FOUNDATIONAL MUSIC EBOOK
LESSON 1
SCALE CONSTRUCTION
UNDERSTANDING SCALES
A scale is a group of notes differing in pitch that have been put
together.
The knowledge of scales is the foundation of playing music. A proper
understanding of scales will enable you to understand chords better
since chords are simply a group of notes of the scale played
simultaneously.
There are many types of scales in the world of music having different
number of notes. The most commonly used scales are the major scales
and the minor scales both of which have seven notes (Otherwise known
as scale degrees.)
Intervals
An interval is the distance between two notes on a given scale. On a
seven note scale, the intervals are named as follows:
Prime, second, third, fourth, fifth, sixth, seventh, octave.
1 2 3 4 5 6 7 8/1
The octave is the repeated prime note but on the higher side of the
scale. i.e. from the lower “do” to the higher “do”.
Half steps and whole steps
The notes in a scale can be described as either being a half step apart
or a whole step apart;
Half step (semi-tone): Refers to an interval created by two notes that
are adjacent on the keyboard.
Whole step (tone): Refers to an interval created by two notes that
have a note in between them.
Chromatic half step: Refers to a half step that is written using the
same letter but with different accidentals. For example, G – G# (G
sharp)
Diatonic half step: A half step that has two different note names For
example,
G#- A
As per the illustration above, there is a whole step between C and D
while the interval between C and C# is a half step.
Sharpening a note means raising it by a semitone or a half step while
flattening a note means lowering that note by a half step or a semi-
tone.
N/B
Two notes that are a half step apart form a minor second interval while
two notes that are two half steps apart form a major second interval.
When we move up the scale chromatically by half steps, we will have
the minor third, major third, the perfect fourth, tritone, perfect
fifth, minor sixth, major sixth, minor seventh, major seventh, octave.
Enharmonic notes
These are notes that can be given two alternative names. For example,
a C# can also be called a Db
MAJOR SCALES
The “do-re-mi-fa-sol-la-ti-do” sequence of notes is a clear illustration
of how a major scale sounds like. This is the most common and simplest
scale to master. Every type of scale is differentiated from the other
depending on the intervals that are found between the notes of the
scale.
A major scale is a scale that has half steps (H) between the third and
fourth degrees (between mi and fa) and also between the seventh and
eighth degrees of the scale (between ti and do). All the other notes
have whole step (W) intervals.
Let's take an example of the scale of C major otherwise written as
(CM).The notes that make up the scale of C major are;
C D E F G A B C
W W H W W W H
W-wholestep
H-half step
There is a half step between E and F and also between B and C.
There are twelve major scales in music. Apply the same concept of half
steps between the 3rd and the 4th and between the 7th and the 8th
degree to find the major scale of any key.
Second illustration of the major scale:
A major scale:
From the diagram above, there is a semitone between the 3rd and the
4th. There's also another semi-tone between the 7th and 8th notes of
the scale. The rest of the intervals are whole steps or tones.
Fingering
When playing the scale, there is a specific finger that should be used
when playing each note. By adhering to the correct fingering, you will
be able to make smooth transitions between the notes and develop
good technique in piano playing.
The thumb is finger number 1 while the index finger is finger number
5.
As you practice the major scales, try using the correct fingering for
both the right hand and the left hand. The left hand plays the bass
notes while the right hand plays the notes to the right side of the
piano.
Practice the right hand and left hand scales separately at first. After
you are comfortable with that, play them simultaneously.
I recommend that you start with the key of C major before you
venture into the other keys. With time you will realize that the thumb
is hardly used when playing the black notes.
Listed below are all the major scales and the suggested fingering.
Kindly note that the fingering runs through two octaves of the scale.
