What Are Chords - George Brodbeck

WHAT
ARE CHORDS
Learn the inside secrets of chords
What they are and how to create them.
Easy and clear stepwise format
From simple 3-note shapes to
8-note monsters.
by
George Brodbeck
Copyright 2015 by George Brodbeck
All tuition images and audio tracks
Table of Contents
MUSIC THEORY ONLINE
About The Author
1. FOURWORD
2. REQUIRED KNOWLEDGE
2.1. Music Notation
2.2. Major scales
2.3. Elementary intervals
2.4. The Circle of Fifths
3. HOW TO ACCESS AND PLAY THE AUDIO TRACKS

4. WHAT ARE CHORDS
5. CHORDS ORIGINATING FROM THE MAJOR SCALE
5.1. 2-NOTE CHORDS (Really?)
5.1.1. Do 2-Note Chords Exist?
5.1.2. Notation of 2-Note Chord Symbols
5.2. 3-NOTE CHORDS or TRIADS
5.2.1. How to Create Triads
5.2.3. Inversion of Triads
5.2.4. The Major Scale Triad Chord Diagram
5.3. 4-NOTE CHORDS
5.3.1. How to Create 4-Note Chords
5.3.3. Inversion of 4-Note Harmony
5.3.4. The 3 Chord Groups of the Major Scale
5.3.5. The Major Scale 4-Note Chord Diagram
5.3.6. A Rebellious Look At The Circle of Fifths
5.4. 5-, 6- and 7-NOTE CHORDS
5.4.1. How to Create 5-, 6- & 7-Note Chords
5.4.2. Notation of Chords with Added Tensions
5.4.3. Inversion of Large Harmony

5.4.4. The Major Scale 5-Note+ Chord Diagram
6. CHORDS ORIGINATING FROM THE WHOLE TONE SCALE

6.1. About The Whole Tone Scale
6.2. How To Build Whole Tone Scale Chords
6.3. Notation of Chords From The WT Scale
6.4. The Whole Tone Scale Chord Diagram
7. CHORDS DERIVED FROM THE MELODIC MINOR SCALE

7.1. About The Melodic Minor Scale
7.2. How To Build Melodic Minor Scale Chords
7.3. Notation of Chords From The MM Scale
7.4. The Melodic Minor Scale Chord Diagram
8. THE CHORDS OF THE DIMINISHED BLUES SCALE

8.1. Insight into The Diminished Blues Scale
8.2. How To Build Dim Blues Scale Chords
8.2.1. The Whole Tone-Half Tone Way
8.2.2. The Half Tone-Whole Tone Road
8.3. Notation of Dim Blues Scale Chords
8.3.1. Diminished Chord Symbols
8.3.2. Dominant 7 Chord Symbols
8.4. The HT-WT Scale Chord Diagram
8.5. The WT-HT Scale Chord Diagram
8.6. More Digging into the Cycle of Fifths
9. SUS4 & SUS2 CHORDS

9.1. About sus4 Chords
9.3. Major sus4 and sus2 Chords
9.4. Dominant sus4 Chords
9.5. Minor sus4 Chords
9.6. Diminished or Half-Diminished sus4 Chords?
10. THE MODES BETWEEN THE MODES
10.1. What Are The Modes Between The Modes

10.2. How To Create The In-Between Modes
10.3. In-Between Major & Dominant Modes
10.4. In-Between Diminished Modes
11. DOMINANT VERSIONS OF II, III & VI CHORDS

11.1. How To Handle II7, III7 & VI7 Chords
12. CHORD TREES

12.1. About My Chord Trees
12.2. Major Chords
12.3. Minor 7th Chords
12.5. Dominant Chords
12.6. Diminished Chords
12.7. Half Diminished Chords
13. CODA
About The Author
When I hear a melody in my head, I always hear chords along with it. Thats great
you might say but its both very convenient and annoying at the same time. It
really would be nice to hear a melodic line by itself once in a while but thats near
impossible for me. Of course it doesnt mean that Im stuck with what comes out
of my thoughts and I do have the freedom to experiment and change my
harmonies if I so desire.
This has been going on ever since I started dabbling in music through my
childhood and learning to play the trombone in the local brass band back in
Switzerland.
Intrusive musical thoughts interrupted the focus on my first job as a computer
programmer on a regular basis and this trend continued after my emigration to
Australia where sketches of tunes were shuffled quickly under pages of IBM code
just before getting caught by the boss entering my office.
Eventually music won the battle when I discovered my flair for writing music
arrangements.
To this day Im self-taught except for a summer term at Berklee College in
Boston. My first love is jazz but I soon discovered that to earn a living I had to
broaden my knowledge of musical styles. This then led to becoming a staff
arranger at Channel 9 Sydney for almost 20 years and teaching trombone and
arranging at the Jazz Department of the Conservatorium in Sydney for the same
length of time. Among my students I had the privilege of teaching James Morrison
and Adrian Mears.
Good ears for harmonic development was an integral part in being offered the
arranging job for all 3 stage productions of The Boy From OZ, other musicals,
advertising commercials and films.
The same ears served me well playing in the trombone section of many local
and visiting artists. Among those were Frank Sinatra, Sammy Davis, Natalie Cole,
Liza Minelli, Tom Jones, Shirley Bassey and many more.

Im thankful for a fulfilling musical life made easy by the ability to listen even
though still now, chords tag along with those ever-present tunes in my head.
Retirement? No way! Its time to give back. This e-book is the start of a
sequence of publications aiming to make it easier for YOU to understand the
secrets of music.
My self-taught-edness should provide you with an insight born from 40+ years
of experience as a music professional. It may not be by the book but certainly
From The Heart
1. FOURWORD
Here is hoping that you will be as passionate about chords as I am. From the
simplest two or three note structure to complex orchestral harmonies that lift a
film to greater heights, chords are truly amazing.
Even the most memorable of melodies loses a little of its sheen without the
enhancing backdrop that harmony provides. YOU must get to that stage where
changing or adding or omitting one note out of a chord becomes the artistic
detective work that drives your completeness as a composer.
The only student of music who might get away with NOT knowing about chords
is a single note instrumentalist content with sitting in a band or orchestra (or
playing solo) reading the notes and never bothering to look behind the curtain of
the music he/she is performing.
A person like that may not even realize that they are, in a different way,
sounding chords regularly when playing arpeggios.
Everybody else either HAS to know what chords are (keyboard, guitar, banjo
and other multi-stringed instrument players, students of jazz/improvisation) or
SHOULD acquire basic chord knowledge to complete their music education.
The good news is that despite the daunting multitude of chord types, learning
about them is actually quite easy.
As one of the universal truths states: Everything is connected.
This applies also very much to music. If you had no musical knowledge and were
starting from scratch it would be an uphill battle to jump straight into studying
chords. It would be like trying to learn to paint without knowing about brushes,
paint, technique or subject.
In music everything is connected means that if you follow the dots in the right
sequence, step by step, my lessons on chords with images and audios will make
complete sense. Please follow the suggestions in the next chapter about the dots
you should connect before you start painting your chord-portrait.
My approach to teaching harmony is more on the practical side and less by the
rulebook. Nearly 50 years of pro music making is at the basis of this publication
and Im sure youll find my look at the workings of chords and harmony at bit less
stuffy than normal (I hope!).
And, by the way, the spelling of the title of this chapter is on purpose and a bit
silly. The reason being that the number 4 has such a multitude of meanings in
music so I thought why not.
2. REQUIRED KNOWLEDGE
To understand and absorb the content of What Are Chords easily you need to be
familiar with:
2.1. Music Notation
2.2. Major scales

Just knowing the basic ins and outs of 1 major scale is a good start.
2.3. Elementary intervals

All the basic interval possibilities in each major scale
2.4. The Circle of Fifths
You will find much more valuable and surprising info about the cycle of fifths in
chapters 5.3.6. and 5.4.5.
3. HOW TO ACCESS AND PLAY THE AUDIO

TRACKS
Since at this point in time it is not possible to embed audio files directly into
Kindle e-Books Im forced to park them elsewhere.
So I have built a website to hold all 49 tracks and also a blog about chords.
You can access the music files in 2 ways:
1. Clicking on the link below takes you to the audio page where you can navigate
to each track manually from the sidebar.
2. Use the link of each audio example as you come to it in the text. This will take
you to the corresponding page/track on the website. If you prefer, you can keep
the first link-page open and navigate from there using the NEXT or PREV
buttons.
Above each track is also a slightly enlarged score image of the music youre
hearing.
WhatAreChords.com
The audios are marked with this logo:
Please Note:
Not all treble-bass clef grand staff parts in the many musical illustrations are
piano-friendly. They are simply examples of chord voicing
4. WHAT ARE CHORDS

The basic definition of a chord is:
3 or more musical tones (of different pitch) played simultaneously by a chordal
instrument like a keyboard or a guitar or voiced for horns, strings or singers.
Track01-4.1 Chord Examples

What kind of chords to use, and when, is very much dependent on the style of
music that is being created and the melody line.
As a very general rule we can say that:
3-note chords: are used in rock, country and folk music, classical music
4-note chords: (consisting of 4 notes of different pitch) swing & trad jazz, pop music,
classical music, musicals
5 and more-note chords: (consisting of 5 or more notes of different pitch) jazz, some
classical & pop music, movie scores, special effects
Of course this very basic subdivision constantly gets shot to pieces by
exceptions.
NOTE: When I say 3-note, 4-note and 5 and more note chords I mean 3, 4 or 5+
different notes without doubling any of them up or down 1 or more octaves. It is of
course possible to turn any chord into a 10 or more note sound by doubling all the
chord tones multiple times higher and lower.
The vast majority of chords are extracted from and belong to a scale or mode.
The only exceptions are unusual, incomplete, un-namable or very complicated
dissonant chords used in special circumstances.
Track02-4.2 Chord Dissonance

