*************************************** *** GUIDE TO CHORD FORMATION *** ***************************************

Written by Howard Wright Howard.Wright@ed.ac.uk Last update 11th October 1996 *************

3ppendi4 6 % List o" a!! (a'or and (inor triads 3ppendi4 5 % 5irc!e o" ,ths and 7ey )ignatures

***************************** *** 1.0 INTRODUCTION *** ***************************** #he idea o" this 839 is to gi e you the in"or(ation you need to be ab!e to work out and understand which notes (ake up a certain chord. :sing this 839 you wi!! be ab!e to % Work out the notes you need "or ;any; chord. Work out what chord na(e shou!d be gi en to a particu!ar bunch o" notes. 3 !ot o" peop!e are put o"" "ro( de! ing into a !itt!e chord theory because there see(s so (uch to !earn- it o"ten see(s con"using- and it.s hard to gi e hard and "ast ru!es. When so(eone posts a chord shape and asks .What is the na(e o" this chord. there are usua!!y at !east "our di""erent rep!ies gi en. It is true that in a !ot o" cases there is (ore than one way to !ook at things- and o"ten a chord cou!d be gi en two na(es- but it.s sti!! surprising!y easy to get to grips with the basics o" chord na(es. What do you need to know to be ab!e to work out chord na(es "or yourse!" < We!! it is hard to gi e .=o!den >u!es. o" har(ony or (usic theory which can be "o!!owed to the !etter a!ways gi ing the right answer. Howe er there are a s(a!! nu(ber o" basic guide!ines which you can

CONTENTS : ----------1.0 Introduction 2.0 Inter a!s 2.1 Inter a! "!a ours 2.2 #ab!e o" Inter a!s $.0 #riads % $.1 &a'or and (inor triads $.2 )uspended triads *.0 +th chords % *.1 &inor +ths *.2 &a'or and do(inant +ths ,.0 6th chord 6.0 9ths- 11ths- 1$ths % 6.1 .nor(a!. 9th- 11th and 1$th chords 6.2 (inor 9th- 11th and 1$th chords 6.$ (a'or 9th- 11th and 1$th chords +.0 /01 type chords 2.0 .3dd. chords and chro(atic notes 9.0 di(inished- ha!" di(inished and aug(ented chords 3ppendi4 3 % #he 5hro(atic )ca!e

"o!!ow that shou!d take 9,? o" the (ystery away "ro( (usic theory as app!ied to chords. 8irst things "irst. #o work out chord na(es the "irst and (ost i(portant ski!! is to be ab!e to count. Hope"u!!y e erybody (astered this ski!! so(e years ago- so we.re o"" to a good start. #he second (ost i(portant ski!! is to know the (a'or sca!e. &ost peop!e wi!! be pretty "a(i!iar with this too- but in any case it is ery easy to !earn. #he sca!e is characterised by the distances between successi e notes. I" we choose = as our starting point- it goes !ike this % @ote o" the sca!e Aistance up "ro( root note 3ctua! note BBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBB 1 Croot noteD 0 = 2 2 se(itones 3 $ * se(itones 6 * , se(itones 5 , + se(itones A 6 9 se(itones E + 11 se(itones 8F 2 12 se(itones =

;;; 3nother note "or peop!e in =er(any and )candina ia ;;; I wi!! use the 6ritish con entions "or note na(es B so there wi!! be 6s and 6bs. #o .trans!ate. % =er(an0)candina ian 6ritish0Others H 6 H 6 H 6b

Likewise- i" any o" you that are used to 6s and 6bs see chord na(es !ike H+- use the abo e to trans!ate back. 3nyway ... #he pattern o" tones and se(itones is what characterises the sca!e. Ob ious!y you can choose whate er note you !ike to start on- but i" you si(p!y count up in se(itones- using the (idd!e co!u(n abo eyou wi!! get the (a'or sca!e o" that note. It (akes things easier i" we re"er to the notes o" the sca!e as .the +th. or .the $rd.. I" we know we are ta!king about a (a'or sca!e and we know what the starting note is- then we can work out what the .+th. or .$rd. o" that sca!e is. We use this idea to Ispe!! outI chords B this is where you say so(ething !ike % #he (a'or chord is (ade up o" 1st $rd ,th #his (eans choose your starting note Cthe 1stD "ind the $rd and ,th o" it.s (a'or sca!e and you ha e the right notes "or the chord. #he ad antage o" this (ethod is that it can be used to "ind ;any; (a'or chord B you 'ust change the starting note. I" you want to put in a !itt!e e""ort- you can Juite easi!y !earn the (a'or sca!es o" e ery key. #hat way you don.t ha e to actua!!y

