Chords for Bernstein, The greatest 5 min. in music education
Tempo:
145.2 bpm
Chords used:
F
G
C
A
Bb
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
What we're trying for is a very high overview of musical development in terms of a vocabulary
constantly being enriched by more and more remote and chromatic overtones.
It's as if we could see the whole of music developing from prehistory to the present in two minutes.
Let's [B] again pretend we're hominids and that the smash hit of the moment is, let's say,
Fair Harvard.
Here we are in our hominid hut
crooning [A] [G] Fair Harvard,
thy [F] schools [Bb] divide.
And now maybe our wives and [Bbm] maybe our prepubescent sons join in and
automatically [N] we're singing not in unison, but in octaves since men's and women's voices are naturally an octave apart.
[G] Agni, [Bb] bless [A] ye, [G] sir,
and the remedy.
[A] Now that octave [B] interval, I wish I could sing an octave so I could really show you what I mean,
[A] but that octave interval happens to be the [Eb] first interval of the harmonic series [A] as you remember, right?
[N] Okay, now centuries pass and the next interval of the harmonic series is
assimilated by humanity, namely [A] the fifth.
And now we [G] can be singing this,
I [F] know
[G] [F] Now, [Am] [C] [Bb]
[Fm] of [N] course this little change brings us forward a mere 10 million years
into the 10th century AD and into a fairly sophisticated musical culture.
But now we admit the next interval of the series, the fourth, and
now we can mix intervals of the octave and the fifth and the fourth.
[D] [Gm] [F] [G] [F]
[Bb] [A] [C] [Eb] [D]
[F] [Bb] That's beginning to sound like polyphony.
And again comes a great leap as music absorbs the next overtone, the third, [Am] and
just listen to the difference.
[Gm]
[F] [Gm] [F]
[Cm] [Bb] The whole new music, richer, mellower, with a new
coloristic [N] warmth.
And as we know this new interval of the third, because I like the older sound better, but anyway,
as we know this new interval of the third
[Bbm] introduces into music [Bb] the phenomenon of the triad.
[B] So that now Fair Harvard can begin to sound more like its Victorian self.
[F] [C] [F]
So [Bb] there is born what we now call
tonal music, a
stable [E] tonal language
firmly rooted in the basic notes of the harmonic series.
[G]
The [F] fundamental and its first different overtone, [C] the fifth,
now and forevermore to be known as [F] the tonic and
[C] the dominant.
And [N] that fifth interval really does dominate, because once this tonic-dominant
relationship is established, it's a field day for composers.
There can [F] now be fifths of fifths [G] of fifths of [F] fifths.
Each one of them [G] a
new tonic producing a [E] new dominant, a whole circle of fifths.
[A] Twelve of them, in fact,
[E] always winding up with [N] the starting tone,
with it proceeding upwards, [C] let's say from below C
[G] G, [A] D, A, E, B, F sharp, C Sharp, D Sharp, B F, [C] C.
That's again, C, believe it or not, or
proceeding downwards, starting from that, C, F, D [B] flat, E [Gb] flat, A flat, E flat, [B] [E] B, [B] D, D, B, G, [D] G, D, B, G, D, A, [G] E, [C] B, G, C.
C.
Back to C.
That's a circle of 12 fifths.
[N] And that's the answer I promised you.
That's how we get the 12 different tones
of our chromatic scale.
In other words, if you take all those 12
of the circle of fifths
and put them together in scale order,
you'll get this.
And what's more, those 12 notes
generate a circle of 12 keys
through which, thanks to the perfecting
of the tempered system,
[C] composers can now [D] go [G]
re [E]-wheeling
[A] at their [Gb] own [B] chromatic [Ab] pleasure.
[Db] [Bb] [Ebm] [F]
[G] Now this means [C] that ultimately,
Fair Harvard can sound like this.
[D]
[G] [Db] [Eb]
[C] [Bb] [B]
[N] Now that's chromatic porridge.
And in our own century, it's going to become goulash.
How does music contain this loose, runny chromaticism?
By the basic principle of diatonicism,
that stable relationship of [C] tonics and [G] dominants,
[F] subdominants and [Dm] supertonic,
and new [E] dominants and [A] new tonics.
And we can [N] now modulate as freely as we want,
as chromatically as we want,
and still have complete tonal control.
This great system of tonal controls
was perfected and codified by Bach,
Johann Sebastian Bach,
whose genius was to balance so delicately
and so justly these two forces
of chromaticism and diatonicism,
forces that were equally
constantly being enriched by more and more remote and chromatic overtones.
It's as if we could see the whole of music developing from prehistory to the present in two minutes.
Let's [B] again pretend we're hominids and that the smash hit of the moment is, let's say,
Fair Harvard.