So:
Lets get in harmony with chords and have a closer look!
5. CHORDS ORIGINATING FROM THE MAJOR

SCALE
5.1. 2-NOTE CHORDS (Really?)
5.1.1. Do 2-Note Chords Exist?
Officially no, they dont exist, but in my humble opinion the sound of 2 notes, for
instance C and E or C and Eb, create a C Major and C minor chord respectively
that is beyond any doubt.
Track03-5.1.1 2-Note Chords

Also there are umpteen rock-type songs that survive by just playing the tonic and
the fifth in the rhythm section while the third used in the melody gives the
impression of a complete C triad.
Track04-5.1.1 2-Note Rock

To use these types of 2-note sounds the chord symbols need to be adjusted
accordingly:
C and E = C (no 5th)
C and Eb = Cm (no 5th)
C and G = C (no 3rd)
The next chapter includes a much closer look at chord symbols
You can make your own mind up whether 2-note chords are of any use to you.
Depending on what style of music youre creating you may never use them or find
them very handy regularly.
5.2. 3-NOTE CHORDS or TRIADS

5.2.1. How to Create Triads
As I mentioned earlier, the traditional definition of the smallest chord has 3 notes
and is called a triad.
The recipe to create a triad is:
a) Take a C Major scale (or anyone of the other 14 major scales)
b) Lets change the look of this scale (just this first time) to make it visually
clearer
c) Extract the first, third and fifth note (Tonic, 3rd & 5th) and place them on
top of each other
d) You just created a C-Major triad. Lets hear it!
Track05-5.2.1 C-Major Triad

How do we know that this is a Major scale & chord?
Because the distance between the first note (tonic) and the third note (third) in the
scale is 4 semi-tones or 2 whole tones.
At this point I would understand if you said, OK, I know how to make a Major 3note chord, lets carry on to the big, exciting stuff.
But you would be very hasty and miss out on some fundamental information
hidden inside every major scale.
Each one of them is the front for 6 other scales (also called modes) and
triads. Here is our C-Major scale again:
On the surface this scale contains 7 notes (+ octave C), 8 basic intervals
and, if we stretch the examination, some more complicated intervals.
But, in fact, this scale and all other Major Scales include all of the above plus:
7 Modes (other related scales)
31 Chords (7 triads + 24 chords made up of 4 and more notes)
All The Chord Tones (for triads & 4-note sounds)
Guide Tones (the backbone of each chord)
Tension Notes (possible additions to the harmony)
Avoid Notes (notes best left out of the chord structure)
56 intervals
Here is the C-Major scale expanded, showing what is behind the faade in basic
triad form:
All we have done is to use each note of the C-Major scale as the starting point of
its own scale. This creates a total of 7 scales or modes, each with its own name
and personality.
Please note that the modes are traditionally counted in Roman numerals (I II III
IV V VI VII) and have Greek names. There is no need to learn the names of each
mode unless you have to. Just be aware that:
C to C = Major scale and chord
D to D = Minor scale and chord
E to E = Minor scale and chord
F to F = Major scale and chord (sub-dominant)
G to G = Dominant scale and chord (*)
A to A = Minor scale and chord
B to B = Half-Diminished scale and chord (**)
IMPORTANT:
(*) Because our focus is just on triads at this point, the chord of the 5th scale (G to G / Mixolydian) is just a
Major triad (G B D) but will turn into its proper Dominant purpose in the chapter on 4-note chords.
(**) The same applies to the chord of the 7th scale (B to B / Locrian). As a 3-note sound (B - D - F) it is
correctly called a diminished triad but as youll see later, it really represents the first 3 notes of a HalfDiminished chord.
Lets hear each triad with its scale played over the top:
Track06-5.2.1 C-Major Triad Modes

To notate major, minor and (half-) diminished triads we use chord symbols.
They consist of:
1. The symbol or name
2. The chord quality sometimes called suffix
To notate Major Triads:
Use the root note of the scale/mode the chord belongs to i.e. C or F. This symbol
on its own always signifies the whole major triad like:
Sometimes (for extra clarity) the capital letter M or Maj can be added after the
symbol:
To notate Minor Triads:

Use the root note of the scale/mode the chord belongs to i.e. D or E or A plus the
letter m or min or (now mostly avoided) a hyphen:
To notate Diminished Triads:

Use the root note of the scale/mode the chord belongs to i.e. B plus the
abbreviation dim or :
TIP: Chord symbols are an essential part of popular music and jazz. As a
composer/song writer it is important that you write them clearly and without any
doubts, especially when added notes and alterations come into play.
5.2.3. Inversion of Triads

You may have noticed that so far all the triads have been notated and heard in
their basic build: 1 - 3 - 5. This is called Root Position.
I treat each triad as a SOUND that can be used in many different forms and I
encourage you to think the same way.
In strict music theory tuition there are rules about inverting chords (not having the
tonic at the bottom).
Third at the bottom (3 - 5 - 1) is called 1st inversion
Fifth at the bottom (5 - 1 - 3) is called 2nd inversion
Of course if you invert again you get back to the root position one octave higher.
Track07-5.2.3 C-Major Triad Inversions

But, like I said, if you treat each triad as a sound, it is much easier to be more
adventurous about how you use your 3-note chords.
You can use them in many different ways. Here are some suggestions:
1. Just as 3-note chords in close position, using the 3 inversions as above. (Not
sure about chord symbols? Well talk about them after these examples)
Track08-5.2.3 Simplicity 1 (Triads)

2. Turn them into 4-note chords by doubling the bottom note one octave higher or
the top note one octave lower.
Track09-5.2.3 Simplicity 2 (Triads + Oct)

3. 3 or 4 note versions in more open positions.
Track10-5.2.3 Simplicity 3 (Open triads)

4. 5+ note versions orchestrated in countless different ways
IMPORTANT:
When using more open triads in 1st or 2nd inversion, the chord symbol must (or should) be adjusted to reflect
that the bass note is not the tonic, like this:
C/E or C/G (use a slash between chord name and bass note - meaning C chord over E bass or G bass).
Track11-5.2.3 Simplicity 4 (orchestral)

TIP: Get used to the slight variation in sound between major and minor triads in
root position and 1st and 2nd inversion. It is a very distinctive small difference.
Play them repeatedly till your ear/mind can recognize them easily.
ALL THE INFO ABOVE
ABOUT TRIADS IN C-MAJOR
SHOULD BE APPLIED
TO ALL OTHER 14 KEYS!
Look how far youve come already:
Each scale that you know provides 7 triads multiplied by 3 inversions = 21

different 3-note chords!
That means, if you can play and understand all the major scales there are (15)
you already know 315 triads (15 x 21).
I think a pat on the back is in order!
At this point you may well ask: Is that all there is to triads? 315 major and minor
ones? The answer is no. There are other 3-note chord types with alterations, but
to keep our chord-evolution journey in everything-is-connected order, well talk
about those at the appropriate moment.
REMINDER:
Please be clear that at this point were only looking at chords that are connected to the 15 major scales and
their associated modes.
Youll be surprised to find that just this relatively restricted slice of the chord pie offers a choice of 465+
harmonies and all of them without having to write a single accidental (strictly speaking and if all your key
signatures are correct).
5.2.4. The Major Scale Triad Chord Diagram

Even those readers who, like me, found or are still finding it hard to stay awake
during school classes that dealt with numbers, you must by now realize that there
is a very clear mathematical relationship between many parts of music learning.
The next diagram is for those who like to see things in a more abstract,
schematic way:
PLEASE NOTE:
If youre unsure about the distance between each root note and the other 2 chord-tones above it (the
numbers next to the chord tones), remember this:
To work out those intervals, you must always pretend that each scale is a MAJOR scale. Then you relate
each chord tone to the root note of that scale. For instance:
Pretend D-Dorian is D-Major the 3rd of D-Major is F but our note is F therefore the interval between
D and F = 3. That part should be pretty obvious.
Lets do the same exercise with the B-Locrian scale: Pretend it is a B-Major scale the 3rd would be D
and the 5th F, but our notes are D & F so the intervals have to 3 & 5.
This whole little rave of mine will make more sense when you get to the next 2 diagrams showing 4-note
and 5-note-plus chords.
PS: All following diagrams are linked to larger versions on the website. Just click
on the images to see them.
OK, time to get into the bigger stuff.

Triads are the building blocks of harmony but lots of times we need that extra
chord tone (or two) to enhance our sound palette with some extra color.
5.3. 4-NOTE CHORDS

5.3.1. How to Create 4-Note Chords
4-note chords are simply triads plus the seventh note of the scale added.
The formula now reads:
Tonic + Third + Fifth + Seventh (1 - 3 - 5 - 7).
Note how the naturally occurring 4-note sequence in all keys is:
For all Major chords 1 - 3 - 5 - 7
For all Minor chords 1 - 3 - 5 - 7
For Dominant chords 1 - 3 - 5 - 7

For Half-Diminished chords 1 - 3 - 5 - 7
Given the right key signature, this formula holds true in each of the 15 keys
naturally without having to add any accidentals!