;;; I(portant note "or a!! you "o!ks in 3(erica ;;; O er in 6ritain we ha e things ca!!ed tones and se(itones. G8ro( what I know- you ha e things ca!!ed who!e steps and ha!" steps. #he con ersion is % One tone H one who!e step One se(itone H one ha!" step 3s I.( used to writing about tones0se(itones- those are the words you.!! see. I think you can trans!ate easi!y enough to steps0ha!" steps.

count up in se(itones e ery ti(e you want to "ind the ,th o" a certain key. C)ee 3ppendi4 5D 6:# B i" you want to keep things rea!!y si(p!e- counting wi!! work 'ust as we!!. )o- a !itt!e e4a(p!e. 1ou want to "ind out what notes are in a A (a'or chord. 1our starting note or root note is A Cthe 1stD #o get the $rd o" the (a'or sca!e count up * se(itones B 8F #o get the ,th count up + se(itones B 3 )o the notes are % A 8F and 3 )o a!! this chord stu"" co(es down to these $rds- ,ths and so on. #hese are ca!!ed I@#E>K3L).

)ure!y it can.t be that si(p!e ... < ********************************* *** 2.1 INTERVAL FLAVOURS *** ********************************* We!! not Juite. 3s we!! as (a'or sca!es- there are (inor sca!es. 1ou cou!d a!so ha e a .weird. note or chro(atic note that didn.t "it into either sca!e. #o cope with this- the inter a!s co(e in di""erent "!a ours. 1ou can ha e a (inor $rd or a (a'or $rd. 1ou can ha e a nor(a! ,th Cper"ect ,thD or an aug(ented ,th. 1ou can ha e a 9th or a "!at 9th 3!! that changes here is that the .distance. or inter a! is either stretched or sJueeMed by one se(itone Cha!" stepD. )o a (inor $rd is a se(itone !ess than a (a'or $rd. 3n aug(ented ,th is a se(itone (ore than a per"ect ,th. 1ou wi!! see a "ew di""erent ter(s her which (ean the sa(e thing. ; 3n 3:=&E@#EA or )H3>L inter a! (eans one se(itone higher. ; 3 AI&I@I)HEA or 8L3# inter a! (eans one se(itone !ower. 1ou a!so ha e (inor and (a'or inter a!s which di""er by a se(itone B the (inor inter a! is one se(itone !ower than the (a'or inter a!. Here is a tab!e o" inter a!s with their corresponding .distances. in se(itones.

************************ *** 2.0 INTERVALS *** ************************ #his is a way o" re"erring to notes by desribing the .distances. between the(. In the = (a'or sca!e abo e- we can see that the distance between the 1st note Cor root noteD and the 2nd note is 2 se(itones B this is ca!!ed a 2nd #he distance between the root note C=D and the $rd note in the sca!e is * se(itones B this is ca!!ed a $rd Lretty easy so "ar. 3!! you need to do is count up "ro( the root note using notes o" the sca!e- and i" you end up on the ,th note o" the sca!e you ha e a ,thi" you.re on the +th note- you. e got a +th.

