Music is a universal language that transcends time. For centuries, the do re mi chord progression has been used as the foundation for countless pieces of music in many different genres and styles. In this article, we explore the fundamentals of do re mi chords to provide you with an understanding of how they work and their significance in music history.
The do re mi chord progression is one of the most widely used in music.
These three chords can be played together or separately for different effects and emotions.
Do, which signifies dominance, creates an intense sound when paired with a minor seventh. Re, which stands for resolution and release, provides more balance to dominant do notes when combined with mi chords that are lower than it is. Mi solos usually signify sadness or longing because they represent yearning and unrequited love.*
The first recordings of this song were made by Claude Debussy in 1899 as part of his “Children’s Corner Suite.” It was originally titled “Serenade For E Flat Piano” but later became known as Mother Goose Land.
Debussy had a fascination with nursery rhymes and songs. He would often compose them for his own children or friends’ children as gifts.*
I chord progression is one of the most widely used in music.
The new and improved do re mi chords are a chord in its own right. This is because it can be used to make other chords, like the C major chord which is comprised of just three notes: do-mi-so.* *A C major triad will use these same intervals but this time arranged as so-do-mi. The interval between the first note (C) and second note (E or E flat) determines whether you’re playing a C minor or major key respectively. If they’re separated by one semitone, then the main tone remains unchanged while the other pitches move around it…
This means that if those two tones were at different octaves, then all of their frequencies would also differ from each , re, and mi.
The do is the root note of your chord; it’s a foundation for everything else you do so it should be on any higher string that has an open space to play with.
The second you’re going to want to play is the fourth fret (or third-string) which will give us our next note: re. And then we’ll finish off this first triad by playing the fifth fret or first string.*
A popular song based around this progression would be “Jingle Bells” where each line in the lyrics repeats up until one point when they change chords like fifty times! This gives us a really happy sound because we always know what we are about to hear before the verse does re mi, do re mi.
or you can try playing it as a C and D chord if you wanted to play these notes instead of the open strings.*
Experiment with different combinations of notes (including chords) to see what sounds best for your song!
Related Reading: “The Anatomy Of A Chord”
Determining The Root Note For Your Chords
Understanding Octaves And Intervals In Music Theory – Part I
Understanding Octaves And Intervals In Music Theory – Part II
There are many variations on this progression that will pop up from time to time; in each case, they’re simply varying which note gets played first. This tutorial was just meant to give an introduction to do re mi chords and to show you how we would play them.
The root note for any chord is the note that will name this particular chord, which in the case of every major or minor triad (so far) starts with either a “do” or a “mi.”
In some cases, it can be difficult to hear exactly what notes are being played by our fingers on guitar strings when they’re not over one another. In these instances, it may help to press down all six open strings first so that we can examine each string individually before moving on to playing different combinations.*
When teaching beginning students about do re mi chords I often use my index finger as a crutch at first; holding your index finger down on the first string at the second fret will give you an “A” note and holding your index finger down on the sixth string at the third fret will give you a “C.”
To move to different chords, we can just release our index finger from one of those two positions – let’s say that it was held in place with my left hand – and then use our right hand to play do re mi combinations. We would now be using all four fingers as well as both hands.
You’ll notice a pattern emerging for how these new chords are formed: they’re always either doing or mi followed by some other letter directly above another if there is only one space between them; but when there is more than one space, do or mi will be followed by the letter that’s on its left.
So for example, if I want to play a “G” chord, my index finger would be put down on the third fret of the sixth string and then moved over one spot up from there; likewise with an “A,” my second finger – which is already in place because it was originally used as a guide when we made our first chord – can just move up one space so that it rests at the fourth fret instead of being held down at the fifth.
These four chords are also known collectively as major chords because they use notes from within what physicists call ‘the diatonic scale’ (or key). This means that G uses only.