Here we are in our hominid hut
crooning [A] [G] Fair Harvard,
thy [F] schools [Bb] divide.
And now maybe our wives and [Bbm] maybe our prepubescent sons join in and
automatically [N] we're singing not in unison, but in octaves since men's and women's voices are naturally an octave apart.
[G] Agni, [Bb] bless [A] ye, [G] sir,
and the remedy.
[A] Now that octave [B] interval, I wish I could sing an octave so I could really show you what I mean,
[A] but that octave interval happens to be the [Eb] first interval of the harmonic series [A] as you remember, right?
[N] Okay, now centuries pass and the next interval of the harmonic series is
assimilated by humanity, namely [A] the fifth.
And now we [G] can be singing this,
I [F] know
[G] [F] Now, [Am] [C] [Bb]
[Fm] of [N] course this little change brings us forward a mere 10 million years
into the 10th century AD and into a fairly sophisticated musical culture.
But now we admit the next interval of the series, the fourth, and
now we can mix intervals of the octave and the fifth and the fourth.
[D] [Gm] [F] [G] [F]
[Bb] [A] [C] [Eb] [D]
[F] [Bb] That's beginning to sound like polyphony.
And again comes a great leap as music absorbs the next overtone, the third, [Am] and
just listen to the difference.
[Gm]
[F] [Gm] [F]
[Cm] [Bb] The whole new music, richer, mellower, with a new
coloristic [N] warmth.
And as we know this new interval of the third, because I like the older sound better, but anyway,
as we know this new interval of the third
[Bbm] introduces into music [Bb] the phenomenon of the triad.
[B] So that now Fair Harvard can begin to sound more like its Victorian self.
[F] [C] [F]
So [Bb] there is born what we now call
tonal music, a
stable [E] tonal language
firmly rooted in the basic notes of the harmonic series.
[G]
The [F] fundamental and its first different overtone, [C] the fifth,
now and forevermore to be known as [F] the tonic and
[C] the dominant.
And [N] that fifth interval really does dominate, because once this tonic-dominant
relationship is established, it's a field day for composers.
There can [F] now be fifths of fifths [G] of fifths of [F] fifths.
Each one of them [G] a
new tonic producing a [E] new dominant, a whole circle of fifths.
[A] Twelve of them, in fact,
[E] always winding up with [N] the starting tone,
with it proceeding upwards, [C] let's say from below C
[G] G, [A] D, A, E, B, F sharp, C Sharp, D Sharp, B F, [C] C.
That's again, C, believe it or not, or
proceeding downwards, starting from that, C, F, D [B] flat, E [Gb] flat, A flat, E flat, [B] [E] B, [B] D, D, B, G, [D] G, D, B, G, D, A, [G] E, [C] B, G, C.
C.
Back to C.
That's a circle of 12 fifths.
[N] And that's the answer I promised you.
That's how we get the 12 different tones
of our chromatic scale.
In other words, if you take all those 12
of the circle of fifths
and put them together in scale order,
you'll get this.
And what's more, those 12 notes
generate a circle of 12 keys
through which, thanks to the perfecting
of the tempered system,
[C] composers can now [D] go [G]
re [E]-wheeling
[A] at their [Gb] own [B] chromatic [Ab] pleasure.
[Db] [Bb] [Ebm] [F]
[G] Now this means [C] that ultimately,
Fair Harvard can sound like this.
[D]
[G] [Db] [Eb]
[C] [Bb] [B]
[N] Now that's chromatic porridge.
And in our own century, it's going to become goulash.
How does music contain this loose, runny chromaticism?
By the basic principle of diatonicism,
that stable relationship of [C] tonics and [G] dominants,
[F] subdominants and [Dm] supertonic,
and new [E] dominants and [A] new tonics.
And we can [N] now modulate as freely as we want,
as chromatically as we want,
and still have complete tonal control.
This great system of tonal controls
was perfected and codified by Bach,
Johann Sebastian Bach,
whose genius was to balance so delicately
and so justly these two forces
of chromaticism and diatonicism,
forces that were equally
Key:
F
G
C
A
Bb
F
G
C
_ _ _ _ _ _ _ _
_ _ _ _ What we're trying for is a very high overview of musical development in terms of a vocabulary
constantly being enriched by more and more remote and chromatic overtones.
It's as if we could see the whole of music developing from prehistory to the present in two minutes.
_ Let's [B] again pretend we're hominids and that the smash hit of the moment is, let's say, _
Fair Harvard.
_ _ Here we are in our hominid hut
_ crooning _ [A] _ [G] Fair _ Harvard,
thy [F] schools [Bb] divide.
And now maybe our wives and [Bbm] maybe our _ prepubescent sons join in and
automatically [N] we're singing not in unison, but in octaves since men's and women's voices are naturally an octave apart.