******************************** *** 2.2 TABLE OF INTERVALS *** ******************************** )e(itones Inter a! BBBBBBBBBBBBBBBBBBBBBBB 0 :nison 1 "!at 2nd 2 2nd $ (inor $rd * (a'or $rd , per"ect *th 6 "!at ,th Cdi(inished ,th or aug(ented *thD + per"ect ,th 2 (inor 6th Cor sharp ,th0aug(ented ,thD 9 (a'or 6th 10 (inor +th C"!at +thD 11 (a'or +th 12 octa e 1$ "!at 9th 1* 9th 1, sharp 9th0(inor 10th C'ust (inor $rd one octa e higherD 16 (a'or 10th C'ust (a'or $rd one octa e higherD 1+ 11th 12 aug(ented 11th 19 per"ect 12th Cocta e abo e per"ect ,thD 20 "!at 1$th 21 1$th )o to work out any particu!ar note- say the (a'or 6th o" an 3 (a'or sca!e- start with 3- "ind the distance "or a (a'or 6th C9 se(itonesD and 'ust count up "ro( 3. 1ou shou!d end up with 8F- so this is a (a'or 6th up "ro( 3. Csee chro(atic sca!e B 3ppendi4 3D

6(+ B the spe!!ing "or this is % 1st- (inor $rd- ,th(inor +th )tart with 6 B count up $ se(itones "or a (inor $rd B you get A. 5ount up + se(itones "ro( 6 to get the ,th B 8F 5ount up 10 se(itones to get the (inor +th B 3 )o the notes are % 6 A 8F 3 )o B i" you know the spe!!ing o" a particu!ar chord Ci.e the inter a!s which describe itD then it.s si(p!e to use the tab!e abo e to "ind out what notes you need. What i" you don.t know the chord spe!!ing < I" you 'ust ha e a chord na(e- !ike 8F(9- then you need to know how this chord is bui!t. #he basic bui!ding b!ocks o" ;a!!; chords are triads.

*********************** *** 3.0 TRIADS *** *********************** #hese are the basic bui!ding b!ocks o" chords. 3 triad is a group o" $ notes and deter(ines the basic sound o" a chord. E.g i" the chord is a (inor chord- it wi!! be based on a (inor triad. I" the chord is (a'or- it wi!! be based on a (a'or triad. $.1 B Major a ! M" or #r"a!$ ---------------------------------#he (a'or and (inor triads are (ade up "or( these notes % 1st $rd ,th but >E&E&6E> B use a (inor $rd "or the (inor triadand the (a'or

)o- to recap. 5hords are described or .spe!!ed out. using inter a!s. #hese inter a!s te!! you "ar abo e the root note the other notes o" the chord are. 6y using the tab!e abo e you can "ind out how (any se(itones you need to (o e up "or any gi en inter a!. Here is a si(p!e e4a(p!e.

$rd "or the (a'or triad. 3 !ist o" a!! (a'or and (inor triads is gi en at the end o" this 839 C3ppendi4 6D. I" you want to !earn the(- it (akes !i"e easierbut it.s easy enough to 'ust count up in se(itones "ro( the root note to get the notes "or any triad you.re interested in. #he on!y di""erence between a (a'or ;chord; and a (a'or ;triad; is that a chord wi!! usua!!y ha e (ore than $ notes- so you 'ust doub!e up on so(e o" the(. #he root C1stD is (ost !ike!y to be doub!ed- but you can doub!e up on the 1st- $rd or ,tha!though you wi!! get subt!y di""erent sounds. #ake 5 (a'or "or e4a(p!e. 5 (a'or triad H 1st- (a'or $rd- ,th H 5 E = E erybody knows this chord %

#he thing to re(e(ber here is that the $rd has been rep!aced with another note B either the 2nd or the *th. )o whereas with (a'or and (inor triads you ha e the $rd to gi e the ."!a our. o" the chord Ci.e (a'or or (inorD- with suspended triads you ha e no $rd- so the chord is neither (a'or nor (inor. 3 suspended *th triad wou!d be % 1st *th ,th 3 suspended 2nd triad wou!d be % 1st 2nd ,th

3s with (a'or and (inor chords- you 'ust doub!e up on notes to go "ro( the triad to the chord. 6:# B you a!(ost ne er doub!e the .suspended. note B you usua!!y on!y doub!e the 1st or ,th. )o take 3sus* as our e4a(p!e.

