Understanding Music Theory and Chords

>>> Regarding the chord chart for C, above, the lowest note (E, 6th string) can also be played open or fretted at the 3rd fret, either by the same finger as on the 3rd fret, 5th string, or with help from the 4th (pinky) finger. If you can fret both strings (6th & 5th) with one finger, it can apply to the C7 & B7 chords as well. Also, the F chord can be played with the first finger used as a barre all the way across the first fret, covering the F note on the 6th string and using the 4th (pinky) finger to play the 3rd fret on the 5th string (C). This is a 6-note 'movable' (E) barre form you can play all the way up the neck, but probably no need past the center octave. (Double Dot?)

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The basis for music theory is understanding the relationship between musical notes. It is a simple concept, once you grasp the initial twelve-tone scale’s basic interplay unto itself. Then, when applied across the musical spectrum, it broadens to its full appreciation.

The note names use the first seven letters of the alphabet, A to G. This leaves five of the twelve tones to use a sharp (#) or flat (b) reference in positions in amongst the other seven. That is, places between the primary seven that are named by the note before it, or after it, adding a sharp (indication it is one tone higher than the reference note), or a flat (indicating it is one tone lower than the reference note). This means that the five notes between the primary seven each have 2 names: a sharp name and a flat name. The primary seven are called natural notes, while the other five are referred to as sharps &/or flats.

"Accidental" refers to non-scale tones; but this reference implies the key of C.

List is: A, A#/Bb, B, C, C#/Db, D, D#/Eb, E, F, F#/Gb, G, G#/Ab, (A, again, etc.)

When applied to a piano keyboard, the naturals are the white keys, and the other five, (in groups of 2's & 3's) are the smaller, set-back black keys. Take notice that in two places, B and C, plus E and F, no black key exists. These are the two pairs of white keys that are next to each other. Under specific key scale situations, F is called E#, E is called Fb, B is called Cb and C is called B#. Otherwise, these four naturals retain their normal reference. Also, the Flats & Sharps can be referred to by either name, but it is standard to use one or the other according to the key scale they apply to &/or fall in. Otherwise, they are commonly referred to by their flat name in most situations, unless the note in question has been raised by a sharp in a chord. These would be: #3=4th or suspended, #4, #5 or augmented, #9, #11, and any reference to an ascending half-step key change, unless that change goes up to a Flat key. The numbers used here represent the position in a key scale. A key scale is named by its 'Root' note, being the first (& last) note in the scale. As on a piano keyboard, the pattern of white and black keys repeats from left to right, called 'ascending' in tone frequency, or progessively higher pitch. Right to left is called 'decending'; these same terms as in 'going up' or 'coming down' stairs (respectively).

Every kind of 'scale' in music includes or excludes specific notes with-in a range of 13 tones; 12, plus a repeat of the first note. Standard key scales select the basic 7 tones and the 8th is a repeat of the first. Since these standard key scales use a total of 8 notes, the distance between the first and the same note 13 tones higher (or lower) is called an Octave; from the Latin for the number 8. (13 - 5 = 8)

Chords by the Numbers:

1, 3, 5

1, 3, 5, 6

1, 3, 5, 7

1, 3, 5, M7

1, 3, 5, M7, 9

1, 3, 5, 7, b9

1, 3, 5, 7, 9

1, 3, 5, 7, #9

1, 3, 5, 7, 9, 11

1 3, 5, 7, 9, 11, 13

1, m3, 5

1, m3, 5, 6

1, m3, 5, 7

1, m3, 5, M7

1, m3, 5, M7, 9

1, m3, 5, 7, b9

1, m3, 5, 7, 9

1, m3, 5, 7, #9

1, m3, 5, 7, 9, 11

1, m3, 5, 7, 9, 11, 13

1, 3, 5 or 1, m3, 5 means Root (1), Major Third (3), [or Minor Third: m3] and Fifth (5). These two are the Primary Triads. There are three other Triads: Suspended (1, 4, 5), Augmented (1, 3, #5) and Diminished (1, m3, b5). These are not the only possible Triads, but they are the prime ones.

