Chords Workshop by Mark Fowler. Based mostly on: – 2 straight-forward articles
by David Hamburger in Acoustic. Guitar Magazine (August & September 2003).
Chords Workshop by Mark Fowler Based mostly on: – 2 straight-forward articles by David Hamburger in Acoustic Guitar Magazine (August & September 2003) • http://acousticguitar.com/lessons/Chord_Names/1.html • http://acousticguitar.com/lessons/Chord_Names2/1.html – What Makes Music Work, a book by P. Seyer, A. Novick, & P. Harmon • http://www.lovemusiclovedance.com/what_makes_music_work.htm • An amazingly simple but effective little book!!
– Chords & Progressions for Jazz and Popular Guitar, a book by Arnie Berle – Wikipedia Entry • http://en.wikipedia.org/wiki/Chord_notation
Got Questions?
[email protected] Get Full-Size, Full-Color Handout: http://www.ws.binghamton.edu/fowler (Click on “Other”)
Next
1/44
What We’ll Cover • Part Ia – What notes are in the “normal” chords?
• Part Ib – What notes are in the “weird” chords?
• Part II – How do you play the “weird” chords?
• Part III – When do you use the “weird” chords? Next 2/44
Part Ia What Notes Are In The “Normal” Chords?
Next 3/44
What is a Chord? • Three or more different notes played together
What Makes a Certain Chord? • It depends on the “Intervals” (i.e., distance) between the notes
What Is an Interval? • A measure of the distance between two notes • Interval names are based on positions in scales – Actually, they are really based on the # of “half steps” between the notes Note: 2 notes a half step apart are one fret apart
Next 4/44
Intervals within the C Major Scale “b7th” (Minor 7th)
H
C
Major 7th
B
W
Bb
Major 6th
A
W
G#
Perfect 5th
G
W
F# F
Perfect 4th
H Minor 3rd
Major 3rd
E
W
Eb D
W
C# C
Major 2nd Next 5/44
Intervals Between Strings On The Guitar ¾ 4ths
A 4th “up” is a 5th “down”
¾ 5ths
Adjacent Strgs
¾ Maj 3rds
¾ Min 3rds
Skipped Strgs
Next
6/44
Triads – Simplest Chords There are only 4 types of triads: ¾ Major
¾ Minor
R35
R b3 5
¾ Diminished
¾ Augmented
R b3 b5
R 3 #5
C
C
C
C
B Bb A G# G Gb
B Bb A G# G Gb
B Bb A G# G Gb
B Bb A G# G Gb
F E Eb D C# C
Perfect 5th Major 3rd
F E Eb D C#
Perfect 5th
Minor 3rd
C
These constitute about 99% of the chords you see traditionally in a fiddle tune
F E Eb D C# C
Flat 5th Minor 3rd
F E Eb D C#
Sharp 5th
Major 3rd
C
We won’t be needing these! Next
7/44
Triads-Based Guitar Chords: An Example C Minor
C Major
4 1 0 1 x
3 2 0 1 0
Note: In a typical Guitar Chord-Form we often repeat triad notes CEGCE R 35 R3
¾ Major R35
C Eb G C R b3 5 R
¾ Minor R b3 5
C
C
B Bb A G# G Gb
B Bb A G# G Gb
F E Eb D C# C
Perfect 5th Major 3rd
F E Eb D C# C
Perfect 5th
Minor 3rd Next 8/44
Triads-Based Guitar Chords: Another Example D Major
D Minor
0 0 1 3 2
0 0 2 3 1
In some Guitar ChordForms the triad notes don’t appear “in order” A D A D F# 5 R5R 3
ADADF 5 R 5 R b3
¾ Major R35
¾ Minor R b3 5
D C# C
D C# C
B Bb A G# G F#
B Bb
F E Eb D
Perfect 5th
Perfect 5th
A
Major 3rd
G# G F# F E Eb D
Minor 3rd Next 9/44
Part Ib What Notes Are In These “Weird” Chords?