E3A=6E 4$2010 5 I" we !ook at the notes- we see it has % C!ow to highD % 5 E = 5 E Which is the sa(e as % 1st $rd ,th 1st $rd

3sus* triad is % 1st *th ,th H 3 A E #he shape is % E3A=6E 4022$0 3sus* #he spe!!ing "or this is %

)o here the 1st and $rd ha e been doub!ed. C!ow to highD % 3 E 3 A E >e(e(ber that the root note (ust a!ways be the !owest note o" the chord. I" you want to ha e the $rd or ,th at the botto( o" the chord- you ha e to write it as 50E or 50= (eaning a 5 chord with an E Cor =D bass. )ee section +.0 "or (ore detai!s on /01 type chords. C1st ,th 1st *th ,thD

)o here the 1st and ,th appear twice in the chord- with 'ust one *th. )o now I. e co ered (a'or and (inor chordssuspended 2nd and suspended *th chords.

$.2 B S%$&' !'! #r"a!$ ------------------------------****************************

*** (.0 )#* C*or!$ *** ****************************

With (a'or triads you can bui!d 2 types o" +th chord. I" you add the (a'or +th o" the sca!e- you get the (a'or +th chord. I" you add the ;"!at; +th to the (a'or triad you get the soBca!!ed do(inant +th chord. When guitarists ta!k about .+th chords. as in 12Bbar b!ues etcthen they (ean chords with the ;"!at; +th. &a'or +th chords are written as 5(a'+- A(a'+ etc but the "!at + or .b!ues. +th is written si(p!y as 5+- A+ etc. )o "or a (a'or +th chord the spe!!ing is %

*.1 - M" or )#*$ ---------------------------8or (inor chords there is one co((on type o" +th B the (inor +th. 3s you (ight e4pect- you start with the (inor triad- then add the (inor +th. )o- as an e4a(p!e !ets take A (inor +th CA(+D

1st (a'or $rd ,th (a'or +th #he spe!!ing is % 1st- (inor $rd- ,th- (inor +th I" we start with 8 as our root- and count up we get this % :sing the tab!e o" inter a!s abo e- we count up "ro( A to get the other notes. #o get the (in $rd- count up $ se(itones B 8 #o get the ,th count up + se(itones B 3 #o get the (in +th count up 10 se(itones B 5 )o A(+ is (ade up o" the notes % A 8 3 5 I" you use the open A string "or th A note- you cou!d use these two shapes % E3A=6E E3A=6E 440211 440,6, A(+ A(+ =o up * se(itones "ro( 8 "or (a'or $rd % 3 =o up + se(itones "ro( 8 "or ,th %5 =o up 11 se(itones "ro( 8 "or (a' +th % E )o the notes o" the chord 8(a'+ are % 8 3 5 E #o bui!d an 8+ chord- the on!y di""erence is that we add a "!at + instead o" a (a'+. )o we add an Eb instead o" Eso the notes o" a 8+ chord are % 8 3 5 Eb 3s with si(p!e triads- you can doub!e up on so(e o" the notes to (ake a chord. With +th chords you cou!d doub!e up on the root- $rd- +th or ,th. #ake a standard +th chord- E+ % E3A=6E 020100 #he notes are % E 6 A =F 6 E- so the root and ,th ha e both been doub!ed. ************************** *** 2.0 3#* -*or!$ *** **************************

M" +,aj )#* -*or!$ ------------------#here is another chord ca!!ed the (in0(a'+th. #his is a bit o" a weird "ish- but you (ight co(e across it once in a whi!e. It.s (ade up by taking the (inor triad and adding the (a'or +th to it. )o A(0(a'+th wou!d be % A 8 3 5F

*.2 B Major )#*$ a ! ./a# )#*$ 0!o," a # )#*$1 --------------------------------------------------------