Understanding Chords & Notation

**Please realize that standard typing programs do not allow for the actual written form of the chord names. That is, the chord letter-name is usually twice the size of the number and this designation is placed in the upper half of the space like an exponential, in the same manner as a sharp symbol would be written. The flat symbol is usually half-size in the same position, but can also be found ‘on the line’ or lower half; (which is where the minor ‘m’ or ‘mi’ designation is placed, since it's an alteration to the Triad and not an addition)**

There are many combinations of notes that can be called a chord. The basic format is 3 notes, called a Triad. However, in the age of Rock & Roll, 2 notes, a first (Root) and a fifth have come to be known as a “Power Chord” and was originally symbolized by adding: "no 3d" behind the chord name letter. This has changed to using a number 5 with no brackets, meaning the same thing; “the named root note (first) and fifth only; no third.” Examples: A5 or C# 5 or Gb 5.

The simple major triad has no symbol form beyond the Root note letter-name. When this basic designation is used, it is understood to be read as “Major”. Example: C may be read simply as “C”, but always understood to be “C major”. **(This term should not be confused with the reference to the addition of the Major Seventh note { M7 or Maj7 } to a Triad.)**

The minor triad has a small ‘m’ (or ‘mi’) placed after the Root note letter-name, as in “Dm” or “Dmi”. This indicates that the 3d note of the Triad chord (1-3-5) has been altered and lowered one half step, or one note below its normal and original major 3d position to the minor 3rd position.

The raised or sharped designation of the major 3d note can be noted in several ways. The most used form is the “4” after the root note letter-name. This reference is used when the chord maintains a basic triad or 3-note form. This same altered 3d is designated by the short form of the word suspended (sus) when the chord is more than a basic triad and has additional notes to account for, such as a seventh, a ninth, an eleventh or a thirteenth. These will be applied as follows: sus7, sus9, sus11 and sus13. (More on this type later)

The fifth can also be altered and there are five designations that allow for this. The first is the lowered or flat fifth which is symbolized by a “b5" after the root note letter name. When applied to a basic major triad, it is rare. This designation is usually found applied to the minor triad. Example: Fm (b5). A more common designation uses a zero applied like a temperature degree symbol, simply placed after the root note letter-name. This zero means that BOTH the third and fifth have been lowered (or flatted) and is read as “diminished”.

Also, older symbol styles have used a minus sign (-5) to denote a b5, but should no longer used. This was because lazy notation confused using a minus to also imply a minor chord. The minus sign should no longer be used at all in any chord symbol designations. However, the plus sign has survived to indicate a raised or sharped fifth. The term Augmented, shortened to “aug” is also used. You may see any one of the 3 types: (#5), (+5) or ‘aug’. (Note: “aug5 is redundant.)

The use of the sharp sign (#) for a raised note IN a chord is not common anymore, since it can be confused with the sharp applied to the chord name. Example: F#5 needs to be noted as F (#5) or better yet: F+, so as not to be confused with F# 5, meaning the newer reference to a 2-note (first & fifth) “power-chord”. The two most common styles in use are the simple plus sign after the root note letter-name, or the use of the three letters “aug” in the same position. Examples: C+ or C aug. The plus is used when it refers to a simple augmented triad. The “aug” is more commonly used when there are more than three notes in the augmented chord. Examples: “aug7" or “aug9". This eliminates the possible confusion in reference to a sharp 9 or sharp 13, which, in the past was a problem. Note: Basic standardization over the last 30 some years, calls for brackets around certain alterations and additions to the chord, to separate the info and make the symbol clearly understood. Use brackets whenever there could be any possible confusion reading the chord symbols.

