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Chord Theory
by Marc-Andre Seguin
In addition, you will find music theory about triads and seventh chords,
how to add extensions, chord equivalents, diatonic chords and finally,
a neat theoretical process to understand what extensions are “allowed”
on jazz chords.
Table of Contents
Part 1………………………………………….Triads and Sevenths
Part 2………………………………………….Adding Extensions
Part 3………………………………………….Equivalents
Part 4………………………………………….Chords from Three Scales
Part 5…………………………………………..The “Chord Extensions
Finder” Technique
Definitions………………………………….A few Generalities, Comments
Their are four main types of triads: major, minor, diminished and
augmented. Hence, triads are basically three notes with the interval of
a third in-between each of them.
As a result, there only only two “types” of third interval where we are
left with only four possible combinations of triads.
MAJOR TRIAD: 1 3 5
Intervals : maj3rd then min3rd (as in C-E-G)
MINOR TRIAD: 1 b3 5
Intervals : min3rd then maj3rd (as in C-Eb-G)
DIMINISHED TRIAD: 1 b3 b5
Intervals : min3rd and min3rd (as in C-Eb-Gb)
AUGMENTED TRIAD: 1 3 #5
Intervals : maj3rd and maj3rd (as in C-E-G#)
Other Triads
Other types of triads (other than 3rd interval) also exist such as SUS4:
1 4 5 and SUS2: 1 2 5. Hence, you can expect to see those two quite a
bit in popular songs. The “SUS” means suspended, because the note
replacing the “3” in both cases is said to be a suspension of that “3”.
Furthermore, there are a couple of other uncommon oddballs too
which we won’t bother naming for now (1 3 b5 and 1 b3 #5).
In addition, for applications on the fretboard, see this “Triads by String
Sets” video:
MAJOR SEVENTH: 1 3 5 7
Intervals within: (all thirds) maj, min, maj
As in C-E-G-B
MINOR SEVENTH: 1 b3 5 b7
Intervals within: (all thirds) min, maj, min
As in C-Eb-G-Bb
DOMINANT SEVENTH: 1 3 5 b7
Intervals within: (all thirds) maj, min, min
As in C-E-G-Bb
MINOR SEVENTH FLAT 5TH: 1 b3 b5 b7
Intervals within: (all thirds) min, min, maj
As in C-Eb-Gb-Bb — (aka “Half-diminished”)
In guitar chord theory for jazz, the “chord types” above are considered
the main 7th chords because they all “live” in the major scale. You’ll
find them by stacking thirds on each note of the major scale. So, it
seems like a good idea for guitarists to learn chords in scales like this,
as explained here.
More 7ths
#11’s
This next one is more appropriately named “maj7th #11” most of the
time because it reflects the Lydian mode, and therefore, is a RAISED
4th (and not a LOWERED 5th). However, it’s fine as long as you know
“what’s what”.
That’s all for the most common 7th chords. But wait! Aren’t we seeing
a lot of “9” and “13” in guitar chord theory? How do we create those
sounds with guitar chord theory? Don’t we just add the 9, 11, or 13th
on top of the chord?
Yes, but not quite. However, we will tackle that very question below in
Part 2.
Part 2
Guitar Chord Theory and Adding Extensions
We will now get into some actual processes for building extensions
onto basic seventh chords (“jazz chords”). You are going to find out
exactly what those pesky 9’s, 11’s and 13 ths are that you keep seeing
beside guitar chords. These symbols are explained below.
So, you’re seeing a chord on a chart that has 13, 11 or 9 (or all of
them!) and you’re probably thinking, “Easy! We had 1-3-5-7 so, let’s
just add 9-11-13 on top!” … right?! Hold on, we’re getting there!
I believe that most of us wouldn’t want to deal with this guitar chord
theory mess:
Yuk! By the time you’re finished computing, the band is already playing
the next tune in the book! So the lesson here is; we can’t go “blindly”
and just build and build more notes above the root using thirds.
Furthermore, on the guitar we’re stuck with playing six notes at a time
maximum! (-:
So, what’s the “guitar chord theory” solution? Well, most of the time,
we wind up playing on parts of chords that have extensions. We often
omit the root and fifth of each chord to make sure we play the
important 3,7,9 etc.. Ideally, we just want to isolate the part of the
chord we really need or want.