Next 10/44
Bigger Intervals (shown relative to C in C major scale) C 1
D 2
E F 3 4
G A 5 6
B 7
C 8
D E F G A B C 9 10 11 12 13 14 15
Next 11/44
Nearly-Complete Jazz Chord “Family Tree” For Jazz Chords: sequentially add other notes to a maj/min triad Note the main pattern: 1 3 5 7 9 11 13 b3 b7 Major Triad Add 6
These are the “Dominants”
Add b7
Add 7
Add 6
Add b7
Maj7 1 357
7 1 3 5 b7
m6 1 5 6
m(maj7) 1 b3 5 7
Maj6/9 13569
Maj9 13579
9 1 3 5 b7 9
m6/9 1 b3 5 6 9
m(maj9) 1 b3 5 7 9
Maj13 1 3 5 7 9 (11) 13
11 1 (3) 5 b7 9 11 13 1 3 5 b7 9 (11) 13
b3
Add bb7
Add 7
Maj6 1 356
Maj11 1 (3) 5 7 9 11
Dim Triad
Minor Triad
Notes in ( ) are usually omitted. It is common to leave out other notes too, especially on guitar
m7 1 5 b7 b3
dim 7 1 b3 b5 bb7
m9 5 b7 9
1
b3
1
b3
m11 5 b7 9 11
1
b3
m13 5 9 (11) 13
= 6!!
b7
Altered Chords (e.g., A7#5b9): Raise or Lower the 5, 9, 11, or 13
Next 12/44
Part II How Do You Play These “Weird” Chords?
Next 13/44
An Example C7
C Major 3 2 0 1 0
3 2 4 1 x
C E Bb C R 3 b7 R
CEG CE R 35 R 3
¾ Major
R 3 5 b7
C
C
B Bb A G# G Gb
B Bb A G# G Gb
F E Eb D C# C
Major 3rd
3 2 4 1 x
¾ Dom 7
R35
Perfect 5th
For this form we sacrifice the 5th !
This now becomes “Movable” D7
F E Eb D C# C
b7th
D F# C D R 3 b7 R
E7
Perfect 5th
3 2 4 1 x
V Major 3rd
E G# D E R 3 b7 R
Next 14/44
A Structure-Based Approach: A
AMaj7
A7
0 2 1 3 0
0 2 1 3 0
0 2 0 3 0
A E A C# E R5 R3 5
A E G# C# E R5 73 5
A E G C# E R 5 b7 3 5
C
CMaj7
C7
1 2 3 4 1
1 3 2 4 1
1 3 1 4 1
Find a Root and Keep Lowering It
Make It Movable:
III
III
CGC EG R5 R 3 5
III
CGB EG R5 7 3 5
C G Bb E G R 5 b7 3 5
Next 15/44
More Examples of that Rule: G
Gmaj7
G7
Find a Root and Keep Lowering It G6
3 2 0 0 0 4
3 2 0 0 0 1
3 2 0 0 0 1
3 2 0 0 0 0
GB DGBG R 3 5 R 3R
G B D G B F# R 3 5 R 37
GB DGBF R 3 5 R 3 b7
GB DGBE R 3 5 R 36
D
Dmaj7
D7
D6
0 0 1 3 2
0 0 1 1 1
0 0 2 1 3
0 0 2 0 3
A D A D F# 5 R 5 R 3
A D A C # F# 5 R 5 7 3
A D A C F# 5 R 5 b7 3
A D A C F# 5 R 5 6 3
Next 16/44
Another Structure-Based Rule: G6
G 1 3 4 2 1 1
III
G7
1 3 x 2 1 1
1 3 x 2 1 1
GD R 5
GD R 5
Find a 5th and Keep Raising It
III
GDGB DG R 5R 3 5R
B EG 3 6R
B F G 3 b7 R
Or Use Our 1st Rule: Lowering a Root
G 1
Gmaj7
4 3 2
1
III
4 2 1
III
GDGB DG R 5R 3 5R
G7 1
2 4 3
III
G R
F# B D 7 3 5
G6 2
1 4 3
G R
E BD 6 3 5
III
G R
F BD 3 5
b7
Gray Circles = notes left out to make the new chords playable playable!!!
Next 17/44
And More: A
1 3 4 2 1 1
V A E A C# E A R 5R 3 5R
Find the Maj 3rd and lower it
Ammaj7
Am 1 3 4 1 1 1
V
1 3 2 1 1 1
AEA C EA R 5 R b3 5 R
2 x 1 3 3 3
1 3 1 1 1 1
V
V
Am6
Am7
A E G# C E A R 5 7 b3 5 R
V AEG C EA R 5 b7 b3 5 R
A F# C E A R 6 b3 5 R
2 x 3 3 3 3
Find a Root and keep lowering it
V A R
G C EA 5R
“Certified Jazzer’s Form”
Next
b7 b3
18/44
Another Rule: Making the dom 9th Chord C7
Find a Root and Raise It
3 2 4 1 x
¾ Dom 9 R 3 5 b7 9
D C#
9th
C E Bb C R 3 b7 R
Recall: For this form we sacrificed the 5th !
This form is movable D9 2 1 3 3 3
IV
C B Bb A G# G Gb
b7th
F E Eb D C#
3rd
C
C9 2 1 3 4 x
C9
D F# C E A R 3 b7 9 5
2 1 3 3 3
5th
E9 2 1 3 3 3
V C E Bb D R 3 b7 9
Here we gain back the 5th !