C Major Scale
Notes: C-D-E-F-G-A-B-C
Right hand fingering: 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5
Left hand fingering: 5 4 3 2 1 3 2 1 4 3 2 1 3 2 1
C# Major scale
Notes: C#-D#-F-F#-Ab-Bb-C-C#
Right hand fingering: 2 3 1 2 3 4 1 2 3 1 2 3 4 1 2
Left hand fingering: 3 2 1 4 3 2 1 3 2 1 4 3 2 1 3
D Major Scale
Notes: D-E-F#-G-A-B-C#-D
Right hand fingering: 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5
Left hand fingering: 5 4 3 2 1 3 2 1 4 3 2 1 3 2 1
D# Major scale
Notes: D#-F-G-Ab-Bb-C-D-D#
Right hand fingering: 3 1 2 3 4 1 2 3 1 2 3 4 1 2 3
Left hand fingering: 3 2 1 4 3 2 1 3 2 1 4 3 2 1 3
E Major scale
Notes: E-F#-G#-A-B-C#-D#-E
Right hand fingering: 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5
Left hand fingering: 5 4 3 2 1 3 2 1 4 3 2 1 3 2 1
F Major Scale
Notes: F-G-A-Bb-C-D-E-F
Right hand fingering: 1 2 3 4 1 2 3 1 2 3 4 1 2 3 4
Left hand fingering: 5 4 3 2 1 3 2 1 4 3 2 1 3 2 1
F# Major scale
Notes: F#-G#-A#-B-C#-D#-F-F#
Right hand fingering: 2 3 4 1 2 3 1 2 3 4 1 2 3 1 2
Left hand fingering: 4 3 2 1 3 2 1 4 3 2 1 3 2 1 4
G Major Scale
Notes: G-A-B-C-D-E-F#-G
Right hand fingering: 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5
Left hand fingering: 5 4 3 2 1 3 2 1 4 3 2 1 3 2 1
G# Major scale
Notes: G#-A#-C-C#-D#-F-G-G#
Right hand fingering: 3 4 1 2 3 1 2 3 4 1 2 3 1 2 3
Left hand fingering: 3 2 1 4 3 2 1 3 2 1 4 3 2 1 3
A Major scale
Notes: A-B-C#-D-E-F#-G#-A
Right hand fingering: 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5
Left hand fingering: 5 4 3 2 1 3 2 1 4 3 2 1 3 2 1
A# Major scale
Notes: A#-C-D-Eb-F-G-A-A#
Right hand fingering: 4 1 2 3 1 2 3 4 1 2 3 1 2 3 4
Left hand fingering: 3 2 1 4 3 2 1 3 2 1 4 3 2 1 3
B Major Scale
Notes: B-C#-D#-E-F#-G#-A#-B
Right hand fingering: 1 2 3 1 2 3 4 1 2 3 1 2 3 4 1
Left hand fingering: 1 3 2 1 4 3 2 1 3 2 1 4 3 2 1
LESSON 2
CHORD CONSTRUCTION
CHORD CONSTRUCTION
In real life, a chord is made by twisting together a number of individual
ropes. That's the same principle applied in music. We play a given
number of notes together to form a musical chord.
There are many types of chords on the piano depending on the interval
between the notes and the number of notes that have been used to
form that chord.
Three note chords are called triads while chords with more than three
notes are called extended chords, which will be covered in a later
chapter.
Major Chords
A major chord is formed by playing the 1st, 3rd and 5th note of the
major scale of any key. For example, a C major chord has the notes C E
and G.
Second illustration of the major chord:
To play the G# major chord, play the 1st, 3rd and 5th notes of the G#
major scale together. By mastering the intervals you can play any major
chord in any key.
(Refer to lesson one for the notes of the G# major scale)
Here are all the 12 major chords on the piano. When playing major
chords, the most appropriate fingering is 1, 2 and 4.
C major
Notes: C E G
C# major or Db major
Notes: C# F G#
D major
Notes: D F# A
D# major or Eb major
Notes: D# G A#
E major
Notes: E G# B
F major
Notes: F A C
F# major or Gb major
Notes: F# A# C#
G major
Notes: G B D
G# major or Ab major
Notes: G# C Eb
A major
Notes: A C# E
A# major or Bb major
Notes: A# D F
B major
Notes: B D# F#
Minor chords
Minor chords are formed by playing the 1st, the flattened 3rd and the
5th notes of a scale (1, b3, 5). Just to recap, flattening a note, means
lowering that note by a semitone or a half step.