#o (ake a 6th chord- start with the triad and add the 6th. B 6ut note that the ;(a'or 6th; is added to (ake both (a'or and (inor 6th chords B the .(inor. or .(a'or. bit co(es "ro( the triads. )o B "or a 56 chord- start with a 5 (a'or triad C5E=D and add the (a'or 6th C3D. 56 H 5 E = 3 8or a 5(6- start with a 5 (inor triad C5Eb=D and add the (a'or 6th C3D. 5(6 H 5 Eb = 3 3+4 -*or!$ -------------#hese are si(i!ar to 6th chords- but they ha e a 9th added- as you (ay ha e guessed N I. e a!ways seen this as (a'or chords- but I guess there.s no reason why you cou!dn.t ha e so(ething !ike A(609 3nyway they are bui!t up by taking the basic triad- and adding the 6th and the 9th. )o 5609 wou!d be % 1st- (a' $rd- ,th- 6th- 9th i.e the notes are % 5 E = 3 A C#he ,th can so(eti(es be !e"t outD 3 nice shape "or this 5609 wou!d be % E3A=6E 4$22$$ 5 609 #he spe!!ing "or chords !ike 59- 511- 51$ Ci.e chords bui!t on 5+ B so they ha e a "!at +th in the(D is % 9th % 1st- (a' $rd- ,th- "!at +th- 9th 11th % 1st- (a' $rd- ,th- "!at +th- 11th 1$th % 1st- (a' $rd- ,th- "!at +th- 1$th ****************************************** *** 3.0 4#*5 11#* a ! 13#* -*or!$ *** ****************************************** It.s worth noting here that the ,th can be o(itted "ro( the chord. 6.1 - 4#* 11#* a ! 13#* -*or!$ ------------------------------------Once you (o e beyond +ths and start adding notes "ro( higher up the sca!e C.eg. 9ths- 11ths- 1$thsD there is one ery i(portant thing to re(e(ber. ;;; 3!! o" these chords (ust ha e a +th in the( ;;; Oust as there are $ types o" +th chord C+th- (in +th- (a' +thD you end up with $ types "or 9th 11th and 1$th chords by si(p!y adding to the basic +th chord. #o get a 9th chord- add the 9th to the C"!atD +th chord #o get a (in 9th- add the 9th to the (in +th chord #o get a (a' 9th- add the 9th to the (a' +th chord #o get 11th chords you can add the 11th to the $ types o" 9th chord- but (ost ot the ti(e the 9th is not neededso you si(p!y add an 11th to the +th chords to bui!d the $ types o" 11th chord- and si(i!ar!y with 1$ths. I" you ha e a oicing o" a 1$th chord that ;a!so; has a 9th or 11th in it- then that.s "ine % it.s sti!! a 1$th chord- but (ost o" the ti(e these chords are 'ust a nor(a! +th with an added note C9th- 11th or 1$thD

#he ;essentia!; notes "or 59- 511 and 51$ are the 1st$rd- +th and 9th011th01$th

(a' 1$th % 1st- (a' $rd- ,th- (a' +th- 1$th C3gain the ,th is the on!y optiona! noteD 3 Juick e4a(p!e %

6.2 B M" or 4#*$5 11#*$5 13#*$ -----------------------------------#he sa(e princip!e app!ies "or the (inor ersions o" these chords. )tart with the (inor +th chord- and add the 9th or 11th or 1$th. )o the spe!!ings are %

#o "ind the notes "or 31$ - we ha e 3 as the root. &o &o &o &o e up * se(itones "or the (a' $rd % 5F e up + se(itones "or the ,th % E e up 10 se(itones "or the "!at +th % = e up 21 se(itones "or the 1$th % 8F

)o 31$ H 3 5F E = 8F 8or a (inor ninth chord % 1st- (in $rd- ,th- "!at +th9th 8or a (inor 11th chord % 1st- (in $rd- ,th- "!at +th11th 8or a (inor 1$th chord 1$th % 1st- (in $rd- ,th- "!at +th@ote that when counting up !arge inter a!s- !ike 1$thsyou can count up 9 se(itones C21B12D to get the right note na(e since subtracting 12 'ust (eans an octa e !ower. 6:# B when "or(ing the chord- the 1$th (ust be at the right .distance. "ro( the root B i.e it (ust be (ore than an octa e higher than the root- otherwise it is 'ust an ordinary 6th.

3s be"ore- the ,th can be !e"t out- but a!! other notes (ust be in the chord. 1ou cou!d a!so inc!ude the 9th in an 11th chord- or the 9th and 11th in a 1$th chord- but on a guitar this is usua!!y not done.