**There is no such thing as a minor augmented chord. (Example: “Em+” or "Em (aug)" is actually a different chord. Raising the 5th (B) to a C changes the root & name.

Reason: When any major chord is altered in this manner, (E, in this case) the root changes; here it becomes a C ...... The 1-3-5 for E is: E, G# & B..... Per the notation instructions: The minor third is a G natural, and the fifth (B), is raised to become a C.This makes the notes E, G, C. The 1-3-5 for a C chord is: C, E, G ...... the same 3 notes. There is no instance for the use of a “sus b5" either. Both of these use a sharp and flat alteration at the same time, which, musically, does not work. As in normal numbers, IE: mathematics, a plus and minus do tend to cancel each other out. In music, they are irrelevant and simply don’t compute.**

This brings us to the fact that there are six basic Triads: major, minor, suspended, flat five, augmented and diminished. The last five are alterations of the original Major Triad. From here, there are only additions to one of the six Triad variations. These are: 6, 7, Maj7, 9, 11 and 13. These can also be altered. Example: flat 9 (b9), or sharp nine (#9). At this point, there are a few unusual aspects that must be understood.

1: When a (“full”) four-note diminished chord is notated, it is written with the zero and a seven (o7).This means that each of the notes in the chord (other than the root note) are lowered or flatted. Therefore, the symbol for the (dominant) seventh addition to the basic diminished Triad has actually become a sixth. If the dominant seventh is NOT to be altered, the chord becomes a minor seventh, flat five. This notation is “m7 (b5)”.

2: For simplicity, when any addition goes above the (dominant) seventh, the seventh (& etc.) are assumed to be included. Examples: a basic ninth has the chord notes 1, 3, 5, 7, 9. An eleventh chord is assumed to contain the chord notes 1, 3, 5, 7, 9, 11, and a thirteenth is assumed to contain the chord notes 1, 3, 5, 7, 9, 11, 13. If certain notes DO NOT appear in the chord form, a simple “no” is used to eliminate that note. Example: C 13 (no 9) means the chord notes are 1, 3, 5, 7, 11, 13. If the chord wanted is 1, 3, 5, 7, 13, it might be written C 13 (no 9 or 11), but is better notated as C7 (add 13). The “add” is most commonly used to denote a basic Triad with an added ninth and no dominant seventh, as in C (add 9), meaning 1,3, 5, 9. (Any note may be eliminated from a chord form, even the third or fifth.)

3: The same principle is used when additions beyond a major seventh are used. Examples: GMaj9, GMaj11 and GMaj13. (You may also see notations G M9, or G Mj9 used.)

**Note: The capitol “M” is used to denote the major seventh note and is never used alone; the number seven (nine, eleven or thirteen) must always accompany it. This eliminates any possible confusion with use of the small minor “m”. Also, since both “m” and “mi” are used and might be mistaken for the M or Mj, it is best to use Maj. This way, a “m7" or “mi7" is less likely to be read as a “Maj7", and vice versa. Unfortunately, some notaters use a small ‘m’ when writing the “maj”, but this is still considered acceptable and valid.**

4: The addition of the sixth note to a basic Triad is noted by the number 6. Examples: A6, Am6 (or Ami6). You may also see the combination of six and nine, usually notated like a fraction, such as: D6/9 ....... It may also be notated as: D6 (add9) Note: A sixth chord is related to a minor seventh because both contain the same four notes, but each has a different Root note. Example: C6 and Am7 both have the same four notes. C6 is C, E, G, A and Am7 is A, C, E, G. (This is the main reason why the sixth is called the relative minor; the musical distance, 3 notes, from the root up to the minor 3rd is the same from the root down to the 6th.)

5: When adding the (dominant) seventh note to a basic Triad, it is only necessary to place a numeral seven after the Root note letter-name, as: F7, or (in the case of minors) Bm7. Since a dominant seven is more common than a major seven, it is not necessary to denote the dominant term. The irony is that the major seven is a note in the basic key scale, whereas the dominant seven (to the Root note) is not. It does, however, appear in scales for other chord forms built out of key or mode scales. (This will be discussed at a later time.)