Therefore, it’s best to understand the principles. Because, that’s why
you’re reading the guitar chord theory page, right? So, here’s my
suggestion:
First, find the plainest 7th chord that is the closest to your “more
complicated” chord that contains extensions. Then, change one or
more notes from the basic chord *TO* extensions.
However, you may decide (or have to) change more than one note in a
basic shape. Simply keep in mind that the root (1) and the fifth (5) are
usually the first ones you want to sacrifice, and the 3 and 7 are
(mostly) good to keep inside of the new chord. It’s not mandatory, just
very common. Also: if you wind up changing 3-4 notes in your original
chord, you’ll simply be playing a different chord altogether! It’s good to
look at chord equivalents (later in this article) to make your life easier.
Remember: any chord shape you currently know well (even if it’s NOT
a basic 7th chord) can be used in this process. Change one or two
notes and BINGO, you may find some nice extensions. (For instance,
C9 becomes C7(b9) or C7(#9) easily).
Try and come up with new shapes using this little guitar chord theory
trick above on your own. Self-discovery is very powerful. More
powerful in fact than if I simply “gave out” to you all the nice chords
with extensions. (-:
Because it’s often easier to check out the jazz guitar chord theory
equivalents instead of changing all of the notes within a simple 7th
chord, that’s exactly what we’ll do below in
Part 3
Generalities
You should know
about building triads, basic seventh chords and *the idea* behind
extensions. If not, please read the previous parts of this article.
Extensions- In guitar chord theory, we generally label the tones
9, 11 and 13 as extensions. Alterations (b9, #9, #11, b13, etc.)
are also very common, especially on dominant chords.
Important- Most recorded jazz over the past 50 years employs
chords harmonized to the 9th (minimum). The basic 7th chords
are the foundation in guitar chord theory for jazz, but in real life
when jazz musicians play, they always use extensions. As a
result, learning jazz chords like this (at least to this extent: 1-3-5-
7-9) has become crucial.
So, not sure? Okay, here’s an example. You know Em7 chord, right?
What if I told you that from now on, you may play Em7 on your
instrument whenever you see a Cmaj7 on sheet music? Does this
make sense? NO! Hold the presses, because Em7 and Cmaj7 are
completely separate entities in jazz theory. But, if we take a closer
look, we notice that the notes in Em7 are E-G-B-D. Okay. Are these
notes “acceptable” to be played over some kind of C major chord?
We don’t have enough space here to go into every detail, (and into
every key!) so, I’ll simply provide you with a list of common equivalents
found in the “real world” of guitar chord theory for jazz. Because once
you get familiar with a handful of these “tricks” of interchanging. as
mentioned below, you’ll subsequently find more and more uses for the
chords you already know. Hence, my goal once again is to have you
realize that you know LOTS of chords already; you just have to find
more uses for your old stuff. (-:
It’s highly recommend that you work each equivalency out for yourself.
Explore, see how it works. As a result, you will find there’s tremendous
potential for creativity here!
B dim 7 = G7(b9)
Bm7(b5) = G9
Bbmaj7 = Gm9
Dm7 = G9(sus4)
Note: you can take any seventh chord and see its 3-5-7 degrees as a
triad. Subsequently, the same goes with further extensions like 7-9-11
or 9-11-13 which can constitute triads. They’re called upper structure
triads. Explore!
Ab/G
Gives a G7sus4(b9 b13) sound.
Db/G
Is a G7(b9 b5) sound.
G7sus4(b9)
Really cool sound.
Fm/G
Same as above.
A/G
Lydian dominant sound. It’s G13(#11).
What’s Next?
We’ll land our two feet firmly on the earth and talk about diatonic
chords, the harmony that is already present within a scale in its’ natural
state. We’ll use our usual suspects: the major, harmonic minor and
melodic minor scales.
Part 4
Diatonic Chords
In this part you’ll find chord construction for the structure that “lives”
within three common scales: major, harmonic minor and melodic
minor. Of course, each scale contains seven notes and hosts one
chord on every degree, thus creating 21 chords in this part of the guitar
chord theory article.
Generalities
Write the basic triad name and add the highest non-altered
extension degree (either 7, 9, 11 or 13) beside it. Furthermore,
write all the altered notes (b5, b9, and so on) in parenthesis
beside the chord symbol.
In addition, think about this; every chord harmonized up to the 13th
contains seven notes and therefore represents the entire scale.
