Harmony and Form: Chapter 5 – Naming Other Chords (Understanding Basic Music Theory)

Harmony and Form: Chapter 5 – Naming Other Chords (Understanding Basic Music Theory)

 

 

5.4 Beyond Triads: Naming Other Chords

5.4.1 Introduction

Once you know how to name triads (please see Triads and Naming Triads), you need only a few more rules to be able to name all of the most common chords.
This skill is necessary for those studying music theory. It’s also very useful at a “practical” level for composers, arrangers, and performers (especially people playing chords, like pianists and guitarists), who need to be able to talk to each other about the chords that they are reading, writing, and playing.

Chord manuals, ngering charts, chord diagrams, and notes written out on a sta are all very useful, especially if the composer wants a very particular sound on a chord. But all you really need to know are the name of the chord, your major scales and minor scales, and a few rules, and you can gure out the notes in any chord for yourself.
What do you need to know to be able to name most chords?

1. You must know your major, minor, augmented and diminished triads. Either have them all memorized,or be able to gure them out following the rules for triads. (See Triads (Section 5.1) and Naming Triads .)

2. You must be able to nd intervals from the root of the chord. One way to do this is by using the rules for intervals. (See Interval.) Or if you know your scales and don’t want to learn about intervals, you can use the method in #3 instead.

3. If you know all your scales (always a good thing to know, for so many reasons), you can nd all the intervals from the root using scales. For example, the “4” in Csus4 is the 4th note in a C (major or minor) scale, and the “minor 7th” in Dm7 is the 7th note in a D (natural) minor scale. If you would prefer this method, but need to brush up on your scales, please see Major Keys and Scales and Minor Keys and Scales.

4. You need to know the rules for the common seventh chords (Section 5.4.3: Seventh Chords), forextending (Section 5.4.4: Added Notes, Suspensions, and Extensions) and altering (Section 5.4.6: Altering Notes and Chords) chords, for adding notes (Section 5.4.4: Added Notes, Suspensions, and Extensions), and for naming bass notes (Section 5.4.5: Bass Notes). The basic rules for these are all found below.

note: Please note that the modern system of chord symbols, discussed below, is very di erent from the gured bass shorthand popular in the seventeenth century (which is not discussed here). For example, the “6” in gured bass notation implies the rst inversion chord, not an added 6. (As of this writing, there was a very straightforward summary of gured bass at Ars Nova Software .)

5.4.2 Chord Symbols

Some instrumentalists, such as guitarists and pianists, are sometimes expected to be able to play a named chord, or an accompaniment (Accompaniment, ) based on that chord, without seeing the notes written out in common notation. In such cases, a chord symbol above the sta tells the performer what chord should be used as accompaniment to the music until the next symbol appears.

 

5.22 Harmony and Form: Chapter 5 - Naming Other Chords (Understanding Basic Music Theory)

Figure 5.22: A chord symbol above the sta is sometimes the only indication of which notes should be used in the accompaniment (Accompaniment,). Chord symbols also may be used even when an accompaniment is written out, so that performers can read either the chord symbol or the notated music, as they prefer.

 

There is widespread agreement on how to name chords, but there are several di erent systems for writing chord symbols. Unfortunately, this can be a little confusing, particularly when di erent systems use the same symbol to refer to di erent chords. If you’re not certain what chord is wanted, you can get useful clues both from the notes in the music and from the other chord symbols used. (For example, if the “minus” chord symbol is used, check to see if you can spot any chords that are clearly labelled as either minor or diminished.)

 

5.23 Harmony and Form: Chapter 5 - Naming Other Chords (Understanding Basic Music Theory)

Figure 5.23: There is unfortunately a wide variation in the use of chord symbols. In particular, notice that some symbols, such as the “minus” sign and the triangle, can refer to di erent chords, depending on the assumptions of the person who wrote the symbol

 

5.4.3 Seventh Chords

If you take a basic triad (Section 5.1) and add a note that is a seventh above the root, you have a seventh chord. There are several di erent types of seventh chords, distinguished by both the type of triad and the type of seventh used. Here are the most common.