Illustration:
To form an A minor chord (otherwise written as Am):
● The first note which is A
● The flattened third note (flatten the C# to obtain a C )
● The fifth note which is an E
So the A minor chord is formed by playing A, C and E.
At this point you realize that a minor chord is formed by first playing
the major chord and then lowering the second note of the major chord
by a half step.
So if I am looking for an A minor chord, I will first hold the A major
chord and then lower the second note of the chord which is a C# by a
half step to make it a C note.
To illustrate this further;
F# minor chord- First hold the F# major chord which has the notes,
F#, A# and C# then lower the A# by a half step to make it an A. There
you have the F# minor chord made up of the notes; F#, A and C#.
C minor
Notes: C D# G
C# minor or Db minor
Notes:
D minor
Notes: D F A
D# minor or Eb minor
Notes: D# F# A#
E minor
Notes: E G B
F minor
Notes: F G# C
F# minor or Gb minor
Notes: F# A C#
G minor
Notes: G A# D
G# minor or Ab minor
Notes: G# B D#
A minor
Notes: A C E
A# minor or Bb minor
Notes: A# C# F
B minor
Notes: B D F#
The relative minor
In any major scale, the sixth note of the scale is the relative minor.
Taking an example of the key of C major, the sixth scale degree is A.
Therefore, A minor is the relative minor in the key of C major.
Another illustration of relative minors:
In the key of F major, the sixth note of the scale is D. Therefore the
relative minor in the key of F major is D minor.
Here are all the major keys together with their relative minors:
KEY RELATIVE
MINOR
C Am
C# A# m
D Bm
D# Cm
E C# m
F Dm
F # D# m
G Em
Fm
G#
A F# m
A# Gm
B G# m
Diminished Chords
The easiest way to form a diminished chord is by first holding the
major chord then lowering the 3rd and the 5th by a semitone (half step).
So the formula for a diminished chord is:
1, b3, b5.
For example, a C diminished chord (C dim) will be made up of the notes:
C, Eb, Gb.
Here are all the 12 diminished chords:
C diminished
Notes: C Eb Gb
C# diminished
Notes: C# E G
D diminished
Notes: D F G#
D# diminished
Notes: D# F# A
E diminished
Notes: E G Bb
F diminished
Notes: F G# B
F# diminished
Notes: F# A C
G diminished
Notes: G Bb C#
G# diminished
Notes: G# B D
A diminished
Notes: A C Eb
A# diminished
Notes: A# C# E
B diminished
Notes: B D F
Inverted Chords
In English, the word invert means to “turn upside down” “upset”
“reverse” or “upturn”. Inverting a chord means turning that chord
upside down.
Play the same notes of the chord but change the order in which the
notes are played. Both major and minor chords can be inverted. The
essence of inverting a chord is to get a different voicing of the same
chord.
There are two inversions to any chord. Using a major chord to
illustrate inverted chords:
First inversion: 3rd, 5th 1st
Second inversion: 5th, 1st, 3rd
Let us take an example of a C major chord;
Original position:
First inversion:
Second inversion:
Each of these inversions has a unique sound. Take time and master
them in all the keys as they will come in handy when playing songs. Try
inverting minor chords and diminished chords while taking note of the
different sounds produced.
LESSON 3
CHORD PROGRESSION BASED ON PRIMARY
CHORDS
CHORD PROGRESSION BASED ON PRIMARY CHORDS
Application of triads on scale degrees
On any major scale, there are seven notes/ scale degrees. There is a
specific chord applied on each scale degree.
● At position 1, 4 and 5 major triads are applied. These are called
primary chords.
● At position 2, 3 and 6 minor triads are applied. These are called
secondary chords.