As with triads, the notation of 4-note chords consists of:
1. The symbol or name
2. The chord quality sometimes called suffix
To notate Major 4-note chords:
Use the root note of the scale/mode the chord belongs to i.e. C and add the
presence of the 4th note, which is the Major 7th.
This is abbreviated using the letter M or Maj or very commonly a triangle:
To notate Minor 4-note chords:

Use the root note of the scale/mode the chord belongs to i.e. D or E or A and add
the presence of the 4th note, which is the Minor 7th.
Abbreviation: the letter m or min or (now mostly avoided) a hyphen plus the letter
7:
To notate Dominant 4-note chords:

Use the root note of the scale/mode the chord belongs to i.e. G and add the
presence of the 4th note, which is the Minor 7th.
Abbreviation: the number 7:
To notate Half-Diminished (or minor 7th flat 5) 4-note chords:

Use the root note of the scale/mode the chord belongs to i.e. B plus the other 3
notes in shorthand m7(5) or a circle with a diagonal line through it ():
PLEASE NOTE:
Remember when we discussed triads I mentioned that the 7th step of each major
scale (B to B in the key of C) is usually named a diminished triad (Bdim or B, BD-F). It now becomes clear why that is misleading even though it is correct. When
we add the 4th note to the chord, which in the key of C is the note A, we finish up
with a Bm75 chord (B-D-F-A or 1-3-5-7) and not a B7 which would need the
note to be A.
Diminished 4- and more note chords are, due to their even minor 3rd interval
build between notes, a special group and not attached to any of the 7 modes but
an 8-note scale called the diminished blues scale or whole tone - half tone scale.
(More on that later).
This is a good time to mention a small but important detail about the major
modes (I-Ionian & IV-Lydian) in every key:
Their 4th chord tone, the Maj 7th can be interchanged with the 6th note,
depending on melody note and sometimes style.
While the 2 chord versions sound slightly different, theyre on par as far as
how they can be used.
So C - E - G - B (1 - 3 - 5 - 7) can be interchanged with C - E - G - A (1 - 3 - 5 6). The same applies to F (F-A-C-E can be F-A-C-D).
This does not apply to the other 5 modes, where the 6th note is either a
tension or an avoid note.
Here are the C-Major Modes once more with the chord symbols added:
Lets play each 4-note chord with its scale played over the top:
Track12-5.3.2 C-Major 4-Note Modes
5.3.3. Inversion of 4-Note Harmony

Inverting 4-note chords follows exactly the same principle as triads. The only
difference is that we have 4 notes, therefore 4 inversions.
1. Tonic at the bottom (1-3-5-7) = Root Position
2. Third at the bottom (3-5-7-1) = 1st inversion
3. Fifth at the bottom (5-7-1-3) = 2nd inversion
4. Seventh at the bottom (7-1-3-5) = 3rd inversion
And, if you invert again, youre back to the root position one octave higher.
The following image shows the 4 inversions of all 7 chords in the key of C.
Track13-5.3.3 C-Major 4-Note Inversions

As a careful reader and listener you will have noticed (and heard) that some of the
4-note inversions create clashes (tension) between adjacent notes. This will
happen more and more as the harmonies contain more notes.

My attitude towards inversions is: Forget about them! Chords however
complicated they may get are a sound to be molded into the right shape by the
requirements of your composition. What determines the inversion you use is, in
most cases, not which note is at the bottom of the chord but which sits at the top.
As a general rule we can say that semi-tone clashes at the top of the chord are
questionable because the important sound of the top or lead note has its clarity
masked by the closeness of the one below it. As a passing clashing-effect done
on purpose, it can of course be very effective.
Track14-5.3.3 4-Note Inversion Clashes
5.3.4. The 3 Chord Groups of the Major Scale

If you examine the note content of each of the 7 chords in each key, youll find that
some contain the same notes and create a similar sound.
Therefore we can sort the 7 chords into 3 groups:
1. Tonic Group contains I + III + VI (CMaj7 - Em7 - Am7)
2. Sub-Dominant Group contains II + IV (Dm7 - FMaj7)
3. Dominant Group contains V + VII (G7 - Bm75)
This grouping will become even clearer once we start adding tensions to chords.
As you can see, the notes in C6 and Am7 (and therefore the sound to the
listeners ear) are the same. The only thing that differentiates these 2 harmonies in
sound quality and chord symbol notation is the bass note (or tonic). The same
applies to F6 and Dm7.
Track15-5.3.4 4-Note 3 Chord Groups

Well come back to this briefly later when the remaining group connections make
more sense.
In the meantime keep remembering what I said earlier:
Learn to hear the difference between major, minor, dominant & diminished /
half-diminished harmonies.
Be open to the possibility that each sound can have variations but remain
the same in its basic purpose. (Ex. CMaj7 and C6)
Become attuned to the most fundamental role the root note or tonic or bass
note plays in creating subtle variations in quality of the same or similar
groups of notes.
The note content of the melody dictates which chord variations and quality
are most suitable.
Again:
ALL THE INFO ABOVE

ABOUT 4-NOTE CHORDS IN C-MAJOR
SHOULD BE APPLIED
TO ALL OTHER 14 KEYS!
Congratulations:
Youve reached another milestone in your What Are Chords journey. Im sure by
now the process of extracting harmony from scales is becoming a bit of a light
bulb event.
The volume of your chord knowledge is growing steadily. Think about it: 15
major scales x 7 triads x 7 4-note chords (not counting inversions) = 735
harmonies to chose from.
I know, keeping score like that is a bit greedy but it gives you an idea how
much knowledge is contained in just all the major scales.
And were not done yet!
5.3.5. The Major Scale 4-Note Chord Diagram

Here is the 2nd version of my chord diagram, this time enlarged to show 4-note
harmony.
Note the inclusion in brackets of the 6th as an alternative to the 7th in the 2
major modes.
Also, very importantly, the triad diagram listed the 5th mode as a major chord
and the 7th mode as diminished which was correct.
But now, with the 4th note added, mode 5 turns into its true quality of
dominant 7th (G7) shown with a separate color and similarly mode 7 has
morphed into its real function of Half-Diminished (B).
5.3.6. A Rebellious Look At The Circle of Fifths

As I mentioned in chapter 2. Required Knowledge, the greatest assistant to
absorbing this introduction to chords and have lights go on all over the place, is
a basic understanding of the circle or cycle of fifths or fourths. It naturally
completes and clarifies the picture of major scale chords we are painting here.
For this circle to be of real help when discussing chords it is much more
convenient to have it laid out flat:
I know, this is very small. Its difficult to fit 15 keys and key signatures into 1 line,
so just for display well cut this in half and show flats and sharps separately and
larger:
The one thing that has always bothered me about this traditional version of the
cycle is that the sharp keys are on the right and the flat ones on the left.
Im going to turn this around and switch sides by putting sharps on the left and
flats on the right like this:
Here is why:
Music on paper flows left to right and almost every composition that has ever
been written includes chord sequences like II-V-I (Dm7-G7-CMaj7) and similar
right to left around-or-along-the-cycle type movements.
If you are a chord-novice you may not understand this reasoning at this point but I
promise you it will make total sense soon enough.
Lets take a very common III - VI - II - V - I harmonic flow in the key of C and
show it on the traditional cycle:
The flow of this sequence from right to left goes against the grain visually.
Lets see the same set of harmonies on my amended cycle:
Track16-5.3.6 The Rebel Turn Around

The cycle flows with the music. I rest my case!
If you are in the dark or unsure about the cycle of 5ths, please take the time to
watch the first 2 of my 5 very informative free videos.
Dont worry if some of the content is hard to grasp at first, it will soon make
sense and well re-visit the cycle once more at the end of the next chapter.
Video 1:
(A detailed look at the basics of the circle of 5ths, keys, key signatures, circle or cycle, 4ths or 5ths.)
Video 2:
(Find how the circle of 5ths becomes a very user-friendly music tool by making a small but crucial change.)
5.4. 5-, 6- and 7-NOTE CHORDS

5.4.1. How to Create 5-, 6- & 7-Note Chords
So far weve used 4 notes, the 1st, 3rd, 5th and 7th, out of each 7-note mode to
create 4-note chords. That leaves 3 more notes (the 2nd, 4th and 6th) to extend
the sound of each harmony.
Unfortunately as youll see in a minute not all 3 are usable additions in every
mode. Weve also already learned that the 6th in the major modes is
exchangeable with the 7th.
May I point out again that these 5, 6 and 7-note sounds are still just coming
from each scale. So, still no accidentals but now were getting into tension territory
where any of the 3 new notes have the potential to create tension or friction with
the basic 4-note sound.
Our chord color palette is starting to look very interesting indeed and it will be
increasingly important to be aware when and where and how to use this abundant
variety of choices in your painting.
Since youre swimming like a pro by now (I hope) lets jump into the deep end
and look at all the chord versions that the 3 extra notes make possible:
Index of abbreviations:
T = Tension (can be added to the chord)
GT = Guide Tone (minimal required 2 notes to establish chord quality)
A = Avoid Note (can be used in the melody but should be left out of the chord)
As you can see the chord choices in each mode are numerous and it is important
at this point to realize that the style of your music and personal harmonic
preferences should dictate how far you go with this.
Just adding the 9th in many instances is a step towards a jazzy sound. Mind
you, many pop artists like Stevie Wonder, Sting, Steely Dan, Michael Jackson and
many more use this kind of harmony in their songs all the time. So its decisionmaking time. You can have a triad or a 7-note chord if it is appropriate to your
composition.
The best way to go forward if you havent used 5+-note chords before is to
listen to the sound of each one. Youll soon feel whats right and whats too thick
or tense or jazzy.
Here is each chord from the last image played in sequence. Be aware that they
are all in root position and there are many more other ways to use them:
Track17-5.4.1 C-Mode 5+Note Chords

A few comments about the chords of each mode:
IONIAN:
3-6 notes. All chords if voiced properly sound very nice and are very common.
DORIAN:
3-6 (7) notes. Strictly speaking the addition of the 13th (Dm13), even though it is a
reasonably common jazz chord, is a no-no because the note B goes against the
basic purpose of the II-chord.
PHRYGIAN:
3-5 notes. This mode has the least choices of all if used cleanly because it has 2
avoid-notes. But rules are there to be broken!
LYDIAN:
3-7 notes. The 4th mode is the only one without avoid-notes therefore it gives you
the most harmonic choices of all. Care must be taken when and how to use the B
(11) or messy sounds will be the outcome.
MIXOLYDIAN:
3-6 notes. All versions are very common but remember, the triad just sounds like
a major chord. The V chord has the most potential for alterations and other
versions, as youll see later.
AEOLIAN: (Also called the NATURAL minor)
3-6 notes. As the relative minor it is very common even with 9th and 11th added
and nicely voiced (spread). This scale is also the foundation from which the
harmonic and melodic minor scales are built.
LOCRIAN:
3-6 notes. The triad is just a diminished sound and the 4th note is needed to make
it m7(5). 5 and 6-note versions are more rare and mostly used in jazz.
5.4.2. Notation of Chords with Added Tensions