******************************* *** ).0 6+7 #8&' -*or!$ *** *******************************

6.$ B Major 4#*$5 11#*$5 13#*$ ------------------------------------3gain- a ery si(i!ar princip!e. )tart with the (a'or +th chord and add the 9th- 11th or 1$th. It.s ery i(portant to be c!ear on the di""erence between a +tha (in +th and a (a' +th to be ab!e to bui!d these chords correct!y N #he spe!!ings are % (a' 9th % 1st- (a' $rd- ,th- (a' +th- 9th (a' 11th % 1st- (a' $rd- ,th- (a' +th- 11th

#his see(s to be a co((on!y (isunderstood ter(. I" a chord is written as so(ething !ike 50= then it si(p!y (eans that you p!ay the chord gi en by the "irst !etterwith the bass note gi en by the second !etter B in this e4a(p!e- we ha e 5 (a'or with a = bass note. 5hords !ike these (ay ha e a bass note which is a!ready part o" the chord itse!"- as in this e4a(p!e C5 (a'or is (ade up o" the notes 5 E = - so the = bass is part o" the chordD or they (ay ha e a bass note which is .outside. the chord-

so(ething !ike E03 C3 is not part o" the E (a'or chordD. Working out what notes are in these type o" chords presents no e4tra prob!e(s B si(p!y work out the notes in the chord gi en by the "irst !etter- then add the bass note. #hese /01 type o" chords can get (ore co(p!icated than straight (a'or0(inor chords with things !ike 3sus205F- but the princip!e is the sa(e. #o work out this chord- start with 3sus2. spe!!ing H 1st 2nd ,th !ook up the inter a!s in the tab!e o" inter a!s to get the nu(ber o" se(itones you ha e to count up "or each note. 2nd H 2 se(itones up "ro( 3 H 6 ,th H + se(itones up "ro( 3 H E so 3sus2 H 3 6 E there"ore 3sus205F H 5F 3 6 E Cit.s standard practice to .spe!!. chords "ro( !ow to highD 1ou can carry on adding as (any notes as you want. I" you p!ay around with a!ternati e tunings you cou!d Juite easi!y co(e across chords !ike 3add2add*- but (ost o" the ti(e you.!! 'ust ha e one added note. 1ou can o" course add a note to a chord that isn.t a si(p!e (a'or or (inor chord B you can ha e things !ike 5sus*add9 etc. 5hords with .added. notes are 'ust what they sound !ike. #hey are usua!!y written as so(ething !ike 5add25add* etc. )i(p!y start with the .base. chord C5 in this e4a(p!eD and add the appropriate note. 1ou can o" course add to any .base. chord whether it.s (a'or or (inor or whate er. 6e sure you understand the di""erence between add2 and sus2 chordsand add* and sus* chords B the sus chords ha e the $rd ;rep!aced; with another note. #he .add. chords si(p!y add to the triadso 5add2 wou!d be % 5add2 H 5 triad P 2nd H 1st- 2nd- (a' $rd- ,th 5sus2 H 5sus2 triad H 1st- 2nd- ,th )i(i!ar!y there is an i(portant di""erence between .add9. and .9. chords. 3 59 chord ;(ust; ha e the "!at +th in it Csee abo eD- but the 5add9 chord wi!! not B it.s 'ust a 5 (a'or triad with a 9th added.

*********************************************** *** 9.0 :A!!: -*or!$ a ! -*ro,a#"- -*or!$ *** *********************************************** Oust to recap- here are the triads and chords I. e co ered so "ar % &a'or- (inor- sus2 and sus* triads and chords &a'or +th- "!at +th and (inor +th chords 9th- (in 9th- (a' 9th- 11th- (in 11th- (a' 11th1$th- (in 1$th- (a' 1$th chords 3!! other chords "a!! into the series o" chords with .added. notes or chords with a!tered notes. --- A!!'! -*or!$ BBB

--- A/#'r'! -*or!$ --#hese are chords with chro(atic a!terations. #he ,th- 2nd- *th- 9th etc can a!! be chro(atica!!y a!tered B i.e (o ed up or down by a se(itone Cha!"stepD E4a(p!es o" this are chords !ike E+F9 and E+b9

