, or a soft pitching slow dance

– fully chordal design of both the theme and accompaniment is an excellent tool for climaxes and giving weight, hymnism.

Another type of accompaniment is the alternation of bass and chord. It is also divided into several subspecies:

– when the bass and the rest of the chord are taken

- bass and multiple repetition of a chord (such accompaniment is used, for example, in a waltz)

- well, the most common type of accompaniment is arpeggiated figuration.

Italian word " arpeggio" means "as on a harp." That is, the arpeggio is the performance of chord sounds sequentially, as on a harp, and not simultaneously, as in the chord itself.

There are a large number of types of arpeggios, and, depending on the size, the works can be very different. Here is some of them:

This list can be continued indefinitely. But, perhaps, it is worth stopping so that you can at least master these. In fact, having mastered the basics of accompaniment, you can rely on your own feelings and try to experiment.

So, hold on. Here are some popular melodies with recorded chords. Play them with different types of accompaniment. But do not forget the order of learning the works:

• learn only the melody in the upper voice;
• learn chord accompaniment by playing it with just chords;
• look for the most convenient arrangement of chords, using not only the main type of chords, but also its inversions, ensuring that there are fewer jumps up and down when playing;
• connect the melody and chord accompaniment together;
• add some improvisation by changing the texture of the accompaniment to a more complex one.

Often under the expression " guitar accompaniment" means something very simple. Silly joke, which has become the talk of the town - "can you purr?" - is so beaten up that it resembles one of the greasy jokes about gastric lavage and the extraction of an A minor chord ... when the usual reserve of the body is not enough.

What is really? Three or four chords that received common names: Am(the first "thieves" chord), Dm(second "thieves" chord), E7(the third "thieves" chord) and of course C(aka "ladder")? – Now this approach is no longer relevant.

Years go by, eras change, performance develops. The performed repertoire plays an important role in this context. If 20-30 years ago popular melodies easily fit into primitive four- or five-chord schemes, now the palette musical means expanded significantly.

The influence of jazz and popular foreign music. And along with this, the complication of harmonic means, i.e. - accompaniment. So what is this one accompaniment from point of view guitar performance ?

Consider music from an architectural point of view. The whole palette is divided into: bass, melody, harmonic filling, counterpoint (second melody) and rhythm, which in turn are divided into smaller elements. If we remove the melody from this architecture, we will get the same accompaniment for the melody that will be performed by another instrument. In other words, the musical fabric of the accompaniment can be quite complex and refined.

Professional includes mastery of various rhythmic patterns, the ability to simultaneously combine the bass line with chords. A frequently used technique is the interweaving of independent melodic echoes into the musical fabric. The romances of Malinin and Rachmaninov are slightly different in texture ... Although, if you remove the vocal part, both will be accompaniment.

The main thing that keeps separating good music from bad - it is the presence of taste and skills of the one who creates this music.

Important in the learning process guitar accompaniment to achieve physical comfort in the performance of certain chords and their combinations. And this directly depends on the technical side of the performance and also obeys simple physical laws (muscle structure, contact angles of fingers and strings, rational effective movements, concentration on the right things).