The OP has presumably seen both of our replies and I'm happy to leave it at that. Can you play "Ben" using single notes instead of chords to which I replied "sure" which for some reason seemed to set you off. But this thread is not about any of that. I only pointed it out because your unprompted combativeness raised my hackles. ![]() I said that triad was spelled incorrectly (it's not tryad according to any dictionary I've seen or anyone other than you spelling it that way), so "there!" Again though, nobody cares. Damn!!Īs long as you are so into re-reading my posts, please note that I did NOT say that dyad was spelled incorrectly. ![]() But touché on noticing that I mispelled "there." I noticed that too but thought I could get away with it. PPS - In the interest of Full Disclosure, I note that I edited this post to change "If you start in B" to "If you start in G." PS - While I regret that I won't have your eternal gratitude for telling you how you "can sound a B7, Am or D7 note specifically by fretting any one of the six single strings at any fret position on the neck" since that is not something that can be done, perhaps I can have just a minute or so of gratitude for letting you know that the correct spelling of "tryads" is "triads." If you start in G, the first line would be the notes G A G F# G A G D D. The OP wants to play the song "Ben" but is having trouble getting all the chords down at this point and asked asked "cant I play this song one note at a time? no chords ? As I stated, you certainly can play the melody line one note at a time. I finished the first paragraph by saying explicity that there "is not a 1-to-1 deterministic relation between a note and a chord." You seem to be reacting as if I told the OP that you can play a particular chord by playing a single note when in fact I said nothing of the sort. I read your post and don't take any issue with it, and I don't see anything in my post that is at odds with what you wrote. In any case, I'm not sure what you are objecting to. Well, I think I only edited a couple of times to add something and to edit for clarity and a type, but since we're being snarky, after reading your post and some of it's tortured verbiage (e.g., "However interminably inquisitive as I am only too aware of my own human frailty rendering capacity to err, if you could explain to me."), I would suggest to you that a little editing is not the worst thing in the world. Like play a chord for "Ben", melody notes for each word "the two of us need look no more", then the same chord for "We" followed by individual notes for each word of the next line ("both found what we were looking for", etc. To make it a little more interesting, you could see how it sounds to play the first chord of each line, and then play some melody notes after that. Having said that, trying the note that the chord is named for would be a reasonable place to start but the melody note could be any note in the chord (which is typically built from at least 3 notes) or even a note that is not in the chord, so you just have to figure it out. The main point I'm trying to make is that their is not a 1-to-1 deterministic relation between a note and a chord. The interaction between (a) the movement of notes and (b) the flow of the chords is, in part, what gives any particular song on rendition of a song is unique character. The progressions of chords limits the options of what notes would sound good but there is still a great deal of freedom in selecting the particular notes to play over those chords. ![]() This is a really imperfect analogy but I think of the relation of the notes to the chords (the melody to the harmonic progression) as being similar to the relation between the path a white water kayaker chooses as he or she navigates the flow and dynamics of a river. The melody notes relate to the chords but it's not as simple as saying that a particular note corresponds to a particular chord. I think you would have to figure that out by ear unless you have some guitar tab that shows you the melody line. You can play the melody line (what you sing or whistle or hear in your head when you sing or whistle or imagine the song) with single notes.
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