The more involved harmony gets, the more important it is to notate it very clearly.
Badly written or questionable chord symbols can lead to mistakes in interpretation
(of course) but also unnecessarily lost time in any recording situation where time
is money.
Unfortunately there are also a variety of opinions out there about how certain
tensions should be notated. But Im confident after almost half a century of
messing about with harmony, that my way of chord symbol notation is clear and to
the point.
If youre composing music for your own band you can get away with a certain
amount of simplification because anything questionable or incomplete can be
explained.
But in any other situation where your arrangement gets sold or the
performance of it is out of your control, you can go 2 ways:
1. If your music is for professional jazz players you can assume that they know
the secrets of modes and chords, which allows you a certain tolerance. For
instance there is no need to write complicated chord symbols as the
performers will know what goes with added tensions and so on. If you write
for jazz students Id think a bit more carefully about including slightly more
detail.
2. For all other music that routinely includes chord symbols I would be specific
about added tensions within reason. That means ridiculously complicated
symbols often do more damage than good and are frequently unnecessary.
Plus they are almost impossible to sight-read for many players.
Here are some of the 5+-note chord & symbol possibilities again per mode, this
time notated on a grand staff in a variety of ways:
MODE I:
Note: I always use the triangle for Maj7 & 9; it is very common and international. Use 6/9 when adding the 9th
to the 6th chord, sometimes notated with a slash between 6 and 9. The full 6 note symbols (ex. 5 & 6) I hardly
ever use. Just because the orchestra plays a full 6-note chord doesnt mean that piano & guitar also have to
play the full thick sound, it is often overkill. But if necessary, by all means use the last 2 symbols.
MODE II:
Note: Minor chords with extra tensions are used all the time and are basically simple to notate. I never use
the hyphen for minor because it is too easily missed. Keep in mind that m11 includes the 9th and m13 the 9th
& 11th. If you want special versions like m7 + 11 only it should be made clear like this: m7(add 11), see mode
III.
MODE III:
Note: This minor harmony when used strictly as the III of the key only allows the 11th as a tension. Therefore
we only get one symbol to use. add 11 should be in brackets.
MODE IV:
Note: The most versatile of the 7 modes due to the availability of the 11. Treat the symbol notation exactly
like the I-chord until you add the tri-tone (11) then be sure to put it in brackets. The full 7-note chord sounds
quite thick and it is often best to omit the natural 5 to lessen the tension.
MODE V:
Note: The V chord has the most potential for added tensions and alterations, as youll see later. But here the
2 possible additions are the 9th and/or the 13th. To avoid confusion with the sus4 harmony it is best to be
clear by saying G7, G9 or G9(13). If you want to use the 13th without the 9th notate G7(13). I dont use G13
because it leaves a question mark whether it is a proper dominant or a sus4.
Important: In dominant 7th chords, the 6th is always called a 13th, whether it is placed above the 7 (in the
13th spot, ex. 3 & 4) or right next to it (ex. 5).
MODE VI:
Note: Treat this like the II-mode except the 13th is not available.
MODE VII:
Note: The symbol should only be used for the 4-note-chord. If you need to write the 2 larger versions use
m11(5) for the 5-note harmony and m11(513) for the 6 notes. The last symbol is complicated looking and
I hardly ever use it.
The musical examples given above are of course only a minimal cross section of
what is possible and many more versions of all these harmonies, especially with
omitted notes and other varieties, are possible.
That is where you can work towards your personal style by being selective in
what goes in a chord and what stays out.
5.4.3. Inversion of Large Harmony

In the last chapter on inversions I said to forget about them. This is even more
accurate for larger chords.
Think about it. Chords that have 5 or 6 or 7 different notes in them need a
minimum of 5 or 6 or 7 horn or string players or singers. They can be played by a
piano but a guitar is restricted to 5 notes.
Your choice of lead note of each chord becomes more and more crucial. Pick
the wrong note on top and certain voicings/inversions become awkward. Of
course there is no such thing as a wrong lead note, all 5 or 6 or 7 are valid but
some are definitively better than others.
Depending on your music style, instrumentation etc. you will be frequently
faced with the need to omit notes without jeopardizing the sound or purpose of the
harmony. The most common 2 notes to be left out are the tonic & the 5th. The
tonic can easily be omitted if there is a bass player, and the 5th is not absolutely
necessary to retain the character of the chord. But the 2 guide tones must stay for
a complete harmony.
Here is a variety of inversions/voicings for a mixture of musical situations and
instrumentations, some with doubled notes, some with notes left out:
Listen to each example played slowly with a brief gap between them (piano,
guitar, brass, strings and voices).
Track18-5.4.3 5+Note Chord Inversions

If youre unsure about guide tones and the many interesting things about them,
feel free to watch my 4 videos that explain it all.
Video 1:
(What are guide tones?)
Video 2:
(How to use guide tones?)
Video 3:
(A detailed look at the close relationship between guide tones and the circle of 5ths.)
Video 4:
(A note by note analysis of single and double guide tone lines written for a 32 measure orchestral piece.)
5.4.4. The Major Scale 5-Note+ Chord Diagram

Here is the 3rd version of the chord diagram this time including all the possible
additions (tensions) to the 4-note chord.
6. CHORDS ORIGINATING FROM THE WHOLE

TONE SCALE
6.1. About The Whole Tone Scale
My chapters will be slightly shorter and to the point from now because 1) Im
hoping that you understand the basics of chord creation and 2) the rules for
building harmonies from scales dont change even for the upcoming more left-field
sounds:
1-3-5 = Triad
1-3-5-7 = 4-Note Chord
2-4-6 = Available Tensions/Avoid Notes (plus a few surprises)
This 6-NOTE scale is one of a kind, built on a series of whole tone (WT) steps and
therefore unusual but also very symmetrical.
(Ive included the enharmonic pitches because, depending on where or how this scale or chord is used, either
of the 2 notes with the same pitch are applicable)
Up to chapter 6 you had to translate all the info given into 14 other keys, which
admittedly is quite a time consuming but necessary task.
The good news is that with the WT Scale there are only 2. C and C. When
you get to D, youre back into the C-WT scale starting from the 2nd note. Yippee!
Similar to the diminished chord, the harmonies from the WT scale have an
easily recognizable sound to them. They always sound like a question mark to my
ear, unresolved, restless, slightly troubled, needing to go somewhere.
Lets see what chords come out of the WT scale.
6.2. How To Build Whole Tone Scale Chords

The formula for creating harmonies from the WT scale is a little different due the
scale being restricted to 6 notes.
Here is the scale image again with all the additions:
This picture tells us that there are no avoid notes and that the harmonic
possibilities from the WT scale are:
TRIADS:
C major with a 5 or C major with 5
4-NOTE CHORDS
C7 with 5 or 5
5- or 6-NOTE CHORDS
C9 with either 5 or 5 or both.
5 is also called augmented and sometimes indicated with a + sign.
Remember the above applies exactly the same to D (D75 or 5) E, F/G, G/A
and A/B.
Take the whole scenario up a semi tone and it turns into C/D, D/E, F, G, A
and B.
So, we have 2 WT scales with a potential total of 84 different triads and 4-, 5and 6-note chords.
NOTE:
Take care when creating the larger WT harmonies because a bunch of notes a
tone apart can sound thick and ugly. Therefore: Be smart with your voicings!
6.3. Notation of Chords From The WT Scale

The more often used chords from the Whole Tone Scale are the augmented ones.
Many composers, arrangers and songwriters use the plus sign (+) to notate them
but I find it can be confusing to read just like the hyphen for minor. It is much safer
and clearer to use (5) instead.
Flat 5 harmonies are a little less common (outside of jazz anyway) and should
be written (5).
Here is a bunch of chord sounds taken from the WT scale, from triads to 6-note
chords in root position and 4 others in a more open shape:
Listen to them played in sequence, each line from left to right.
Track19-6.3. Whole Tone Scale Chords

Like I said, they all sound like they need to resolve to some kind of F chord.
Inversion of these chords works the same as the mode-chords.
Triads can be in root position or 1st & 2nd inversion plus the 3rd inversion for
4-note chords.
Again, be aware of the regular whole tone space between notes, which can
lead to awkward voicings.
6.4. The Whole Tone Scale Chord Diagram
Holy smoke, if youre reading this, youre still hanging in and finding out about
What Are Chords.
Congratulations and believe me this journey will be seriously worthwhile to
your understanding of music in general.
Next were diving into a similar tonal center to the Major Modes but this time
with a minor sound and 7 really cool new chords.
7. CHORDS DERIVED FROM THE MELODIC

