Chords

Chords consist of 3 different tones minimal and usually, they are the 1, 3 and 5. These 3-tone chords are known as triads. And they come in several different ‘flavors’.

The accidentals b (flat = lowers a tone by a semitone) and # (sharp = raises a tone by a semitone) are used in chord symbols as well. Only not in front of notes but numbers.

• 3 = the third tone of the major scale;
• b3 = a semitone lower than the third tone of the major scale;
• b5 = a semitone lower than the fifth tone of the major scale;
• #5 = a semitone higher than dan the fifth tone of the major scale.

Major = 1,3,5

Minor = 1,b3,5

Diminished = 1,b3,b5

Augmented = 1,3,#5

The capital letter in chord symbols represents the 1 of the triad: the point of reference.

And it can be accompanied by an accidental (b or #) behind the capital letter (!) to indicate it’s not a ‘b’ (B) but a ‘b flat’ (Bb) for example. Orf C# = ‘c sharp’.

We’ll be looking at the different types of triads and their symbols. But first this…

Major triad

If there’s a capital letter – possibly with a b or # behind it – it indicates a major triad (1,3,5).

• Bb = 1,3,5 of the major scale of Bb: b flat,d,f;
• C = 1,3,5 of the major scale of C: c,e,g;
• F# = 1,3,5 of the major scale of F#: f sharp,a sharp,c sharp.

Minor triad

If there’s a line (-), ‘m’ or  ‘min’ or ‘minor’ behind the capital letter – possibly with a b or # behind it –  it indicates a minor triad (1,b3,5).

• Bbm = 1,b3,5 of the major scale of Bb: b flat,d flat,f;
• C min = 1,b3,5 of the major scale of C: c,es,g;
• F#- = 1,b3,5 of the major scale of F#: f sharp,a,c sharp.

Diminished triad

If there’s a circle (o) or ‘dim’ behind the capital letter – possibly with a b or # behind it –  it indicates a diminished triad (1,b3,b5).

• Bbo = 1,b3,b5 of the major scale of Bb: b flat,d flat,f flat(e);
• C dim = 1,b3,b5 of the major scale of C: c,e flat,g flat;
• F#o = 1,b3,b5 of the major scale of F#: f sharp,a,c.

Augmented triad

If there’s a plus (+), ‘aug’ or ‘#5’ behind the capital letter – possibly with a b or # behind it –  it indicates an augmented triad (1,3,#5).

• Bb+ = 1,3,#5 of the major scale of Bb: b flat,d,f sharp;
• C aug= 1,3,#5 of the major scale of C: c,e,g sharp;
• F# #5 = 1,3,#5 of the major scale of F#: f sharp,a sharp,c double sharp(d).

6

If there’s a ‘6’ behind the capital letter – possibly with a b or # behind it –  it indicates a major triad (1,3,5) with the 6th tone of the major scale.

• Bb6 = 1,3,5,6 of the major scale of Bb: b flat,d,f,g;
• C6 = 1,3,5,6 of the major scale of C: c,e,g,a;
• F#6 = 1,3,5,6 of the major scale of F#: f sharp,a sharp,c sharp,d sharp.

7

If there’s a ‘7’ behind the capital letter – possibly with a b or # behind it –  it indicates a major triad (1,3,5) with a semitone lower than the 7th tone of the major scale. A b7 in fact. Because this was the first ever 7 used in chords the notation of the b7 became ‘just’ 7.

• Bb7 = 1,3,5,b7 of the major scale of Bb: b flat,d,f,a flat;
• C7 = 1,3,5,b7 of the major scale of C: c,e,g,b flat;
• F#7 = 1,3,5,b7 of the major scale of F#: f sharp,a sharp,c sharp,e.

∆

If there’s a triangle (∆), ‘M7’, ‘maj7’ or ‘major7’ behind the capital letter – possibly with a b or # behind it –  it does indicate a major triad (1,3,5) with the 7th tone of the major scale.