B the 9th o" a nor(a! E9 chord has been sharpened in the E+F9- and "!attened in the E+b9. )o what are the notes "or these < We!!- starting with the .E+. bit % E+ H 1st- (a' $rd- ,th- "!at +th H E- =F- 6- A @ow add the F9 Ccount up 1, se(itones "ro( ED B = )o E+F9 H E =F 6 A =

********************************************** *** 4.0 D"," "$*'! a ! a%;,' #'! -*or!$ *** ********************************************** #he on!y chords !e"t to co er are the di(inished and aug(ented. #he di(inished chords is either written as .di(. or so(eti(es using a s(a!! circ!e !ike the sy(bo! "or degrees. 3 di(inished chord is (ade up o" these notes %

)i(i!ar!y E+b9 H E =F 6 A 8

1st- (in $rd- "!at ,th- doub!e "!at +th Cdoub!e "!at +th is the sa(e note as the (a'or 6th- but it.s usua!!y written as doub!e "!at +th B don.t ask (e why ND )o 3 di(inished wou!d be % 3- 5- Eb- =b 3s a point o" interest- the inter a!s between successi e notes in a di(inished chord are 3LL (inor thirds. #his (eans i" you start to bui!d a di( chord on a 5- you end up with the sa(e notes as "or the 3 di(. In other words 3di( H 5di( H Ebdi( H =bdi( H 3P5PEbP=b )o when you p!ay a di(inished chord- i" you (o e it up the neck by $ "rets you sti!! ha e the sa(e chord NN

#here are a "ew di""erent ways to write these chords. .B. and .P. signs are so(eti(es used to (ean ."!at. and .sharp. respecti e!y- but .b. and .F. are used as we!!. 1ou (ight e en see .di(. and .aug. Cdi(inished and aug(entedD used too "or the sa(e thing. )o E+F9 cou!d be written as E+P9 or E+aug9 and E+b9 cou!d be written as E+B9 or E+di(9

With these chro(atica!!y a!tered chords there is a!(ost no !i(it on the nu(ber o" chords you can create B (ost o" these wi!! be used in 'aMM- but so(e C!ike the E+F9D appear Juite a !ot in rock (usic too. #oo work out the notes to these types o" chord it.s best to start with the .basic. chord- then add the chro(atic notes to this. )o - as abo e "or E+F9- start with E+- then add the F9. 1ou (ay "ind se era! chro(atic notes in one chord B !ike 31$b,b9 B treat it 'ust the sa(e way B bui!d up the 31$ chord- then swap the ,th and 9th "or the "!at ,th and "!at 9th.

#here is a!so a chord ca!!ed the ha!"Bdi(inished- or di(inished +th. I usua!!y write this one as so(thing !ike E+B, B 'ust another na(e "or the sa(e chord. It.s best i" you.re aware o" the di""erent na(es used "or the sa(e chord. #he di""erence between this one and a .nor(a!. di(inished is that the +th o" the chord is a "!at +th not a doub!e "!at +th Chence ha!"Bdi(inishedD. )o the spe!!ing is 1st- (in $rd- "!at ,th- "!at +th

3n aug(ented chord is (ade up o" these notes % 1st- (a' $rd- sharp ,th )o 3 aug(ented wou!d be % 3 5F 8 CInter a!s between successi e notes are a!! (a' $rds B i.e * se(itonesD 1ou can see aug(ented chords written as so(ething !ike .3 aug. or .3P.. ******************** *** A&&' !"< A *** ******************** C*ro,a#"- $-a/' : BBBBBBBBBBBBBBBBBBB Enhar(onic eJui a!ents are written on top o" one another Ci.e 5F is the sa(e as Ab etcD 5 5F A AF E 8 8F = =F 3 3F 6 Ab Eb =b 3b 6b Ob ious!y this is a continuous thing B i" you want to count up * se(itones "ro( 3- you count one C3FD- two C6D- go ;back; to the beginning "or three C5D then "our C5FD B so 5F is the note * se(itones abo e 3.