C E Bb D G R 3 b7 9 5 E G# D F# B R 3 b7 9 5
Next
19/44
Part III How Do You Use These “Weird” Chords?
Next 20/44
Triads Harmonize the Scale Choose triad type so that each chord uses only scale tones I:G
ii:Am
iii:Bm
IV:C
V:D
vi:Em
vii:F#o C
G
B Bb A G# G
F#
F#
A G# G
G
G
G
F#
F#
F#
F#
F
F
E Eb
E Eb
D C# C B Bb A G# G
5th 3rd
D C# C B Bb A G# G
F
5th
b3rd
5th
5th
E Eb
E Eb
E Eb
D C# C
D C# C
D C# C
D C# C
B Bb
B Bb
B Bb
B Bb
B Bb
A G# G
A G# G
A G# G
A G# G
A G# G
D C# C
b3rd
3rd
b5th
b3rd
F# F
E Eb
F
3rd
b3rd
Bb A G# G
F
E Eb
F
5th
5th
B
Next 21/44
Typical Places to Use Jazz Chords Recall: Number System for Chords (Example - Key of G) I ii iii IV V vi vii G Am Bm C D Em F#o Jazzy Replacements I
Maj7, Maj6 (… in blues the I is played as Dom7)
IV
Maj7, Maj6, (… in blues the IV is played as Dom7)
V
Dom7
ii, iii, vi
min7
To see why… see next two slides… Numbered Chords with Replacements: I ii iii IV V GM7 Am7 Bm7 CM7 D7
vi Em7
vii F#o7
Next 22/44
Pick Extensions to Stay in Scale Why I is either Maj7 or Maj6: I:Gmaj7
I:Gmaj6
Why IV is either Maj7 or Maj6: IV:Cmaj7
IV:Cmaj6
Maj 7th B Bb A G# G F#
Maj 7th
G
G
F#
F#
F
F
E Eb
E Eb
D C# C B Bb A G# G
5th 3rd
D C# C B Bb A G# G
Maj 6th 5th 3rd
B Bb A G#
5th
F E Eb
G F#
Maj 6th 5th
F
3rd
E Eb
D
D
C# C
C# C
B Bb A G# G
B Bb A G# G
3rd
Next 23/44
Pick Extensions to Stay in Scale Why the V chord is Dom7:
Why ii, iii & iv chords are min7: ii:Am
V:D
iii:Bm
vi:Em Eb D
C#
b7th
C
C#
B Bb A G#
5th
G#
b7th
Bb A G# G
G
G
F#
F#
F#
F
F
F
b7th
3rd
E Eb D
E Eb D
D
C# C
C# C
C# C
B Bb A G# G
B Bb A G# G
5th
b3rd
b7th
F#
5th
E Eb
B Bb A G# G
B Bb A G# G
5th
b3rd
F E Eb
b3rd
D C# C B Bb A G# G
Next 24/44
Golden Slippers in G: Standard Progression Let’s use our replacement rules (and a couple other jazz ideas) to spice up the chords for this tune…. I V I A Part: | G / / / | / / / / | / / / / | D / / / | / / / / | / / / / | G / / / | I IV V I B Part: | G / / / | / / / / | C / / / | / / / / | D / / / | / / / / | G / / / | / / / / | IV V I I |G///|////|C///|////|D///|////|////|G///|
A good place to start is with the V chords… Next 25/44
First Step: Change V to dom7 Jazzy Replacements I
Maj7, Maj6 (… in blues the I is played as Dom7)
IV
Maj7, Maj6, (… in blues the IV is played as Dom7)
V
Dom7
ii, iii, vi
min7
This first step doesn’t make things too jazzy
Next 26/44
Some Jazz Dom7 Chord Forms for the V in G D7
D7
D7
1
3 2 4 1 x
1 3 1 4 1
2 4 3
This one isn’t quite as “jazzer-approved” as the other two
V
X III D F# C D R 3 b7 R
D R
C F# A b7 3 5
D A C F# A R 5 b7 3 5
A simpler form to use for now… but it just doesn’t have that nice jazz texture: D7 0 0 2 1 3
A D A C F# 5 R 5 b7 3
Next 27/44
Golden Slippers in G: w/ Dom 7th on V Could use this, for now
D7
D7 3
I V I A Part: | G / / / | / / / / | / / / / | D7 / / / | / / / / | / / / / | G / / / | Could use this, for now D7
D7
3
I IV V I B Part: | G / / / | / / / / | C / / / | / / / / | D7 / / / | / / / / | G / / / | / / / / | IV V I I | G / / / | / / / / | C / / / | / / / / | D7 / / / | / / / / | / / / / | G / / / | Next
28/44
Second Step: Change I to Maj6 Jazzy Replacements I
Maj7, Maj6 (… in blues the I is played as Dom7)
IV
Maj7, Maj6, (… in blues the IV is played as Dom7)
V
Dom7
ii, iii, vi
min7
Changing the I chord to Maj7 makes things very “loungy-jazzy”… not so good for fiddle tunes. Changing the I chord to Maj6 makes things more “western-swingy-jazzy”
Next 29/44
Some Jazz Maj6 Chord Forms for the I in G G6
G6
1 3 x 2 1 1
III
2
1 4 3
G R
E BD 6 3 5
III
GD R 5
B EG 3 6R
Leave out the gray circles… they are there only to show where this came from!