• Bb∆ = 1,3,5,7 of the major scale of Bb: b flat,d,f,a;
• C maj7 = 1,3,5,7 of the major scale of C: c,e,g,b;
• F# M7 = 1,3,5,7 of the major scale of F#: f sharp,a sharp,c sharp,e sharp(f).

Slash

‘Slash chords’ are chords with an alternative bass note. Not optional but meant to be used as the lowest tone of the chord instead of the 1.

Such a small change to the lowest tone of a chord has a huge impact on both sound and function of the chord. The lowest tone is the point of reference of which the value/meaning of all other chord tones is based.

The alternative bass note is notated behind the complete chord symbol (including numbers and such) with a diagonal line first (/) followed by the alternative bass note indicated by a capital letter with the optional b or #.

C/E (pronounced C with an ‘e’ in the bass) is not a C major triad with an E major triad beneath, but a C major triad with an ‘e’ in the bass (as lowest tone).

C = c,e,g

C/E = e,g,c or e,c,g – as long as ‘e’ is the lowest tone.

alt

Sometimes – mostly in Jazzzzzzzzzzz – you will encounter ‘alt’ in chord symbols. It’s a complex chord with an equally complex explanation. It means a chord with not only a b7, which is usually written in the symbol like this ‘7alt’. Not everyone agrees on the contents of ‘alt’ chords. The consensus is that these chord contain a b7, b9 as well as a #9 (b10), a #11 and a b13:

7,b9,b10,#11,b13. It will take some time in the beginning :)

Because of the b13 (=#5 yet with a downwards – b – direction instead of upwards – #) no 5 is used.

• Bb7alt = 1,3,b7,b9,b10,#11,b13 of the major scale of Bb: b flat,d,a flat,c flat(b),d flat(c sharp),e,g flat;
• C7alt = 1,3,b7,b9,b10,#11,b13 of the major scale of C: c,e,b flat,d flat,e flat(d sharp),f sharp,a flat;
• F#7alt = 1,3,b7,b9,b10,#11,b13 of the major scale of F#: f sharp,a sharp,e,g,a,c,d.

‘alt’ comes from ‘altered’; an understatement.

Use

What now? You can read chord symbols – takes some practice, but you’ll get used to it. How to use them?

First: suppose you’re not very handy/quick yet in reading chord symbols.

As long as you hit the basic triad of the chord – 1,3,5 in whatever ‘flavor’ it comes – depends on the chord naturally- you have the essence of the chord.

If you can add the 6 or 7 – in whatever ‘flavor’ and only if they are written in the chord of course: great!

So if you can’t find those 9, 11 of 13 – in whatever ‘flavor’ and only if they are written in the chord – quick enough, focus on the essence of the chord.

Rhythm

You could just lay down the chord or play it rhythmically fitting the style.

Or you could play the chord tones separately – broken chords, also known as arpeggios – in a rhythm: usually in 4/4 beat you use the bottom 4 tones of the chord for example. When there are only three like in a major triad for example use 1,3,5,8. In 3/4 use the bottom three. That’s the basic concept. Be creative!

If you have to choose, leave out 5 (or b5 or #5) in favor of the b7 if one is in the chord: use 1,3 (or b3) and b7.

But suppose you still have some fingers left :)

Bass

You could make creative basslines. But…be extremely careful. The lowest tone is the point of reference that determines the value/sound/function of all other tones.

Here’s a good and safe starting point.

Use the 1 (or alternative bass note) and 5 (or b5 or #5).

The 1 on prominent/emphasized spots/beats (like the 1 of each measure for example). Use the 5 (or b5 or #5) ‘in between’.

Nothing wrong with using just the 1 (or alternative bass note). Better well ‘timed’ – ‘timing’ is the rhythmic placement of tones – than creative but badly timed. A good timing creates rest, a bad timing unrest/chaos. Up to you what you’d like to give your audience :)