● At position 7, play a diminished triad.
By grasping this concept, you will be able to play countless songs.
For example, in the key of C Major, these are the chords that will be
applied at each scale degree:
Tonic (I) C C Major
Super tonic (II) D D minor
Mediant (III) E E minor
Sub dominant (IV) F F Major
Dominant (V) G G Major
Submediant (VI) A A minor
Subtonic (VII) B B
diminished
The same principle is applied to all other
keys.
Application of Primary Chords in Songs
When playing a song, the first thing to identify is the key in which the
song will be played. Then, find out the most appropriate chord
progression that can be used over the lyrics of the song.
The old hymn “What a friend we have in Jesus” can take the following
progression in the key of C Major. I have also indicated the numbers so
that you can easily transfer the chords to another key.
C(1) F(4)
What a friend we have in Jesus
C(1) G(5)
All our sins and griefs to
bear C(1) F(4)
What a privilege to carry
C(1) G(5) C(1)
Everything to God in prayer
G(5) C(1)
O what peace we often forfeit
F(4) C(1) G(5)
O what needless pain we bear
C(1) F(4)
All because we do not carry
C(1) G(5) C(1)
Everything to God in prayer
The identification of chord positions by numbers will help you play the
song in any key. This is called the Nashville Number System.
LESSON 4
Incorporating Minor Triads in
Songs
Incorporating Minor Triads in Songs
In order to spice up your playing, the use of minor chords in your
arrangements will come in handy. All you need to recall is that the
minor chords are applied in the 2nd, 3rd and 6th scale degrees.
Try playing this arrangement of “What a friend we have in Jesus” with
minor chords. The song is in the key of C Major.
C(1) F(4)
What a friend we have in Jesus
C(1) G(5)
All our sins and griefs to
bear Am(6) F(4)
What a privilege to carry
C(1) G(5) C(1)
Everything to God in prayer
G(5) Am(6)
O what peace we often forfeit
F(4) C(1) G(5)
O what needless pain we bear
C(1) F(4)
All because we do not carry
C(1) G(5) C(1)
Everything to God in prayer
Here is an arrangement for the chorus of the hymn “At the cross at
the cross where I first saw the light” in the key of C Major:
At the cross at the cross
Where I first saw the light
Dm G C
And the burden of my heart rolled
away F Dm
It was there by faith
C Am
I received my sight
Dm G C
And now I am happy all the day.
N/B: While playing, try using different inversions of the chords to add
variety to your music.
Playing Bass Notes / Slash chords!
After mastering the flow of chords on your right hand, you can now
begin incorporating your left hand while playing. The left hand adds the
bass note to the chord that is being played in the right hand.
Play the “root” or the first note of the chord that is being played on
right hand to get the accompanying bass note.
For example, a C Major chord in the right hand is accompanied by a C
note at a lower octave on the left hand.
Slash chords
This is a special application of bass notes where the note played on the
left hand is not the root of the chord that is being played in the right
hand.
For example, a C Major chord in the right hand could be accompanied
by an E note on the left hand instead of a C note. In a lead sheet, this
will be denoted as
C/E i.e. Right Hand Chord / Left Hand Bass Note.
It's somehow written in reverse.
Where no slash chords are indicated on the lead sheet, play the root
of the chord to get the bass note on the left hand.
Slash chords are widely used in songs to enhance the voicing of a
chord.
Try playing this arrangement while incorporating the bass notes in your
left hand.
C C/E F
What a friend we have in Jesus
C G
All our sins and griefs to bear
Am C/E F Dm
What a privilege to carry
C/G G C
Everything to God in prayer
G Am
O what peace we often forfeit
F C/E G G/B
O what needless pain we bear
C C/E F Dm
All because we do not carry
C/G G C
Everything to God in prayer
LESSON 5
!
TONS OF CHORDS
OTHER TYPES OF CHORDS
Major Seventh Chord
A major seventh chord is formed by adding the seventh note of the
scale to the major chord.