_ [G] Agni, _ [Bb] bless [A] ye, [G] sir,
and the remedy.
[A] _ _ Now that octave [B] interval, I wish I could sing an octave so I could really show you what I mean,
[A] but that octave interval happens to be the [Eb] first interval of the harmonic series [A] as you remember, right?
_ [N] Okay, now centuries pass and the next interval of the harmonic series is
assimilated _ by humanity, namely [A] the fifth. _ _
And now we [G] can be singing this,
_ I [F] know
_ [G] [F] Now, _ [Am] _ _ [C] _ [Bb] _
_ _ [Fm] _ _ of [N] course this little change brings us forward a mere 10 million years
_ into the 10th century AD and into a fairly sophisticated musical culture.
_ But now we admit the next interval of the series, the fourth, _ and
now we can mix intervals of the octave and the fifth and the fourth. _
[D] _ [Gm] _ _ [F] _ _ [G] _ [F] _ _
[Bb] _ [A] _ _ [C] _ [Eb] _ _ [D] _ _
[F] _ _ [Bb] _ _ That's beginning to sound like polyphony.
_ And again comes a great leap as music absorbs the next overtone, the third, _ [Am] and
just listen to the difference.
[Gm] _
[F] _ _ [Gm] _ [F] _ _ _ _ _
[Cm] _ [Bb] The whole new music, richer, mellower, with a new
_ coloristic [N] warmth.
And as we know this new interval of the third, because I like the older sound better, but anyway, _
_ _ as we know this new interval of the third
[Bbm] introduces into music [Bb] the phenomenon of the triad.
_ [B] So that now Fair Harvard can begin to sound more like its Victorian self.
[F] _ [C] _ [F] _ _ _ _ _ _
_ _ So [Bb] there is born what we now call
tonal music, _ a
stable [E] tonal language
firmly rooted in the basic notes of the harmonic series.
[G]
The [F] fundamental and its first different overtone, [C] the fifth,
_ now and forevermore to be known as [F] the tonic and
[C] the dominant. _
And [N] that fifth interval really does dominate, because once this tonic-dominant
relationship is established, it's a field day for composers.
There can [F] now be fifths of fifths [G] of fifths of [F] fifths.
Each one of them _ [G] a
new tonic producing a [E] new dominant, a whole circle of fifths.
[A] Twelve of them, in fact,
[E] always winding up with [N] the starting tone,
_ with it proceeding upwards, [C] let's say from below _ C_
[G] G, [A] D, A, E, B, F sharp, C Sharp, D Sharp, B F, _ _ [C] C.
That's again, C, believe it or not, _ _ _ _ or
proceeding downwards, starting from that, C, F, D [B] flat, E [Gb] flat, A flat, E flat, [B] [E] B, [B] D, D, B, G, [D] G, D, B, G, D, A, _ [G] E, [C] B, G, C.
C.
Back to C.
_ That's a circle of 12 fifths.
[N] And that's the answer I promised you.
That's how we get the 12 different tones
of our chromatic scale.
In other words, if you take all those 12
_ of the circle of fifths
and put them together in scale order,
you'll get this. _ _ _ _
_ _ And what's more, those 12 notes
generate a circle of 12 keys _ _
through which, thanks to the perfecting
of the tempered system,
_ [C] composers can now [D] go [G]
re [E]-wheeling
[A] at their [Gb] own [B] chromatic [Ab] pleasure.
_ [Db] _ [Bb] _ _ [Ebm] _ _ [F] _ _
[G] _ _ Now this means [C] that ultimately,
Fair Harvard can sound like this.
_ [D] _ _
_ [G] _ _ _ [Db] _ _ [Eb] _ _
[C] _ _ [Bb] _ _ _ [B] _ _ _
_ [N] Now that's chromatic porridge.
And _ in our own century, it's going to become goulash.
_ _ How does music contain this loose, runny _ _ chromaticism?
By the basic principle of _ diatonicism,
that stable relationship of [C] tonics _ and [G] dominants, _
_ [F] subdominants and _ [Dm] supertonic,
_ and new [E] dominants and [A] new tonics.
_ And we can [N] now modulate as freely as we want,
as chromatically as we want,
and still have complete tonal control. _
_ This _ great system of tonal controls
_ was perfected and codified by Bach,
Johann Sebastian Bach,
_ whose genius was to balance _ _ so delicately
and so justly these two forces
of chromaticism and _ diatonicism,
forces that were equally
_ _ _ _ What we're trying for is a very high overview of musical development in terms of a vocabulary
constantly being enriched by more and more remote and chromatic overtones.
It's as if we could see the whole of music developing from prehistory to the present in two minutes.
_ Let's [B] again pretend we're hominids and that the smash hit of the moment is, let's say, _
Fair Harvard.