MINOR SCALE
7.1. About The Melodic Minor Scale
A little while back I mentioned that the Aeolian mode (or natural or relative minor
scale) is the basis for building the Melodic Minor scale. While this is true in classic
music theory I want you to forget about it.
To have a scale that sharpens 2 notes of the natural minor on the way up and
then flattens them again for downward melodies only makes sense if youre into
strict classical composition.
If youre writing a pop song and decide to use a Cm6 chord in measure 5 then
that sound and scale remain the same whether the notes of your tune go up or
down.
The simple truth about the melodic minor (MM) scale is that its a MAJOR
SCALE WITH A MINOR THIRD!
So, if you know your major scales, just make 1 small change and flatten the
3rd note. Simple!
In my mad practice days many years ago I always repeated whatever exercise I
was playing in a major key also in melodic minor straight after.
Here is an example:
This is (or should be) a very simple thing to do and it opens up such a
smorgasbord of harmonies to become comfortable with. You get your 7 Major
modes with all their harmonic variations and another 7 from the MM scale with its
cool chords in one practice session.
If youre studying and learning to compose classical music this may not be the
way to go!
So lets have a look at the MM modes.
7.2. How To Build Melodic Minor Scale Chords
Since youre familiar with the detailed examination we made of the major modes
in triad form and moving to ever-larger chords and their symbols, Im going to
push you into the deep end again and present you with the whole MM mode &
basic chord picture straight away.
Before you look at the image below, let me point out a few interesting details:
1. Be amazed at how much difference the simple change of flattening 1 note,
the 3rd from E in C-major to E makes and how it opens up a whole new
Aladdins cave of harmonic treasures.
2. Compared to the major scale modes where only the 4th mode has no avoidnotes, in this scale there are 4 modes where all the notes are valid chord
tones. That makes for more harmonic variations to chose from.
3. Out of the 7 modes 1 is not used very often, 4 are suitable for general use
and 2 are mostly jazz chords.
4. If you think that these harmonies are too complicated for your personal taste,
remember that you dont have to use the 5-, 6- or 7-note sounds. The 4-note
chords are fine because the scale that goes on behind them makes the
difference.
Heres the deep-end:
Lets zoom-in on each one:

I - MELODIC MINOR
Many minor flavored tunes use this as the resting place, the coming home
sound. In other words, use it like the Ionian mode in a major key composition. Lots
of possible variations as all 7 notes are available.

Listen to the scale then each chord from left to right with snippets of scale played
over the top:
Track20-7.2. Melodic Minor Scale Chords

II - DORIAN 2
This minor mode is not used very often. Personally Ive never used it in any of my
work because I dont particularly like a m7 harmony with the sound of a 9 (E) in
the scale. But Ive seen it used so dont completely chuck it in the bin just yet.
You be the judge when you hear it:
Track21-7.2. Dorian 2 Scale Chords

III - LYDIAN AUGMENTED
This is a special sound that you find quite a lot in more modern jazz tunes. But it
also has a place in middle of the road music as a replacement or substitution of
the Ionian major chord. You could make | Fm7 | B7 | EMaj7 more interesting by
doing this instead | Fm7 | B7 | EMaj7(5) EMaj7 (if the melody allows).
Lend your ear please:
Track22-7.2. Lydian Aug Scale Chords

IV - LYDIAN DOMINANT
A very common version of the dominant 7 harmony, that turns the normally avoid
4th in the basic Mixolydian into a usable note (4-5-11 = Lydian). Hip players of
the Blues love the Lydian Dominant.
Please listen:
Track23-7.2. Lydian Dom Scale Chords
V - MIXOLYDIAN 13
Another version of the dominant 7 harmony, this time with a 13 or 5. Can be
played instead of the whole-tone scale. Very often seen before resolving to a Iminor.
Go to audio:
Track24-7.2. Mixolydian 13 Scale Chords

VI - LOCRIAN 2
The bug about the normal Locrian mode is that it doesnt have a usable 9th. This
scale solves that problem but is otherwise the same as mode VII of the major
scale. The added note gives the option of resolving to a major chord. Ex. The
main purpose of the normal Locrian in B is usually to be part of the II-V-to the
relative minor: Am7(5) - D7(5) - Gm7 or Gm6. But with the Locrian 2 you could
go: Am9(5) - D13(9) - GMaj7. Different, but very effective.
Hear these 2 examples with their corresponding modes in the melody:
Track25-7.2. Locrian 2 Scale Chords

VII - ALTERED
This is one the most extreme version of the dominant 7 chord, but also one the
most interesting and versatile. The 9th and 5th are altered both ways (9 / 9 & 5
/ 5). This gives lots of harmonic options from reasonably simple to all in.
Note: Since all notes are available as chord tones, Ive added the 5 as the 5th of
the chord in this example but it could have been the 5 instead. Also, the 3rd of B
should be D but as part of this mode, E will have to do.
Please listen, but be aware that the true magic of this harmony does not begin to
shine till some of the other tensions (or even all) are added - in the next chapter:
Track26-7.2. Altered Scale Chords

As you can see, the basic procedure of chord extraction from a scale remains the
same as the one I detailed in the Major Scale Modes.
But the notation of these new chord symbols are bit more involved due to all
the possible added notes. Lets have a look at that now.
7.3. Notation of Chords From The MM Scale

When chord symbols get more complicated as some do here, it becomes crucial
to be totally clear about what is going on. As Ive said before, depending on who
you write music for,
their content can vary quite a bit. You only need to write the extreme symbols
when you want to make sure that no liberties are taken with what notes are
included in the sound. For jazz players a basic symbol is enough, as they should
know what notes are allowed as additions if they choose to use them.
So here again is each MM-mode with a complete set of possible symbols and a
frequently used voicing underneath plus a short playback:
I - MELODIC MINOR
Track27-7.3. Melodic Minor Chord Symbols

II - DORIAN b2
Track28-7.3. Dorian 2 Chord Symbols

III - LYDIAN AUGMENTED
Track29-7.3. Lydian Aug Chord Symbols

IV - LYDIAN DOMINANT
Track30-7.3. Lydian Dom Chord Symbols

As you can see and hear, it is ok if required to have 5 and 5/11 in the same chord. But for a cleaner
sound I prefer to leave the 5 out.
V - MIXOLYDIAN b13
Track31-7.3. Mixolydian 13 Chord Symbols

What I said a minute ago about 5 and 5 in the same harmony goes a bit more against the grain if you try it
with 5 and 5/13. Personally Im not a big fan. (Replay the last chord of the above audio sample). To
keep in tune with the C-Melodic Minor scale, the 5 is displayed as E instead of
D.
VI - LOCRIAN #2
Track32-7.3. Locrian #2 Chord Symbols

VII - ALTERED
Track33-7.3. Altered Chord Symbols

Again, apologies for notating the 3rd of B as E instead of D.
Remember:
Chord symbols are not a unified and set in stone subject. Many musicians have
different ways of writing them. But the ones youve just looked at have not given
me any problems or complaints in over 40 years of writing arrangements. Above
all: Be clear!
7.4. The Melodic Minor Scale Chord Diagram
Only kidding! The altered mode should not be any more difficult than the others
because its still just the MM-scale starting on the 7th note. Right? Dont let all
those serious looking symbols scare you.
The good news is: Youve arrived at another milestone. Weve covered almost all
the chord varieties youll ever need to know.
If you understand the content so far and it makes sense, you should be smiling
with pride.
The remaining 2 chapters cover what is left of the chord pie, the diminished
scale and then how to treat outside chords when they arise inside a major tonal
center.
8. THE CHORDS OF THE DIMINISHED BLUES

SCALE
8.1. Insight into The Diminished Blues Scale
The Diminished Blues Scale is daunting to some, overused by others and not fully
understood by many.
Here are some important facts why this is the case:
1. It is an 8-note scale
2. It has multiple names
3. It only exists in 3 keys then it repeats
4. It is 2 scales in one
Lets put each of those points under the microscope:
1. 8-Note Scale
8 scale tones without avoid notes, which opens the door for a large variety of
harmonies, up to 8 notes if you dare.
2. Multiple Names
The other 2 names of this scale are:
Whole Tone-Half Tone (WT-HT) or Half Tone-Whole Tone (HT-WT) scale
depending on the starting note:
3. Only 3 Keys
Similar to the whole-tone scale where we found that it really only exists in 2 keys
before you start repeating, the Dim Blues has a regular interval pattern of 3 semitones between chord tones. This means that there are only 3 different keys (C, C
and D) before we get back to the C-version starting on E.
4. 2 Scales In One
This is the most important point. You can look at this scale in 2 different ways:
a. Half Tone-Whole Tone is the basis of a Dominant 7(9) chord (1-3-5-7)
and 3 others exactly the same starting on notes 3, 5 and 7.
b. Whole Tone-Half Tone is the mode behind a Diminished 7th chord (1-35-7) and also 3 others from notes 3, 5 and 7.
(I know that 3 of the D diminished chord tones are enharmonically incorrect but I left them the same as the
top scale for this demo.)
Hear both scales with the 4-note harmony behind them:
Track34-8.1. C-HT and D-WT

If youre still a bit confused about this mode, dont worry. It took me a fair amount
of time and practice before the fog cleared. The next chapters will provide more
insight and chord samples.
8.2. How To Build Dim Blues Scale Chords

Since each one of the 24 possible harmonies (3 scales x 4 dim + 3 scales x 4 b9)
has no avoid notes, it is possible to build chords anywhere from 3 to 8 notes. This
is a huge soundscape of simple triads (probably not often chosen in this scale,
but then, why not), to 4-note chords with either 1, 2, 3 or even 4 added tension.
Lets have a closer look, separately for WT-HT and HT-WT.
8.2.1. The Whole Tone-Half Tone Way

Allow me to nail this down once more: Each of the 3 WT-HT modes is the
backdrop for 4 diminished 7th chords containing 4 basic chord tones and 4
possible tensions.
Standard 4-note dim chords have a reputation for sounding a bit pass, especially
when used for any length of time (like 1 measure) and not just as passing chords
for instrument voicings where they might move at 8th note speed. So, the addition
of 1 or 2 of the available tensions has the potential to bring the old-fashioned into
the now. Which 2 out of the 4, or whether any of them are suitable, is always
determined by melody notes and style.
NOTE:
The rows of note names at the bottom of the image are valid for all 3 scales.
Enharmonically correct spelling of each chord tone is near impossible and
depends a lot on what key you are in and whether you are using say C or D, F
or G etc. diminished.
Here are the same 3 scales in a different format displaying the chords & tensions:
NOTE:
Accidentals in the 2nd measure carry right through from the first chord and its
tensions.
Again: Enharmonic spelling of the dim chords has been kept the same as in
measure 1 for convenience.
You must have noticed that each WT-HT scale consists of 2 intertwined
diminished chords, 1 starting on the root note and the other a whole tone above.
8.2.2. The Half Tone-Whole Tone Road