The formula applied is: 1, 3, 5 and 7
For example, a C major chord has the notes C, E and G. In order to
form the CM7 chord (C Major seventh), study the scale of C and
identify the 7th degree which is the B note.
Therefore, a CM7 will be played using the notes, C, E, G and B.
Check out the rest of the major 7th chords below:
C major seventh (CM7)
Notes: C E G B
C# major seventh(C#M7)
Notes: C# F G# C
D major seventh (DM7)
Notes: D F# A C#
D# major seventh (D#M7)
Notes: D# G A# D
E major seventh (EM7)
Notes: E G# B D#
F major seventh (FM7)
Notes: F A C E
F# major seventh (F#M7)
Notes: F# A# C# F
G major seventh (GM7)
Notes: G B D F#
G# major seventh (G#M7)
Notes: G# C Eb G
A major seventh (AM7)
Notes: A C# E G#
Bb major seventh (BbM7)
Notes: Bb D F A
B major seventh (BM7)
Notes: B D# F# A#
Minor seventh chord
A minor seventh chord is formed by first holding the minor chord then
adding the flattened 7th note of the scale. “Flattening” means lowering
the 7th scale degree by a half step.
Thus the formula applied is: 1, b3, 5, b7
For example, a Cm7(C minor 7th) chord will be formed by the following
notes:
C, Eb, G, Bb
Here are all the minor 7th chords:
C minor seventh (Cm7)
Notes: C D# G Bb
C# minor seventh(C#m7)
Notes: C# E G# B
D minor seventh (Dm7)
Notes: D F A C
D# minor seventh (D#m7)
Notes: D# F# A# C#
E minor seventh (Em7)
Notes: E G B D
F minor seventh (Fm7)
Notes: F G# C Eb
F# minor seventh (F#m7)
Notes: F# A C# E
G minor seventh (Gm7)
Notes: G A# D F
G# minor seventh (G#m7)
Notes: G# B D# F#
A minor seventh (Am7)
Notes: A C E G
Bb minor seventh (Bbm7)
Notes: Bb C# F Ab
B minor seventh (Bm7)
Notes: B D F# A
Diminished seventh chords
To form a diminished 7th chord, first hold the diminished chord then
add the sixth note in the scale.
The formula is:
1, b3, b5, 6.
Here are all the twelve diminished 7th chords:
C dim 7th
Notes: C Eb Gb A
C# dim 7th
Notes: C# E G Bb
D dim7th
Notes: D F G# A
D# dim7th
Notes: D# F# A C
E dim7th
Notes: E G Bb Db
F dim7th
Notes: F G# B D
F# dim7th
Notes: F# A C Eb
G dim7th
Notes: G Bb C# E
G# dim7th
Notes: G# B D F
A dim7th
Notes: A C Eb Gb
Bb dim7th
Notes: Bb C# E G
B dim7th
Notes: B D F Ab
Augmented Chords
An augmented chord is formed by first holding the major chord then
sharpening the 5th.
For example, to form a C augmented chord, sharpen the G which is the
5th in a C major chord. The C augmented chord will therefore have the
notes:
C, E, G#
Formula: 1, 3, 5#
Here are all the augmented chords:
C augmented
Notes: C E G#
C# augmented
Notes: C# F G
D augmented
Notes: D F# A#
D# augmented
Notes: D# G B
E augmented
Notes: E G# C
F augmented
Notes: F A C#
F# augmented
Notes: F# A# D
G augmented
Notes: G B D#
G# augmented
Notes: G# C E
A augmented
Notes: A C# F
Bb augmented
Notes: Bb D F#
B augmented
Notes: B D# G
Augmented 7th chord
First hold the augmented chord then add the flattened 7th note to
form the augmented 7th chord.
For example, to form a C augmented 7th chord, add the flattened B
note (or Bb) to C augmented chord.
