Regarding this blog in general, it I had been my plan to do a different subject every week but I was inundated to with e-mails the past five days asking me to explain, name, utilize, etc. the 35 chords I posted last week so I felt I should get to it right away. Here goes…due to the nature of the topic this article is a little more theory heavy than I usually like to write about. Feel free just to play the chords and functional examples, then come back to read the theory.
Note: To download the sheet music simply: 1. Click on the image, 2. Right click the image once it becomes bigger, 3. Click "Save image as..." That's it!
Note: To download the sheet music simply: 1. Click on the image, 2. Right click the image once it becomes bigger, 3. Click "Save image as..." That's it!
A Little Chord Theory
The main reason I did not name the chords (Ex. 1) last week is because most of them have several different names, depending on the context.
Essentially there are four basic, essential triads: Major, Minor, Diminished and Augmented. The problem with this term, “triad”, is that a triad is any chord made out of three different notes but our “essential” triads are very specific, that is a three-note chord stacked in thirds. Without bogging us down with more theory here are the four basic triads.
C Major = C E G Root or 1 3 5
C Minor = C Eb G Root or 1 b3 5
C Diminished = C Eb Gb Root or 1 b3 b5
C Augmented = C E G# Root or 1 3 #5
Those chords (at least the first two) are always the same name. C E G is always a C Major chord. C Eb G is always a C minor chord. On the other hand all other three-note chords, for example, 1 4 7 - C F B or 1 3 6 - C E A or 1 2 5 - C D G, etc. can have several different names depending on the context. Many theorists often refer to these three-note chords as “tri-chords” instead of triads to distinguish between the two.
A very common example of a chord having more than one name is the G7 shown in measure six which is also a B diminished. In fact it is more a B diminished than a G7 because that chord contains no G note! But the other three notes imply the sound of the G. If you find this is a difficult concept to grasp you are not alone, this is somewhat complex, but if you use your ear you can tell that that G7 without a G sounds and functions the same as our common cowboy chord G7 (Ex. 2).
So how should we go about naming all those other triads/trichords? I simply decided to go with what I consider to be the most common function of each chord. Some are easier than others, the Fsus2 in measure two is obvious to me, even though we could also call it Csus4, G7sus4 and a few others without root notes! Others were more difficult, the Em(b9) or FMaj7(#4) in measure 12 is ambiguous without a bass note (Ex. 3). If you know your theory you should feel free to disagree with me on some of these names, otherwise you’re just going to have to trust me.
Functional Examples
I find that the easiest way to put anything into immediate, functional use it to play it in a I IV V context (Ex. 3: which is technically a I V IV I). From there I suggest a minor i iv v (Ex. 4a and 4b) and then mix it up: I vi ii V (Ex. 5). You should of course come up with your own progressions but these common ones will help you get started.
Thanks for all your e-mails and Facebook feedback last week. Feel free to comment here on the blog as well. Keep those questions coming.
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The End.
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