Money Chords is a comprehensive reference book of popular chord progressions. It identifies the eighty most popular chord progressions that have been used time and again to write hit songs and twelve tools to create them. The book is the result of the compilation and analysis of a representative sampling of over two thousand popular chord progressions that took several years to compile. Chord progressions are categorized both chronologically and by progression type. Chronological listings identify progression types common to a specific time period and the evolution of various progression types. Progression type listings compare how the best songwriters and performers have utilized similar chord progressions. Money Chords is intended to be a songwriter’s tool box to help stimulate the creation of many more great songs in the new millenium.

Reprint of the original, first published in 1877.

Edited by Valerie Chartrain. Foreword by The Princess Of Hanover. Text by Andre Cadere, Jorg Heiser.

Each chapter of Chord Progressions For Songwriters provides a comprehensive self-contained lesson on one of twenty-one popular chord progressions that every songwriter should know inside and out. Lessons cover ascending, basic (I-IV), blues, circle (VI-II-V-I), classic rock (I-bVII-IV), combination, descending, doo-wop (I-VIm-IV-V), ending, flamenco (Im-bVII-bVI-V), folk (I-V), introduction, jazz (IIm-V-I), minor blues, one-chord, pedal point, rock and roll (I-IV-V), standard (I-VIm-IIm-V), and turnaround progressions as well as rhythm and Coltrane changes. You will learn how key, duration, substitution, variation (adding or subtracting chords), and displacement (rearranged chord orders) are used to vary the sound of each progression. You will also take a look at the author’s songwriter’s notebook and work through exercises to reinforce key chapter concepts and get you started building your own progressions.

On odd days, Tripp uses a school practice room to let loose on a borrowed guitar. Eyes closed, strumming that beat-up instrument, Tripp escapes to a world where only the music matters. On even days, Lyla Marks uses the same practice room. To Tripp, she's trying to become even more perfect—she's already a straight-A student and an award-winning cellist. But when Lyla begins leaving notes for him in between the strings of the guitar, his life intersects with hers in a way he never expected. What starts as a series of snippy notes quickly blossoms into the sharing of interests and secrets and dreams, and the forging of a very unlikely friendship. Challenging each other to write songs, they begin to connect, even though circumstances threaten to tear them apart. From beloved author Mary Amato comes a YA novel of wit and wisdom, both heartfelt and heart­breaking, about the power of music and the unexpected chords that draw us together.

(Guitar Educational). This handy booklet includes 120 of the most commonly used chords, as well as information on chord theory and easy-reference diagrams.

This method uses the great capabilities of the electronic keyboard to teach keyboard musicianship. Book 1 teaches 2nds, 3rds, 4ths and 5ths in C and G positions; 4/4 and 3/4 time signatures; whole, half, and quarter notes; rests; basic note reading; musical terms; 'single-fingered' chords and 'fingered' G and D7 chords.

This book is designed to be useful for guitarists at any skill level. Beginners can use it as an introduction to the foundational concepts of the instrument, intermediate players can use it for training and theoretical work, and advanced players can explore the sections on advanced theory, extended technique and the exhaustive tables of melodic and rhythmic possibilities. It is divided into two parts: pitch and rhythm. Part 1 (pitch) begins with the properties of string, harmonics, and tuning systems. It then moves methodically through pitch information, beginning with locating all versions of a single pitch, building pentatonic, heptatonic, and all possible symmetrical scales. This is followed by a study of intervals, with all possible locations of every two pitches, and a long study that moves through every possible fingering of three pitches, with a series of exercises to master triadic syntax. Part 1 closes with a study of four-pitch structures and complete tables that show all possible pitch sets in circular visual notation. Part 2 (rhythm) begins with a complete course in "Symmetrical Picking," a method based on drum rudiments that builds control in the picking hand through an exhaustive variety of movements. The focus of this section is building a strong rhythmic foundation, with a focus on efficiency, accuracy, speed, dynamics, and groove. It is followed by a study of legato playing, working with ornaments and slides. The study of playing with fingers on multiple strings takes up the remainder of the book. This begins with the study of pulse against pulse, playing two simultaneous tempos. The book concludes with a study of polyrhythm, playing one rhythm against another. Plain English is used as much as possible to describe theoretical concepts, and hundreds of illustrations were made for the book as an aid to those who either don't speak English or prefer to think visually. This approach is designed to be inclusive and to promote creative practice. The main idea of the book is described in this passage (page 154): "Even in this small area there is a lot of material, potentially a lifetime of study. The amount of information can feel overwhelming to students at any level. For this reason, the book is designed for self-directed practice, with an emphasis on what the player "could" do, rather than what the player "should" do. The principle is to develop your own learning process, rather than following someone else's. The ability to make choices is essential in finding a personal approach to the instrument. Pick and choose the studies that seem interesting - there should be enough variety to accommodate a wide range of personalities. If any particular concept or exercise has been useful as the starting point for a new creative direction, then the book has done its job. Its purpose is not to push any dogma, method, or style, but to open the door to options for guitarists of any background that are looking for new perspectives.