I compound chords, literally "compound chords”, Consist of a particular kind of chords generated through the superimposition of harmonic and / or melodic elements of a more or less ambiguous tonal nature, in order to obtain complex harmonic agglomerations.
To the macro-family of compund chord belong two important types of agreements: i polychord and chords superimposed on a bass. In both cases it is possible to study these harmonic agglomerations from multiple perspectives.
In the three videos dedicated to compound chords, the study is limited only to chords superimposed on a bass, with particular reference to those cases in which the harmony generated by such superimposition goes beyond the chord forms commonly used in the tonal field.
I would like to give some useful information to better understand the contents of these short - but intense - lessons:
It is convenient to have the necessary material with you to take notes: given the density of the topics covered in each video, it may take some time to personally elaborate all the points covered;
In the examples, harmony is often used. This choice can cause some confusion. If necessary, a “fragmented” view of the video is recommended, pausing when necessary;
It would be an excellent thing to develop your own personal synthesis of the proposed material, taking the time to transport these harmonic agglomerations on your instrument and / or on the piano;
Often the harmony generated by compound chords it is strongly dissonant, atonal and in contrast with the rules of western music theory. In my opinion, the solution to be able to use this material consists in learning to manage dissonance rather than avoiding it a priori, even when it is generated in a harmonic context that does not follow the "dogmas" of our musical theory. From this perspective, a major seventh chord with an augmented ninth becomes an alternative color to the maj7 chord. What matters is how we handle harmonic tension and how we manage to contextualize those harmonies.
→ In the first video of the series, we are going to explore the compound chords generated by the superposition of major triads on a bass, with particular reference to the so-called hybrid structures or hybrid structure. Giovanni Candia