It is tempting (and possible) to subdivide the HT-WT mode like we just did in the
last chapter and superimpose 2 diminished chords on top of each other like so:
But this image, while technically correct, leads to confusion and does not address
the true purpose of a HT-WT scale, which is to be the backdrop for a dominant 7th
chord with 4 possible added tensions as you saw in chapter 8.1.
Now were cooking and able to expand the info like we did for the WT-HT mode.
Despite the difference in looking at this scale, it still holds 3 other dominant 7th
chords.
To display this though in one image like I did with the WT-HT is not possible
because the sequence of chord tones and tensions is not even any more.
Here are the 4 dominant 7th chords hidden inside the C HT-WT: (enharmonic
spelling errors of some chord tones admitted and on purpose!)
You just need to transpose this up a semitone to C (C7, E7, G7, B7), and then
another halftone to D (D7, F7, A7, B7) and youve got all 12 harmonies covered.
8.3. Notation of Dim Blues Scale Chords

Writing down the symbols of the diminished blues follows the rules weve already
discussed, especially in chapter 7.3. (Melodic Minor).
But it can get a bit messy because every chord has the option of 4 possible
additions. Adding all or some of those to the basic 4-note symbol is pretty straight
ahead for the dominant 7th ones (HT-WT) but gets a bit trickier for the diminished
group (WT-HT).
Lets check it out!
8.3.1. Diminished Chord Symbols

As I mentioned earlier you may want to spice up the basic dim7 chord with an
extra note or two. And that is about as far as I would go unless youre aiming to
create a pretty strained sound. If you add more than 2 tensions, expressing all 3
or 4 added notes clearly in the symbol becomes more and more difficult. You
could follow the normal path and name the 4 extra notes as intervals from the root
note something crazy like this:
But I have never written dim chords in such a way or seen them in anybody elses
music.
The most common tension added to the diminished harmony is the 7 closely
followed by the 9th. In a Cdim7 that is the notes B & D, resulting in the reasonably
often used symbols C(7) or C(9).
In these situations the note(s) immediately below the added tension(s) in the scale
is/are frequently omitted resulting in a less clustered but just as effective sound.
See and hear the following examples:
Track35-8.3. Cdim(7)and(9)
To accommodate the other 2 tensions or include 3 or even 4 (if you must) I have
always either written the voicing out or used a symbol that is not necessarily allinclusive but quite enough to give chord players the message. If you really want to
convey that you want 4 chord tones + 4 tensions, the easiest way is to write B7
over C7. The over part is a horizontal slash (or underscore) with the B7 above
it and the C7 below. This is easy to understand and write.
Here are some examples:
You can see that the above methods allow you to write just about any combination of the 8 notes.
Track36-8.3. Cdim + up to 4 tensions

Remember to always notate dim chords by their root note. So if a C is on the
bottom its a C, if it is E or G or A call them E, G or A diminished.
8.3.2. Dominant 7 Chord Symbols

Youll be glad to know that notating this section of the diminished blues scale is a
bit more straight ahead.
You start with 1-3-5-7 and have the choice of adding any or all of these: 9,
9, 5/11 and 13.
The most common and still pleasant sounding 7-note symbol is C13(9/11).
The same harmony with 9 in it is quite tense and used less. If you must go all
the way, you could use the chord over chord technique and say E over C7(9),
but I have never needed to go that far.
Important: Whenever the 9th is altered in either direction, the natural 9 is NOT
available.
Here are a few examples of C7 voicings with a variety of the 4 tensions added:
Track37-8.3. C79 + up to 4 tensions

The only chord that has a note omitted is the 4th chord in the lower row. The 5 is
missing resulting in a clearer sound.
Notice how the root position examples at the beginning of each measure are
more edgy than the open voicings where clashing notes are separated. There are
many more ways to use these harmonies. You can try any combination and also
leave notes out as long as you keep the root note and the 2 guide tones (3rd and
7) in place. When using 5 and 5 it is best to have the 5 BELOW the 5 unless
you brake the rules and have them next to each other or reversed to create a
special tense sound.
8.4. The HT-WT Scale Chord Diagram
8.5. The WT-HT Scale Chord Diagram
8.6. More Digging into the Cycle of Fifths

In the last burst of circle of fifths info way back in chapter 5.3.6 the main points of
discussion were the 15 keys and their key signatures plus the need to reverse
the order of sharps and flats to make along-the-cycle harmony flow in the same
direction as music on paper, left to right. I trust this makes sense to you.
This time Id like to draw your attention to a wider look at the cycle, the
peripheral vision part if you like.
The great thing about this tool is its multi-purpose qualities. Sure you can use
it to remember how many sharps and flats keys have and in what order they are
added or subtracted. But for me the more juicy info is that each station on the
cycle can be anything with that name! For instance lets take D and forget the 2
sharps for a moment and lets pretend that D can be any chord not just D major,
for instance Dm7 or D7 or any D chord as complicated as you like and any scale
that goes with each of those harmonies. That really opens up this gadgets
usefulness.
Now a tame inside the key turn-around like III-VI-II-V-I (Em7-Am7-Dm7-G7CMaj7) can be as complicated as E7(59) Altered Scale - A7(9) Half ToneWhole Tone Scale - D9(13) G Major Scale - G9(11) Lydian Dominant Scale C6/9.
If this extra dimensional view of the humble circle is to your liking, you can
watch parts 3, 4 & 5 of my free videos on the cycle of 5ths. They cover all that
stuff and more:
VIDEO 3:
(Watch & hear how chord progressions behave on the cycle of 5ths diagram in detail. Learn about the turnaround and analyze the harmonic details of a 16-measure song step by step.)
VIDEO 4:
(10 easy steps to perfect music transcription using the cycle of fifths. A hands-on look at a short song and
how to transcribe each instrument from the bass up. Learn how to hear and adjust chords using the melody.)
VIDEO 5:
(How To Transpose Music Instantly With The Cycle Of Fifths. Watch a step-by-step demo using a short song.)
9. SUS4 & SUS2 CHORDS

I probably should have approached this subject in the appropriate earlier pages as
sus4 chords are just a slight deviation from harmonies weve already covered.
But they deserve a chapter of their own, mainly because they are so popular in
much of todays music.
Sus4 is the abbreviation of suspended 4th meaning the 4th note of the scale
is used in the chord instead of the 3rd.
To my thinking this is actually a bit confusing because the meaning of
suspended in the dictionary is:
Temporarily prevented from continuing or being in force or effect.
The note that this happens to is the 3rd. It is held back and the 4th is played
instead.
This explanation is more valid in popular music where suspended chords are
very often used as a sound in their own right and not resolved. G7(sus4) = G-C-DF does not always resolve to G7 = G-B-D-F
The dictionary also explains the meaning of musical suspension as:
The prolongation of one or more tones of a chord into a following chord to create
a temporary dissonance.
This quote makes sense in traditional tuition where the held over 4th will be
resolved to the 3rd. Csus = C-F-G followed by C-E-G.
Whichever way you use these chords, they create a great variation to the nonsuspended sound.
Sus4 chords happen in these chord families:
Major Chords (Ionian & Lydian)
Minor Chords (Dorian, Aeolian, Melodic Minor & Dorian 2)
Dominant 7th Chords (Mixolydian, Mixolydian 13)

All the clarification about sus4 also applies to sus2 except the 2nd note is used
instead of the tonic.
This chord type is less common and also very often notated without the sus, so
Csus2 = D-E-G and C2 are basically the same.
Another way is to say C(add2) which strictly should be: C-D-E-G.
Lets look at the sus chord groups separately.
9.3. Major sus4 and sus2 Chords

In the major chord group the sus4 version is most often applied to the triad. So C
(C-E-G) becomes Csus4 (C-F-G). Inversions follow the same principles as
discussed in the major modes.
Track38-9.3. Csus4 + Inversions

If you extend this to larger chords it can get confusing both in sound and symbol
notation. But despite that they exist.
For instance:
C7(sus4) = C-F-G-B or C9(sus4) = C-F-G-B-D which is the same as
G7/C, easier to write and interpret.
C6(sus4) = C-F-G-A and C6/9(sus4) = C-F-G-A-D. Both of those are a bit
clustery in root position and need careful voicing. The second one can be
notated as Dm/C
You can see that having an F in a C-major harmony can form little triadic or 4-note
structures over a C-bass.
Track39-9.3. CMaj7 + C6 (sus4)

The sus2 version of major chords has been used to great effect in some famous
themes.
It is mostly applied to the triad and, similarly to above, larger sus2 chords can
easily be written in other ways:
C(sus2) = D-E-G (still with a C in the bass, also called C2)
C7(sus2) = D-E-G-B is really the same as a different voicing of C9 or
Em7/C.
If you enlarge further to include the 9th, the exercise becomes pointless because
the 9th in C is the D and symbol-wise we can use C9 or C6/9.
The variety of harmonic possibilities just in this sus department is maybe not
endless but large. I would suggest this:
Use C(sus2) or C2 or C(add2) when you want the D played inside the triad
and not above it in the ninth spot. For those you can say C(add9) or C9 etc.
Track40-9.3. C(sus2) examples
9.4. Dominant sus4 Chords