E =F 6 835 8F 3F 5F =6A 3b 5 Eb 3 5F E 6b A 8 6 AF 8F

E=6 8 3b 5 8F 3 5F = 6b A 3b 5b Eb 35E 6b Ab 8 6 A 8F

********************** *** A&&' !"< C *** ********************** C"r-/' o. 2#*$ a ! ='8 S"; a#%r'$ BBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBB 1ou. e probab!y heard the phrase .circ!e o" ,ths. be"ore. It re!ates to the way key signatures are written- which te!!s us how (any sharps or "!ats to p!ay. 5 (a'or has no sharps or "!ats = (a'or has one sharp C8FD A (a'or has 2 sharps C8F and 5FD i" we carry on "inding the keys with $- *- , sharps we "ind that the ne4t key in the series is a ,th higher than the pre ious one. )o when we start with 5 (a'or- go up a ,th to = (a'orthen up a ,th to A- then 3 and so on. It a!so works "or the "!at key signatures i" we go down in ,ths. )o a ,th down "ro( 5 is 8 Cone "!atD- then another ,th down is 6b C2 "!atsD- then Eb and so on. Here is (y atte(pt at drawing it as the "a(ous .circ!e. o" ,ths C(ore !ike an e!!ipse in (y caseD E eryti(e you (o e round one positition- you go up or down by a ,th. #he P signs are "or the sharps- the B "or the "!ats. @ote that this is "or the (a'or keys on!y.

******************** *** A&&' !"< B *** ******************** #he (a'or triads #he (inor triads BBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBB 5E= Ab 8 3b A 8F 3 Eb = 6b 5 Eb = Ab 8b 3b A83 Eb =b 6b

0 B1 5 8 B2 6b B$ Eb = P2 A 3 P$ P1

8or the "!at notes- the series is % 6b- Eb- 3b- Ab- =b- 5b- 8b Cyet another ,ths re!ationship ...D )o i" we pick a "!at key- say Eb (a'or- "ro( the circ!e we see it has $ "!ats- so we need 6b- Eb and 3b. 6ecause a!! the things you need to know here are connected with re!ationships o" a ,th- it.s "air!y easy to !earn the circ!e o" ,ths. #his (akes it ery easy to work out notes o" a sca!e. @ote that this is a!! "or the ;(a'or; sca!e.

B* 3b

E P*

Ab B, =b B6 5b P+ B+ 5F

6 P, 8F P6

8or (inor sca!es you need to "ind the rea!ti e (a'or key. #he re!ati e (a'or key is a!ways $ se(itones higher than the (inor key Ce.g 5(a'or 0 3(inor B 5 is $ se(itones abo e 3D )o- say you want to know the sca!e o" 3b (inor. #he re!ati e (a'or key is 5b (a'or. )o you need a!! + "!ats N #he sca!e is % 3b- 6b- 5b- Ab- Eb- 8b- =b- 3b When you see things !ike 8b- it sounds a bit strangebut it (akes things a !ot easier i" you stick to these con entions instead o" saying .E is the sa(e as 8b.. #he idea is that "or EKE>1 sca!e- the !etter na(es appear once on!y. )o e ery sca!e wi!! ha e an 8 o" so(e sortbut in so(e it wi!! be 8 natura!- so(e it wi!! be 8F and so(e it wi!! be 8b.

#he on!y other thing you need to know here is which are the "!at and sharp notes. Here again there is another ,ths re!ationship. I" we !ist the sharp notes we need to add as we (o e c!ockwise round "ro( 5 (a'or we get % 8F- 5F- =F- AF- 3F- EF- 6F so starting "ro( the 8F- the series goes up a ,th e ery ti(e. )o how does it a!! work < 8or = (a'or- "ro( the circ!e we see it has 1 sharp. #ake the 1st sharp "ro( the series abo e % 8F )o we need 8F "or a = (a'or sca!e0key signature 8or A (a'or- we need 2 sharps- so we take 8F and 5F 8or 3 (a'or- we take 8F- 5F and =F .. and so on "or a!! the other sharp keys.