6: The addition of the Major Seventh to a basic triad is viable primarily to major Triads. It has been used (rarely) with a minor or minor nine, but that is it, except for the few other extension examples mentioned previously: (Maj9, Maj11 and Maj13). In the cases where it has been added to a minor chord form, it is usually bracketed: Am (Maj7), Am (Maj9). How this chord form is voiced or “built”, (IE: note order) can be critical; so, be cautious. In actuality, the usual situation is when a (minor) chord is held against a descending bass line.

7: The next possible addition to a basic Triad is a ninth. The most common is the unaltered ninth, with or without the dominant seventh and occasionally, with the major seventh. The rare use of the flatted ninth and the slightly less rare use of the sharp ninth. Note: Actually there is no such thing as a minor chord with a sharp nine. This is because the sharp ninth IS a minor third in the second octave, but when played against a major third in the first octave, the chord can not be notated as both a Major AND a minor. Therefore, the Major third takes precedence and the minor third is referred to as a sharp nine, since the ninth is one note below the minor third. Raising the nine a half-step overlaps it to the same note.

8: The eleventh is really the 4 in the second octave, but when played against the major third in the first octave, it becomes displaced to the eleventh position reference. (This situation is similar to the sharp nine mentioned just previously.)Besides the 1, 3, 5 Triad, the eleventh is usually accompanied by the dominant seventh and ninth, but is not always. Either one or both may not appear under some conditions, but are expected to be in most cases, unless noted.

9: The last addition is the thirteenth, which is actually the sixth in the first octave. Again, the situation is similar to either of the two mentioned previously. It is displaced when the dominant seventh is used in the first octave. Unlike a 6/9 chord, there is no such reference as a 6/7 chord. The full number reference to a thirteenth is: 1, 3, 5, 7, 9, 11, 13, a seven note chord, possible on a piano, but difficult for the ear to comprehend. There is no practical reference to a chord larger than seven different notes out of the twelve usable tones. Many versions of eleventh and thirteenth chords do not use all the notes assumed to be included.

**Voicing is the term used to indicate note order. Root voicing is the most common, which has the root note as the lowest note and the rest (usually) in order above it. 1, 3, 5, etc.

The “1st Inversion” places the third on the bottom (or lowest note) and the rest (usually) in order above it. 3, 5, 1, etc. The “2nd Inversion” places the fifth on the bottom (or lowest note) and the rest (usually) in order above it. 5, 1, 3, etc. Notes may even be spread out rather than grouped close together, such as: 1---5---3. Both orchestration and individual chordal instruments (like guitar) use chord forms that not only spread notes out, but also skip some and “octave-double” others. The common “E barre” chord on a guitar is voiced: 1---5, 1, 3, 5, 1. The Root note is doubled in each of the two successive octaves, the fifth is repeated and the third is used only once, having been skipped in its lowest possible position.

> The common C chord on guitar or piano has three basic usable voicings.

It may be played: (Piano) 1, 3, 5, or 3, 5, 1, or 5, 1, 3. (Guitar) 5, 1, 3, 5, 1, 3, or 3---1, 3, 5, 1, 3, or 3---1, 3, 5, 1--- 5. How the note order (Voicing) in chords is used may depend on the melody, the bass line, the instrument(s) used, and/or the whim and ear of the composers and performers. Ultimately, the collection and undulation of bass notes, melody/harmony, chord changes, and percussion all combine fluidly for a unique and (hopefully) enjoyable, none the least, interesting audio experience.

One of the best ways for any guitarist to practice when learning new chord forms, is to change from any chord form you already know, to the new one and back or to another you know. This type of practice strengthens your chord knowledge & broadens your musical scope. It can also lead to discovering new changes that might become a new, original song, yours!

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