If youve been around any of todays music even a little bit you would have
encountered dominant 7th(sus4) chords. They are everywhere. Not just to resolve
to the non-sus harmony but by themselves covering whole sections of songs.
Any Dominant/Mixolydian scale that contains a 4th as an avoid note can be
hijacked and turned into a sus4 by promoting the 4th to chord-tone status and
barring the 3rd to the wasteland of the untouchables.
Be clear that the Lydian Dominant and HT-WT scales are not candidates for sus4ing because they dont have a 4th to sus but a 4/5/11 instead.
Lets look at a few examples of G7(sus4) and how quite often any V(sus4) can
also be a disguised II-chord (Dorian) with the V already in the bass.
Note: The 4 notes of the Dm7 are the same as F6 and Dm9 is the same as F7. The Dm (II) is better if
resolving to G7 but the F (IV) could also be used in other harmonic circumstances
Track41-9.4. G7(sus4) examples

IMPORTANT:
Listening to pop music of any style I hear harmonic passages on a regular basis
that have used the sus4 AND the 3rd in the same chord. That sounds cool and
effective if it is done on purpose and with care. But quite often it is obviously a
mistake that has occurred when overdubbing or through sheer ignorance. Be
clear in your mind that the main purpose of the sus4 is the resolution to the 3rd.
As in Dm7/G or G7(sus4) to G7, the classical resolve of the note C to B.
9.5. Minor sus4 Chords

The difference between major and dominant sus chords and the minor ones is
easily detected by comparing their scales.
The fourth note in the major and dominant modes is an avoid note, therefore it
can be activated by shutting out the 3rd as we just saw in the last chapter.
The minor scales (Dorian, Phrygian, Aeolian, Melodic Minor and even Dorian
2) all have a valid accessible T11 or 4th built in, meaning a Dm11 already uses
the 4th.
But what needs to be made clear is that the Dm11 usually contains the minor
3rd AND the fourth.
Also, most importantly, the distance between the 3rd and 4th is a whole tone
(less friction) unlike major and dominant where it is a semitone.
So, the purpose of a minor (sus4) harmony is, just as it was in major and
dominant, to omit the 3rd and use the 4th:
Dm(sus4) = D-G-A,
Dm7(sus4) = D-G-A-C and
Dm9(sus4) = D-G-A-C-E, also called Am7/D or C6/D.
As soon as you extend further to Dm11 it is not a sus4 any more but an 11th.
So the sus4 addition to a symbol should only be used for triads or 4-note
chords where the sus 4th is placed in its true slot.
Track42-9.5. Minor (sus4) examples
9.6. Diminished or Half-Diminished sus4 Chords?

The question mark after this title is appropriate and on purpose.
Diminished harmonies are not sus4-able because the 4th note in the WT-HT
scale is 4, therefore unavailable.
The 1/2-diminshed chord family is also not a good candidate for sus 4ths because
the 5th note is a 5, a half tone away from the 4th or T11.
So, as we discovered in the Locrian and Locrian 2 modes, the T11 is an
available note to be used as a tension above the 4 base notes, but were you to try
and create a B(sus4) youd get B-E-F-A. That is actually a cool sound, but it
could also be named G9(13)/B or Dm6/9/B.
In all my umpteen years of peddling chords Ive never come across the
(sus4) symbol. Of course that doesnt mean that it doesnt exist somewhere in a
dark corner of chord-land. Actually, in hindsight, I rather like it.
10. THE MODES BETWEEN THE MODES

10.1. What Are The Modes Between The Modes
Back in Chapter 5 we looked at the 7 Major Modes and all the examples in the
key of C.
Imagine for a moment that youre composing or working on a tune in C. It is
very likely that amongst its chord sequence you will find C, Dm, Em, F, G7, Am &
B. Maybe not all 7 but at least some of them.
The truth is though that most songs dont just contain all or some of those
inside harmonies but possibly any other chord there is. Thats why we need to
look at our C-scale with a chromatic eye. The places in the scale where there is
room for in-between or outside harmony are:
C/D (I or II),
D/E (II or III),
F/G (IV or V),
G/A (V or VI) and
A/B (VI or VII).
All of those outside chords could potentially be any chord type: Major, Minor,
Dominant, Diminished, even 1/2-Diminished. The ones that were going to look at
are the most common: Major, Dominant and Diminished.
It is important to point out that the appearance of those in-between harmonies
be out-of-the-blue (in the case of major chords NOT preceded by II - V).
Track43-10.1. In-Between Modes (out-of-the-blue)

When one of the outside major chords has a II - V in front of it, like Fm7 - B7 E6, it presents a different situation. From the moment of the Fm7 to whenever the
song goes back to C (via Dm7 - G7) you are in the key of E.
So, for the out-of-the-blue outside cases to contain as much of a C-sound

(inside) as possible we need to find a way to integrate the chord and its scale into
our C-song. That easy technique is the topic of the next chapter.
10.2. How To Create The In-Between Modes

To keep a tune close to its tonal center or key when dealing with outside or inbetween chords is relatively easy. The choice whether you want to do this is of
course totally up to you. But if your composition is aimed at the general listening
market it makes sense to avoid the appearance of unnecessary notes with
accidentals where possible.
Here is what I mean:
Your tune is in C and in measure 3 you have 4 beats of E7. Youd be quite
correct if during measure 3 in your melody you would choose the E-Mixolydian
scale with the note A as the 4th. This note is not wrong and you could insist that
it is what you want. But A is not part of the C-major scale and therefore outside.
So how do we keep those major and dominant harmonic situations as inside as
possible?
Simple:
1. Create the appropriate 4-note chord and
2. Fill the gaps with notes from the key/scale the tune is written in.
For the E7 chord we mentioned above, the 2 steps would be:
1. E7 = E - G - B - D
2. E - F - G - A (not A) - B - C - D (bold = C scale notes) result: E Lydian
Dominant.
Hear the subtle difference between using a Lydian Dominant scale (inside) versus
an Eb Mixolydian (outside).
Tune is in the key of C, first with the Eb-Lydian Dominant melody in measure 3:
Track44-10.2. E Lydian Dominant Ex.

Now with the Mixolydian, meaning the As become As in measure 3:
Track45-10.2. E Mixolydian Ex.

Dont know about you but I definitively prefer V1 with the inside melody. The E
chord seems to be less invasive.
10.3. In-Between Major & Dominant Modes

Assuming again that we are working with a tune in C-major, lets test the theory
from the last chapter on the five in-between spots D, E, G, A and B (the
enharmonic alternatives are, apart from F, not valid scales) and see what
scales and chords we come up with for major and dominant chords.
Please be aware that not all chord possibilities have been notated:
1. D Major and D Dominant
2. E Major and E Dominant
3. G Major and G Dominant
4. A Major and A Dominant
5. B Major and B Dominant
As you can see, all of those scales & harmonies require a natural T9 (a whole
tone up from the tonic). For some (E & B) that happens to be a C-major scale
note but for the others that 9th is a non-C-note. The same applies to the 6th/T13.
As it turns out, all the major in-between scales become Lydian and the
dominant ones Lydian Dominant. Easy to remember!
10.4. In-Between Diminished Modes

As I said before, Diminished chords in general are less common in todays music.
But if you like jazz standards and similar styles of music you will stumble across
the dim7 chord symbol quite often. If youre a composer of that type of music
youll most likely hear and use them.
The temptation will be to just use the Whole Tone-Half Tone scale. That will
work of course but many of the in-between notes will be more outside your key
center than necessary.
So, the procedure to arrive at a more inside and less disruptive sound is the
same as outlined in the major/dominant chapter you just read with 1 modification
and 2 how-to rules.
The modification is simply that these dim7 scales are 8 notes long. The 2 rules
well get to in a minute.
In-between diminished harmony occurs most commonly as link-up or connecting
chords between these major scale modes:
1. Going up from I-major to II-minor I-dim7
2. Going up from II-minor to III-minor II-dim7
3. Coming down from III-minor to II-minor III-dim7
4. Going up from IV-major to V-dominant IV-dim7
5. Going up from V-dominant to VI-minor V-dim7
When creating the 5 modes you will also note the close connection between dim
and dom7(9) we talked about earlier (WH-HT & HT-WT scale) in 4 of them.
The 2 rules are designed to help you decide whether the in-between scale
notes are labeled T (tension) or A (avoid).
Rule 1: Scale tones that are a 1/2 step below a chord tone become Tensions.
Rule 2: Scale tones that are a whole step below a chord tone become Avoid.
Once again, the following examples all assume that we are dealing with a
composition in the key of C.
Remember the routine: Create the 4-note dim chord, and then fill the gaps with Cscale notes!
A few comments about these 5 scales and their chords:

1. Notice the restriction to only 2 or 3 tensions available. If you used the WT-HT
scale on all of those 5 chords youd have the choice of 4 notes to add (if you
wanted to) but also many more accidentals and therefore outside of C
sounds.
2. In III and IV dim (3 tensions each) the chord symbols are not complete but I
trust you understand that all 3 added notes are available and could be
included in the symbol.
3. Other in-between diminisheds are possible like VIIdim7 (B7) and would be
treated in the same way.