A simpler form to use for now… but it just doesn’t have that nice jazz texture: G6 3 2 0 0 0 0
GB DGBE R 3 5 R 36
Next 30/44
Golden Slippers in G: w/ Maj 6th on I 3
G6
G6
1 3 x 2 41
3 2 0 0 00
Could use this, for now D7
Could use this, for now
I V I A Part: | G6 / / / | / / / / | / / / / | D7 / / / | / / / / | / / / / | G6 / / / |
I IV V I B Part: | G6 / / / | / / / / | C / / / | / / / / | D7 / / / | / / / / | G6 / / / | / / / / | IV V I I | G6 / / / | / / / / | C / / / | / / / / | D7 / / / | / / / / | / / / / | G6 / / / | Next
31/44
3rd Step: Change IV to Maj6… with a “twist” Jazzy Replacements I
Maj7, Maj6 (… in blues the I is played as Dom7)
IV
Maj7, Maj6, (… in blues the IV is played as Dom7)
V
Dom7
ii, iii, vi
min7
Changing the IV chord to Maj6 gives: C6 = C E G A But… imagine re-arranging these same notes:
AECG
Hey… that is an Am7 … which is the iim7 of G!!!
Can substitute iim7 for IVmaj6!!!
Next 32/44
Some Jazz min7 Chord Forms for the ii in G Am7
Am7
2 x 3 3 3 3
x 0 3 3 3 3
V
V A R
G C EA 5R
b7 b3
A G C EA R b7 b3 5 R
A simpler form to use for now… but it just doesn’t have that nice jazz texture: Am7 x 0 2 0 1 0
A E G CE R 5 b7 b3 5
Next 33/44
Golden Slippers in G: w/ ii min7th sub for IV G6 3 2 0 0 00
for now
I V I A Part: | G6 / / / | / / / / | / / / / | D7 / / / | / / / / | / / / / | G6 / / / | G6
for now
for now
3 2 0 0 00
Am7
Am7
2 x 3 3 33
x 0 2 0 10
D7
for now
5
I ii7 V I B Part: | G6 / / / | / / / / |Am7 / / / | / / / / | D7 / / / | / / / / | G6 / / / | / / / / | V I ii7 I | G6 / / / | / / / / |Am7 / / / | / / / / | D7 / / / | / / / / | / / / / | G6 / / / | Next
34/44
4th Step: Insert Passing Chords For now lets forget that we substituted iim7 for IV6 Notice how in the B part we have IV = C going up to V = D: I IV V I B Part: | G6 / / / | / / / / | C / / / | / / / / | D7 / / / | / / / / | G6 / / / | / / / / | IV V I I | G6 / / / | / / / / | C / / / | / / / / | D7 / / / | / / / / | / / / / | G6 / / / | A cool thing would be to go chromatically up through C#!! But what chord type??!! Next 35/44
Dim7 Chord Forms So… let’s take a C7 chord and move the root up to a C# but leave everything else the same… that gives us a “passing chord” that provides some chromatic motion: C7
C#o7
1 3 1 4 1
1 3 1 4 1
III
III
C G Bb E G R 5 b7 3 5
C7
C# G Bb E R b5 bb7 b3
Everything but the root from a C7 chord… plus the C#
C#o7
3 2 4 1 x
3 2 4 1 x
Bb
Bb
Cool Things about Dim7 Chords 1. Root can be taken as ANY note in the chord. 2.