Formula: 1, 3, 5#, 7b
Here are all the augmented 7th chords
C augmented 7th
Notes: C E G# Bb
C# augmented 7th
Notes: C# F G B
D augmented 7th
Notes: D F# A# C
D# augmented 7th
Notes: D# G B Db
E augmented 7th
Notes: E G# C D
F augmented 7th
Notes: F A C# Eb
F# augmented 7th
Notes: F# A# D E
G augmented 7th
Notes: G B D# F
G# augmented 7th
Notes: G# C E F#
A augmented 7th
Notes: A C# F G
Bb augmented 7th
Notes: Bb D F# G#
B augmented 7th
Notes: B D# G A
Dominant 7th chords (popularly known as 7th chords e.g. C7, G7, A7
etc.)
The dominant 7th chord is formed by first holding the major chord
then adding the flattened 7th note.
For example, to form a C dominant 7th (C7), first hold the C major then
add the Bb: C, E, G, Bb
Formula: 1, 3, 5, 7b
Here are the rest of the dominant seventh chords:
C dominant 7th
Notes: C E G Bb
C# dominant 7th
Notes: C# F G# B
D dominant 7th
Notes: D F# A C
D# dominant 7th
Notes: D# G A# Db
E dominant 7th
Notes: E G# B D
F dominant 7th
Notes: F A C Eb
F# dominant 7th
Notes: F# A# C# E
G dominant 7th
Notes: G B D F
G# dominant 7th
Notes: G# C Eb F#
A dominant 7th
Notes: A C# E G
Bb dominant 7th
Notes: Bb D F Ab
B dominant 7th
Notes: B D# F# A
SUSPENDED CHORDS
The concept behind the suspended chord is to eliminate the 3rd from
the chord. This gives us a more open voicing.
Suspended 2 Chords
To play a sus2 chord, replace the 3rd in the chord with a 2nd while
maintaining the 1st and the 5th.
For example, to form a C sus2, play a D note instead of the E note.
The notes will therefore be: C, D, G
Formula: 1, 2, 5
C sus2
Notes: C D G
C# sus2
Notes: C# Eb G#
D sus2
Notes: D E A
D# sus2
Notes: D# F A#
E sus2
Notes: E Gb B
F sus2
Notes: F G C
F# sus2
Notes: F# Ab C#
G sus2
Notes: G A D
G# sus2
Notes: G# Bb Eb
Asus2
Notes: A B E
Bb sus2
Notes: Bb C F
B sus2
Notes: B Db F#
Suspended 4 chords
In this case, play the 4th instead of the 3rd of the major chord, so that
we now have the 1st, the 4th and the 5th note forming the sus4 chord.
For example, to form a Csus4 chord, replace the E note with an F:
C, F, G.
Formula: 1, 4, 5
C sus4
Notes: C F G
C# sus4
Notes: C# F# G#
D sus4
Notes: D G A
D# sus4
Notes: D# G# A#
E sus4
Notes: E G B
F sus4
Notes: F Bb C
F# sus4
Notes: F# B C#
G sus4
Notes: G C D
G# sus4
Notes: G# C# Eb
A sus4
Notes: A G E
Bb sus4
Notes: Bb Eb F
B sus4
Notes: B E F#
9th, 11th and 13th Chords
These are extended chords formed by adding notes beyond one octave
of the scale.
N/B:
Extended chords can also be inverted such that they are played in one
octave.
The 9th is therefore the same as the 2nd , the 11th is the same as the
4th and the 13th is the same as the 6th .
Major 9th chords
A major 9th chord is formed by adding the 7th and the 9th notes to the
major chord.
Alternatively, first hold the major 7th chord then add the 9th note of
the scale to form the major 9th chord.
For example, the C Maj9 chord will have the notes: C, E, G, B, D.