Here is my 8-bar tune (Link Up). First using all five dim7 chords and a simple
improvised melody:
Track46-10.4. Link Up (Dim7)

Lets hear it once more, this time all diminished chords except Edim have been
replaced with dom7(9) harmonies which creates a V to I movement into each
next measure. All Ive changed are the chord symbols and the bass line.
Track47-10.4. Link Up (Dom7)

Despite all the added accidentals, both versions in harmony & melody still have a
sense of belonging to the key of C. This would not (or much less) be the case if
you were to change the tune to include WT-HT scale tensions. Try it!
11. DOMINANT VERSIONS OF II, III & VI CHORDS

11.1. How To Handle II7, III7 & VI7 Chords
In any major key, the II, III and VI chords are minor. In the key of C that means:
II = Dm7 (Dorian),
III = Em7 (Phrygian),
VI = Am7 (Aeolian)
But you will find either in your own composition or analyzing or orchestrating other
peoples music that those 3 places have been replaced by some version of a
dominant chord. It happens all the time and knowing how to handle this change of
sound becomes important.
With all that youve absorbed so far about the chameleon quality of the
dominant 7th chord, the solution is actually quite easy. ANYTHING GOES
depending on the harmonic circumstances you find yourself in.
The last chapter on the dom7th variation of the in-between harmonies should
give you a hint. If necessary, look at and replay the last track of Link Up and be
aware that D7 (measure 5) is the dominant version of the II-chord, E7 (measure 6)
and A7 (measure 1) are the dom7th replacement of the III and VI respectively.
The choice of the quality of those 3 chords is up to you and what you like best.
One deciding factor may be that you want their sound to be as inside as
possible. Weve discussed how to handle this scenario in the last chapter. If you
need a reminder:
Create the 4-note chord and fill the gaps with notes from the scale your tune is
written in.
Like this in the key of C:
But that is only the inside way. Potentially any quality of dom7 chord can be used.
It depends where II7, III7, VI7 lead to. The resolution can be to Minor, Dominant or
Major and each of those can require a different sound, from simple Mixolydian to
outlandish Altered. YOU decide!
Here is a variety of turn-arounds (a repetitive chord sequence) using our 3
chords III - VI - II - V from totally inside to the other extreme.
Track48-11.1. C Major Turn-Arounds

The final choice of which version of II7, III7 or VI7 is best will be dictated by the
notes of the melody and the style of the music.
There are hundreds of songs out there (some very famous) that explore those
3 chords in a multitude of ways. Check them out and experiment.
12. CHORD TREES

12.1. About My Chord Trees
Im a bit of a diagram/graphic nerd. Schematic representations offer a different
look at a topic and for some people they may just shed a new light on a problem
and lead to an AHA moment.
Armed with my very limited graphic skills Im attempting to show the 5 chord
families in a different form.
Each of the following chapters displays each chord family as a tree that
includes all possible chord tones. They are color coded so the brown tree trunk
contains the root note, guide tones and the basic 4-note chord while the green
leaves are representing any available tensions.
In keeping with the practice followed so far, each tree is in the key of C.
To change to any other key, you would just need to slide the keyboard on the left up or down till the root
note shows the name of the new key. The placing of all the notes inside each tree would be in exactly the
same position but of course the note names would change with each slide. Unfortunately I havent quite
figured out how to make this possible on a web page yet, but Im working on it.
If the device you are reading this on does not display a clear or big enough
image, you can view a larger version on the website by clicking on each tree.
12.2. Major Chords

Please take your time to look this over, it may be confusing at first but all the info about major chord varieties
are included.
Follow the red chord type numbers (a to d) and text to the right. It contains chord tones (1/3/5) and chord
symbols. I have not included all symbols due to lack of space. After your chord-journey so far you should be
able to follow the content easily.

The difference between C-Dorian (key B), C-Phrygian (key A) & C-Aeolian (key E) is only the scale
behind each chord. In C-Phrygian the 9th is an avoid note and in both C-Phrygian and Aeolian the 13th is not
available. Apart from that, the basic chord structure is the same for all 3. As we discussed, Dorian 2 is not
very common.

This is pretty straight ahead. Think of it like a C-Major chord with a 3. It has a 6th, 7, 9th and all the
combinations thereof. The 11th allows the extension to a 7-note harmony.
12.5. Dominant Chords

It was impossible to fit all the dominant chord varieties into 1 tree and make it look readable. So I split them
into 3 parts. This first one contains Mixolydian, Lydian Dom & Whole Tone. Note how the Lydian Dom & WT
kind of overlap depending on what scale is being used.
Part II shows the dom7th(9) chords from the Half Tone - Whole Tone (Dim Blues) scale. Again, lack of space
prevents the inclusion of all possible symbols.
And finally in part III you can see the harmonies from the Altered scale. The top 2 notes in the tree (A & F)
are really a non-event because were you to use those 2 extensions youd be implying that there is a 5th
available which is not the case.
12.6. Diminished Chords

Notating WT-HT diminished symbols with added tensions can get out of hand (as touched on before). 1 or 2
added notes is manageable but when it gets to 3 & 4 a compromise is in order. I suggest either write them out
or try the B7 over C7 method. The over part must be a horizontal line not a slash.
For the following representation of the inside diminished chords we have to assume that C-dim can be I
(in the key of B), II or III (key A), IV (key F) or VI (key D). As you remember, these 5 inside versions of
dim harmony will blend into any of the 5 keys better by not giving access to 4 tensions like the WT-HT scale
just shown, but a selection of avoid notes and tensions.
12.7. Half Diminished Chords

Last but certainly not least lets take a look at the 1/2-dim tree. The difference
between Locrian and Locrian 2 is only that the latter contains a usable tension 9,
therefore providing 1 more layer of symbol/sound. For most musical situations the
basic symbol (a2) is enough but by all means use the others if necessary.
13. CODA
Getting to the Coda in nearly all music means that you have read through most of
your part and youre near the end of the tune.
Well, this song about what chords are is no different; youre very close to the
Fine.
If you are reading this you have displayed remarkable tenacity and patience to
get this far. I take my hat off in admiration.
If your head is buzzing with too much information please remember that a lot of
the material in this book becomes really clear and user-friendly with repetition and
translation into other keys.
Once you GET IT in one key, the others are a snack.
My 10 suggestions for easy chord learning are:
1. Become inside out (that is completely) comfortable with your favorite Major
key.
2. Practice and understand the 7 modes of that key.
3. Become inside out (that is completely) at ease with the Melodic Minor version
of your favorite Major key by flattening the third by a semi tone.
4. Practice and understand the 7 modes of that Melodic Minor.
5. Become totally cozy with the Diminished Blues scale starting on the root note
of your favorite Major scale.
6. Apply and get the concept of the WT-HT and HT-WT part of this scale.
7. Repeat 1-6 in as many other keys as possible
8. Learn the 3 Whole Tone scales and understand their content.
9. Extend your Major, Dominant and Minor chord/scale knowledge to include
sus4 and sus2 harmony.
10. Internalize the meaning and content of the Modes Between The Modes
Now youre well equipped to develop your personal harmonic style. This is crucial
to successful composition and chord choice.
If you need help with how to apply all this wonderful chord knowledge youve
acquired you may be interested in the sequel to What Are Chords.
It will cover such topics as: How To Use Chords, Song Writing Tips, Chord
Patterns, How To Write Chord Progressions and much more.
If you want to be notified about the release date (mid 2016) and any future
publications, please use the opt-in form on the homepage of WhatAreChords.com
.
Here are few measures of choral harmony as an example of what kind of chords
buzz around my head:
Track49-13. Harmony 4 All

What Are Chords - George Brodbeck

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WHAT

3. HOW TO ACCESS AND PLAY THE AUDIO TRACKS

5.4.3. Inversion of Large Harmony

6. CHORDS ORIGINATING FROM THE WHOLE TONE SCALE

7. CHORDS DERIVED FROM THE MELODIC MINOR SCALE

8. THE CHORDS OF THE DIMINISHED BLUES SCALE

9. SUS4 & SUS2 CHORDS

10. THE MODES BETWEEN THE MODES

10.1. What Are The Modes Between The Modes

11. DOMINANT VERSIONS OF II, III & VI CHORDS

12. CHORD TREES

About The Author

Liza Minelli, Tom Jones, Shirley Bassey and many more.

2.1. Music Notation

2.2. Major scales

2.3. Elementary intervals

2.4. The Circle of Fifths

3. HOW TO ACCESS AND PLAY THE AUDIO

4. WHAT ARE CHORDS

Track01-4.1 Chord Examples

Track02-4.2 Chord Dissonance

5. CHORDS ORIGINATING FROM THE MAJOR

Track03-5.1.1 2-Note Chords

Track04-5.1.1 2-Note Rock

5.1.2. Notation of 2-Note Chord Symbols

The next chapter includes a much closer look at chord symbols

5.2. 3-NOTE CHORDS or TRIADS

d) You just created a C-Major triad. Lets hear it!

Track05-5.2.1 C-Major Triad

and, if we stretch the examination, some more complicated intervals.

Track06-5.2.1 C-Major Triad Modes

5.2.2. Notation of 3-Note Chord Symbols

To notate Minor Triads:

To notate Diminished Triads:

5.2.3. Inversion of Triads

Track07-5.2.3 C-Major Triad Inversions

Track08-5.2.3 Simplicity 1 (Triads)

Track09-5.2.3 Simplicity 2 (Triads + Oct)

Track10-5.2.3 Simplicity 3 (Open triads)

Track11-5.2.3 Simplicity 4 (orchestral)

Each scale that you know provides 7 triads multiplied by 3 inversions = 21

5.2.4. The Major Scale Triad Chord Diagram

OK, time to get into the bigger stuff.

5.3. 4-NOTE CHORDS

For Dominant chords 1 - 3 - 5 - 7

5.3.2. Notation of 4-Note Chord Symbols

To notate Minor 4-note chords:

To notate Dominant 4-note chords:

To notate Half-Diminished (or minor 7th flat 5) 4-note chords:

Track12-5.3.2 C-Major 4-Note Modes

5.3.3. Inversion of 4-Note Harmony

Track13-5.3.3 C-Major 4-Note Inversions

happen more and more as the harmonies contain more notes.

Track14-5.3.3 4-Note Inversion Clashes

5.3.4. The 3 Chord Groups of the Major Scale

Track15-5.3.4 4-Note 3 Chord Groups

ALL THE INFO ABOVE

5.3.5. The Major Scale 4-Note Chord Diagram

5.3.6. A Rebellious Look At The Circle of Fifths

Track16-5.3.6 The Rebel Turn Around

5.4. 5-, 6- and 7-NOTE CHORDS

Track17-5.4.1 C-Mode 5+Note Chords

5.4.2. Notation of Chords with Added Tensions

5.4.3. Inversion of Large Harmony