Subsequently, each new chord contains the exact same seven notes
BUT starts on a different root. As a result, every 13th chord conveys
exactly one mode. You can learn more on this in jazz theory articles
about scale construction.
Up to the 13th: Crazy guitar chord theory!
Chord-by-Chord
Let’s examine the guitar chord theory behind each formula, chord-by-
chord by relating back to each chord’s own root:
C major 13: 1 3 5 7 9 11 13. There are no trouble makers in this
one. It contains NO alteration. The “perfect” chord, so to speak.
Ionian mode.
D minor 13: 1 b3 5 b7 9 11 13. The only alterations are the third
and seventh to make it a minor quality and minor modality.
Reflects the Dorian mode.
E minor 11 (b13, b9): 1 b3 5 b7 b9 11 b13. Minor quality, minor
modality with both b9 and b13. This is the most gentle of the
weird chords. It conveys the Phrygian mode.
F major 13 (#11): 1 3 5 7 9 #11 13. This is only one note away
from the major scale. The #11 makes it sort of “airy” and
“dreamy”. It’s the Lydian mode.
G13: 1 3 5 b7 9 11 13. This is the “perfect dominant” so to
speak, no alteration. Pure Mixolydian mode.
Am11(b13): 1 b3 5 b7 9 11 b13. Easy to hear “modal” minor
scale (also called the natural minor scale). Reflects Aeolian
mode.
Bm11(b13, b9, b5): 1 b3 b5 b7 b9 11 b13. Three “ouch”
alterations present; this is very close to being a completely
altered chord (11th is the exception). Locrian mode.
Therefore, to further understand 13th chords, please also see the
modes explained on the “Scale Construction – Part 3” page…
Guitar Chord Theory and Chords From the Melodic Minor Scale
Subsequently, with triads we have minor triads on i and ii. Major triads
on IV and V and diminished triads on vi and vii. Furthermore,
the exception is an augmented triad on bIII. Especially relevant in the
key of C, is the following depiction.
First of all, let’s examine the guitar chord theory behind each formula,
chord-by-chord by relating back to each chord’s own root.
In triads: We have minor triads on i and iv. Major triads on V and bVI.
Diminished triads on ii and vii and still the augmented triad on bIII. In
the key of C:
So, let’s examine the guitar chord theory behind each formula for the
harmonic minor scale, chord-by-chord by relating back to each chord’s
own root:
Applications
Please do not worry if you cannot grasp everything at once. Learning
guitar chord theory for jazz (and learning with your ears) is a lifelong
endeavour. Simply make sure you come back here often. (-;
For now, see if you can play the basic 7th chords in drop-2 and drop-3
voicings in those three scales. You can also check out how to
approach those “crazy guitar chord theory” 13ths “as complete
arpgeggios” in this article and how to tame them down to be simple
triads and seventh chord arpeggios in this article.
Part 5
This chord extensions primer can help you visualize both the
components of chords AND scales. Extensions are both vertical and
horizontal!
Note the flat 9 in the following scale. Read on to find out why and how
it is a flat 9.
The process described in the following paragraphs will allow you to find
what extensions “are good” (viable and good sounding) and which
extensions you cannot use most of the time. There’s only one “rule” in
guitar chord theory for this and it’s the “b9 rule”. In short: we want
to avoid having the interval of a b9 within a chord.
A “b9” is created by adding one or many extensions!
Truth be told, after you do this once for a certain chord function, you’re
set! You’ll find the ones that are common-place and all the other ones
that are usually avoided.
Have fun! Guitar chord theory rules!
Let’s do it!
Ok, so here it is! It’s going to be a bit more involved on the jazz theory
side of building extensions so you’ll need a piece of paper and some
time to puzzle things out for yourself.
1. Write a scale down (two octaves);
2. Define the 7th chord;
3. Define the 9, 11 and 13 extensions;
4. Determine which of the three above are available according to
the “b9 Rule”;
5. Rinse and repeat.
The last step refers to using the next mode available. For example, if
you just found the available extensions on a C major chord, why not
use the same process from D to D and find the available extensions on
the IIm7 (Dm7) chord in the key of C major, etc.
3: Write 9-11-13
4: Apply the “b9 Rule”
Don’t forget to use the degree numbers. For instance, Dm7 in C major
(dorian mode) is 1 b3 5 b7 9 11 13, and always use proper degrees
whereby you’ll find beautiful extensions such as #11 and b13!
Definitions