Formula: 1, 3, 5, 7, 9
C Maj9
Notes: C E G B D
C# Maj9th
Notes: C# F G# C Eb
D Maj9th
Notes: D F# A C# E
D# Maj9th
Notes: D# G A# D F
E Maj9th
Notes: E G# B D# F#
FMaj9th
Notes: F A C E G
F# Maj9th
Notes: F# A# C# F Ab
G Maj9th
Notes: G B D F# A
G# Maj9th
Notes: G# C Eb G Bb
A Maj9th
Notes: A C# E G# B
Bb Maj9th
Notes: Bb D F A C
B Maj9th
Notes: B D# F# A# C#
Minor 9th chords
A minor 9th chord is formed by adding a minor seventh and a major
ninth to the minor chord.
Simply put; first hold the minor 7th chord then add the ninth note of
the major scale.
For example, to play an Am 9th chord, add the B note to the Am 7th
chord.
The notes are: A, C, E, G, B.
Formula: 1, b3, 5, b7, 9
Cm9th
Notes: C D# G Bb D
C#m9
Notes: C# E G# B Eb
Dm9
Notes: D F A C E
D# m9
Notes: D# F# A# C# F
Em9
Notes: E G B D F#
Fm9
Notes: F G# C Eb G
F#m9
Notes: F# A C# E Ab
Gm9
Notes: G A# D F A
G #m9
Notes: G# B D# F# Bb
Am9
Notes: A C E G B
Bbm9
Notes: Bb C# F Ab C
Bm9
Notes: B D F# A C#
Dominant 9th Chords (Popularly known as 9th chords e.g. C9, F9, B9
etc.)
To form a dominant 9th chord, first hold the dominant 7th chord and
then add the 9th note of the scale.
For example, a C9 (C dominant 9th) chord, will have the notes; C, E, G,
Bb, D.
Formula: 1, 3, 5, b7, 9
Here are the rest of the dominant 9th chords
C9
Notes: C E G Bb D
C#9
Notes: C# F G# B Eb
D9
Notes: D F# A C E
D# 9
Notes: D# G A# Db F
E9
Notes: E G# B D Gb
F9
Notes: F A C Eb G
F# 9
Notes: F# A# C# E G#
G9
Notes: G B D F A
G# 9
Notes: G# C Eb F# Bb
A9
Notes: A C# E G B
Bb 9
Notes: Bb D F Ab C
B9
Notes: B D# F# A C#
Major 11th chords
There are two approaches in forming this chord:
(1) Add the 11th note to the major 9th chord.
The formula is: 1, 3, 5, 7, 9, 11
(2) Add the 11th note to the major 7th chord and omit the 9th note
.The formula will therefore be: 1, 3, 5, 7, 11.
The 9th note is therefore optional because 6 note chords are rarely
used in practice.
For example, to form a C Major 11th chord, use the notes:
C, E, G, B, (D), F. The D in brackets indicates that it's an optional note
in the chord.
Here are the rest of the major 11th chords
C Major 11th
Notes: C E F G B
C# Major 11th
Notes: C# F F# G# C
D Major 11th
Notes: D F# G A C#
D# Major 11th
Notes: D# G G# A# D
E Major 11th
Notes: E G# A B D#
F Major 11th
Notes: F A Bb C E
F# Major 11th
Notes: F# A# B C# F
G Major 11th
Notes: G B C D F#
G# Major 11th
Notes: G# C C# Eb G
A Major 11th
Notes: A C# D E G#
Bb Major 11th
Notes: Bb D Eb F A
B Major 11th
Notes: B D# E F# A#
Minor 11th chords
First hold the minor 9th then add the 11th note of the scale.
For example, a C minor 11th chord will have the notes: C, Eb, G, Bb, D, F.
If the span of your hand isn't wide enough to play these kinds of
chords, you can improvise by playing the D note after the C and the F
note after the Eb .In this way, the chord can be re arranged as: C, D,
Eb, F, G, Bb.
Remember, the 9th can be omitted, which in this case is a “D”, such that all the five notes are
played by one hand.