CE C R 3 b7 R
C# G
E b3 bb7 R b3
Shift it three frets and you get the same chord again!!! Next
36/44
Golden Slippers in G: w/ dim7 passing chords Example #1 I V I A Part: | G / / / | / / / / | / / / / | D7 / / / | / / / / | / / / / | G / / / | C#° 7
C#° 7
Could use this, for now
3
I IV IV#°7 I B Part: | G / / / | / / / / | C / / / | / / C#°7 / | D7 / / / | / / / / | G / / / | / / / / |
IV#°7 V IV I I | G / / / | / / / / | C / / / | / / C#°7 / | D7 / / / | / / / / | / / / / | G / / / | Next
37/44
4th Step Revisited: Insert Passing Chords But… we substituted iim7 for IV6… So our B part looks like this: V I I ii7 B Part: | G6 / / / | / / / / |Am7 / / / | / / / / | D7 / / / | / / / / | G6 / / / | / / / / | ii7 V I I | G6 / / / | / / / / |Am7 / / / | / / / / | D7 / / / | / / / / | / / / / | G6 / / / | A cool thing would be to go chromatically up through G#!! But what chord type??!! G7 1
G#o7
2 4 3
III
2
1 3 1
G7
G#o7
0 0 0 2
0 1 0 2
D GBF 5 R 3 b7
Next
III
G R
F BD 3 5
b7
38/44
Golden Slippers in G: w/ dim7 passing chords G6 3 2 0 0 00
D7
for now
Example #2
for now
I V I A Part: | G6 / / / | / / / / | / / / / | D7 / / / | / / / / | / / / / | G6 / / / | for now Am7
for now
G6 3 2 0 0 00
I
G#°7 x x 0 1 02
I#°7
x 0 2 0 10
for now D7
for now
ii7
V I B Part:| G6 / / / | / / G#°7 / |Am7 / / / | / / / / | D7 / / / | / / / / | G6 / / / | / / / / | ii7
V I |G6 / / / | / / G#°7 / |Am7 / / / | / / / / | D7 / / / | / / / / | / / / / | G6 / / / | I
I#°7
Next
39/44
5th Step: Further Jazzify the Chords Our first step didn’t make things too jazzy We made the V chords dom7… Jazzy Replacements I
Maj7, Maj6 (… in blues the I is played as Dom7)
IV
Maj7, Maj6, (… in blues the IV is played as Dom7)
V
Dom7
ii, iii, vi
min7
Now… to make things even jazzier… use jazzy extensions: add in the 9 (& maybe 11, 13)
Next 40/44
A Jazz Dom9 Chord Forms for V in G D9 2 1 3 3 3
IV
D F# C E A R 3 b7 9 5
A simpler form to use for now… but it just doesn’t have that jazz texture: D7 0 0 2 1 0
ADAC E 5 R 5 b7 9
Next 41/44
Golden Slippers in G: w/ Dom 9th on V G6 3 2 0 0 00
for now
D9
D9
for now
5
I V I A Part: | G6 / / / | / / / / | / / / / | D9 / / / | / / / / | / / / / | G6 / / / | G6 3 2 0 0 00
D9
for now
D9
for now
5
I IV V I B Part: | G6 / / / | / / / / | C / / / | / / / / | D9 / / / | / / / / | G6 / / / | / / / / | IV V I I | G6 / / / | / / / / | C / / / | / / / / | D9 / / / | / / / / | / / / / | G6 / / / | Next
42/44
Golden Slippers: “Complete” G6
“For Now” Forms
D9
G6
3 2 0 0 00
3 2 0 0 00
I V I A Part: | G6 / / / | / / / / | / / / / | D9 / / / | / / / / | / / / / | G6 / / / | The ii – V – I progression shows up all over in Jazz!!! G6 3 2 0 0 00
I
G#°7
Am7
x x 0 1 02
x 0 2 0 10
I#°7
D9
G6 3 2 0 0 00
ii7
V I B Part:| G6 / / / | / / G#°7 / |Am7 / / / | / / / / | D9 / / / | / / / / | G6 / / / | / / / / | ii7
V I |G6 / / / | / / G#°7 / |Am7 / / / | / / / / | D9 / / / | / / / / | / / / / | G6 / / / | I
I#°7
Next
43/44
Golden Slippers: “Complete” “To Work On” Forms G6
D9
G6
3
3 5
I V I A Part: | G6 / / / | / / / / | / / / / | D9 / / / | / / / / | / / / / | G6 / / / | The ii – V – I progression shows up all over in Jazz!!! G6 3
G#°7
Am7
3
3 5
5
I
G6
D9
I#°7
ii7
V I B Part:| G6 / / / | / / G#°7 / |Am7 / / / | / / / / | D9 / / / | / / / / | G6 / / / | / / / / | ii7
V I |G6 / / / | / / G#°7 / |Am7 / / / | / / / / | D9 / / / | / / / / | / / / / | G6 / / / | I
I#°7
STOP 44/44