_ _ Here we are in our hominid hut
_ crooning _ [A] _ [G] Fair _ Harvard,
thy [F] schools [Bb] divide.
And now maybe our wives and [Bbm] maybe our _ prepubescent sons join in and
automatically [N] we're singing not in unison, but in octaves since men's and women's voices are naturally an octave apart.
_ [G] Agni, _ [Bb] bless [A] ye, [G] sir,
and the remedy.
[A] _ _ Now that octave [B] interval, I wish I could sing an octave so I could really show you what I mean,
[A] but that octave interval happens to be the [Eb] first interval of the harmonic series [A] as you remember, right?
_ [N] Okay, now centuries pass and the next interval of the harmonic series is
assimilated _ by humanity, namely [A] the fifth. _ _
And now we [G] can be singing this,
_ I [F] know
_ [G] [F] Now, _ [Am] _ _ [C] _ [Bb] _
_ _ [Fm] _ _ of [N] course this little change brings us forward a mere 10 million years
_ into the 10th century AD and into a fairly sophisticated musical culture.
_ But now we admit the next interval of the series, the fourth, _ and
now we can mix intervals of the octave and the fifth and the fourth. _
[D] _ [Gm] _ _ [F] _ _ [G] _ [F] _ _
[Bb] _ [A] _ _ [C] _ [Eb] _ _ [D] _ _
[F] _ _ [Bb] _ _ That's beginning to sound like polyphony.
_ And again comes a great leap as music absorbs the next overtone, the third, _ [Am] and
just listen to the difference.
[Gm] _
[F] _ _ [Gm] _ [F] _ _ _ _ _
[Cm] _ [Bb] The whole new music, richer, mellower, with a new
_ coloristic [N] warmth.
And as we know this new interval of the third, because I like the older sound better, but anyway, _
_ _ as we know this new interval of the third
[Bbm] introduces into music [Bb] the phenomenon of the triad.
_ [B] So that now Fair Harvard can begin to sound more like its Victorian self.
[F] _ [C] _ [F] _ _ _ _ _ _
_ _ So [Bb] there is born what we now call
tonal music, _ a
stable [E] tonal language
firmly rooted in the basic notes of the harmonic series.
[G]
The [F] fundamental and its first different overtone, [C] the fifth,
_ now and forevermore to be known as [F] the tonic and
[C] the dominant. _
And [N] that fifth interval really does dominate, because once this tonic-dominant
relationship is established, it's a field day for composers.
There can [F] now be fifths of fifths [G] of fifths of [F] fifths.
Each one of them _ [G] a
new tonic producing a [E] new dominant, a whole circle of fifths.
[A] Twelve of them, in fact,
[E] always winding up with [N] the starting tone,
_ with it proceeding upwards, [C] let's say from below _ C_
[G] G, [A] D, A, E, B, F sharp, C Sharp, D Sharp, B F, _ _ [C] C.
That's again, C, believe it or not, _ _ _ _ or
proceeding downwards, starting from that, C, F, D [B] flat, E [Gb] flat, A flat, E flat, [B] [E] B, [B] D, D, B, G, [D] G, D, B, G, D, A, _ [G] E, [C] B, G, C.
C.
Back to C.
_ That's a circle of 12 fifths.
[N] And that's the answer I promised you.
That's how we get the 12 different tones
of our chromatic scale.
In other words, if you take all those 12
_ of the circle of fifths
and put them together in scale order,
you'll get this. _ _ _ _
_ _ And what's more, those 12 notes
generate a circle of 12 keys _ _
through which, thanks to the perfecting
of the tempered system,
_ [C] composers can now [D] go [G]
re [E]-wheeling
[A] at their [Gb] own [B] chromatic [Ab] pleasure.
_ [Db] _ [Bb] _ _ [Ebm] _ _ [F] _ _
[G] _ _ Now this means [C] that ultimately,
Fair Harvard can sound like this.
_ [D] _ _
_ [G] _ _ _ [Db] _ _ [Eb] _ _
[C] _ _ [Bb] _ _ _ [B] _ _ _
_ [N] Now that's chromatic porridge.
And _ in our own century, it's going to become goulash.
_ _ How does music contain this loose, runny _ _ chromaticism?
By the basic principle of _ diatonicism,
that stable relationship of [C] tonics _ and [G] dominants, _
_ [F] subdominants and _ [Dm] supertonic,
_ and new [E] dominants and [A] new tonics.
_ And we can [N] now modulate as freely as we want,
as chromatically as we want,
and still have complete tonal control. _
_ This _ great system of tonal controls
_ was perfected and codified by Bach,
Johann Sebastian Bach,
_ whose genius was to balance _ _ so delicately
and so justly these two forces
of chromaticism and _ diatonicism,
forces that were equally