Here are the rest of the minor 11th chords:
Cm 11th
Notes: C Eb F G Bb
C # m 11th
Notes: C# E F# G# B
Dm 11th
Notes: D F G A C
D# m 11th
Notes: D# F# G# A# C#
Em 11th
Notes: E G A B D
Fm 11th
Notes: F G# Bb C Eb
F# m 11th
Notes: F# A B C# E
Gm 11th
Notes: G A# C D F
G# m 11th
Notes: G# B C# D# F#
Am 11th
Notes: A C D E G
Bb m 11th
Notes: Bb C# Eb F Ab
Bm 11th
Notes: B D E F# A
Major 13th Chords
To form a Major 13th chord, first hold a major 11th chord and add a
note that is an interval of a major 13th from the root of the chord.
Recall that the 13th note is the same as the 6th only that it's in the
higher octave.
For example, to play a C Major 13th, first hold the C Major 11th then
add the A note at the end, which is the 13th note on the C Major scale.
So the C Major 13th chord will have the notes: C, E, G, B, D, F, A.
Here are the rest of the Major 13th chords
CM 13th
Notes: C E F G A B
C# M 13th
Notes: C# F F# G# Bb C
DM 13th
Notes: D F# G A B C#
D# M 13th
Notes: D# G G# A# C D
EM 13th
Notes: E G# A B C# D#
FM 13th
Notes: F A Bb C D E
F# M 13th
Notes: F# A# B C# Eb F
GM 13th
Notes: G B C D E F#
G# M 13th
Notes: G# C C# Eb F G
AM 13th
Notes: A C# D E F# G#
Bb M 13th
Notes: Bb D Eb F G A
BM 13th
Notes: B D# E F# G# A#
Minor 13th chords
To form a minor 13th chord, first hold the minor 11th chord then add
the 13th note of the scale.
For example, to form the C minor 13th chord, first play the minor 11th
which has the notes:
C, Eb, G, Bb, D, F; then add the A note to it at the end.
So the full chord will have the notes; C, Eb, G, Bb, D, F,
A. However, the F note is optional.
Here are the rest of the minor 13th chords:
Cm 13th
Notes: C Eb F G A Bb
C# m 13th
Notes: C# E F# G# A# B
Dm 13th
Notes: D F G A B C
D# m 13th
Notes: D# F# G# A# C C#
Em 13th
Notes: E G A B C# D
Fm 13th
Notes: F G# Bb C D Eb
F# m 13th
Notes: F# A B C# D# E
Gm 13th
Notes: G A# C D E F
G# m 13th
Notes: G# B C# D# F F#
Am 13th
Notes: A C D E F# G
Bb m 13th
Notes: Bb C# Eb F G Ab
Bm 13th
Notes: B D E F# G# A
Application of extended chords
Try playing the arrangement below of the hymn “what a friend we have
in Jesus” while incorporating the extended chords as indicated.
C Bb dim7th /E FM7
What a friend we have in Jesus
C G
All our sins and griefs to bear
Am7th C/E FM7
Dm7 What a privilege to carry
C/G G C
Everything to God in prayer
G Am7
O what peace we often forfeit
FM7 C/E Dm7 G/B
O what needless pain we bear
C Bb dim7th /E F
Dm7 All because we do not carry
C/G Dm7 C
Everything to God in prayer
LESSON 6
CHORD PROGRESSION WITH
CHORDS FROM OTHER KEYS
CHORD PROGRESSION WITH CHORDS FROM OTHER KEYS
In many musical arrangements, you will come across chords that are
not necessarily in the major scale of the key in which the song has
been played.
This cements the reason why you have to master playing songs in all the
12 keys of the keyboard.
Here is an arrangement of the hymn “what a friend we have in Jesus”
incorporating chords from other keys.
C Bb/G C/E F
What a friend we have in Jesus
C Am7 D/F# G
All our sins and griefs to
bear Am7 Bb dim7th /E F Dm
What a privilege to carry
C/G G C
Everything to God in prayer
G E/G# Am7
O what peace we often forfeit
F C/E G G/B
O what needless pain we bear
C C/E FM7 D
All because we do not carry
C/G G C
Everything to God in prayer