Seventh Chords

• Seventh (or “dominant seventh”) chord = major triad + minor seventh

• Major Seventh chord = major triad + major seventh

• Minor Seventh chord = minor triad + minor seventh

• Diminished Seventh chord = diminished triad + diminished seventh (half step lower than a minor seventh)

• Half-diminished Seventh chord = diminished triad + minor seventh

An easy way to remember where each seventh is:

• The major seventh is one half step below the octave.

• The minor seventh is one half step below the major seventh.

• The diminished seventh is one half step below the minor seventh.

 

5.24 Harmony and Form: Chapter 5 - Naming Other Chords (Understanding Basic Music Theory)

 

 

Listen to the di erences between the C seventh30, C major seventh31, C minor seventh32, C diminished seventh33, and C half-diminished seventh34.

Exercise 5.4.1

Write the following seventh chords. If you need sta paper, you can print this PDF le35

1. G minor seventh

2. E (dominant) seventh

3. B at major seventh

4. D diminished seventh

5. F (dominant) seventh

6. F sharp minor seventh

 

5.4.4 Added Notes, Suspensions, and Extensions

The seventh is not the only note you can add to a basic triad to get a new chord. You can continue to extend the chord by adding to the stack of thirds, or you can add any note you want. The most common additions and extensions add notes that are in the scale named by the chord.

 

5.25 Harmony and Form: Chapter 5 - Naming Other Chords (Understanding Basic Music Theory)

 

The rst, third, and fth (1, 3, and 5) notes of the scale are part of the basic triad. So are any other notes in other octaves that have the same name as 1, 3, or 5. In a C major chord, for example, that would be any C naturals, E naturals, and G naturals. If you want to add a note with a di erent name, just list its number (its scale degree) after the name of the chord.

 

5.26 Harmony and Form: Chapter 5 - Naming Other Chords (Understanding Basic Music Theory)

 

Figure 5.26: Labelling a number as “sus” (suspended) implies that it replaces the chord tone immediately below it. Labelling it “add” implies that only that note is added. In many other situations, the performer is left to decide how to play the chord most e ectively. Chord tones may or may not be left out. In an extended chord, all or some of the notes in the “stack of thirds” below the named note may also be added.

 

Many of the higher added notes are considered extensions of the “stack of thirds” begun in the triad. In other words, a C13 can include (it’s sometimes the performer’s decision which notes will actually be played) the seventh, ninth, and eleventh as well as the thirteenth. Such a chord can be dominant, major, or minor; the performer must take care to play the correct third and seventh. If a chord symbol says to “add13”, on the other hand, this usually means that only the thirteenth is added.

 

5.27 Harmony and Form: Chapter 5 - Naming Other Chords (Understanding Basic Music Theory)

 

note: All added notes and extensions, including sevenths, introduce dissonance into the chord. In some modern music, many of these dissonances are heard as pleasant or interesting or jazzy and don’t need to be resolved. However, in other styles of music, dissonances need to be resolved, and some chords may be altered to make the dissonance sound less harsh (for example, by leaving out the 3 in a chord with a 4).

You may have noticed that, once you pass the octave (8), you are repeating the scale. In other words, C2 and C9 both add a D, and C4 and C11 both add an F. It may seem that C4 and C11 should therefore be the same chords, but in practice these chords usually do sound di erent; for example, performers given a C4 chord will put the added note near the bass note and often use it as a temporary replacement for the third (the “3”) of the chord.

On the other hand, they will put the added note of a C11 at the top of the chord, far away from the bass note and piled up on top of all the other notes of the chord (including the third), which may include the 7 and 9 as well as the 11. The result is that the C11 – an extension – has a more di use, jazzy, or impressionistic sound. The C4, on the other hand, has a more intense, needs-to-be-resolved, classic suspension sound. In fact, 2, 4, and 9 chords are often labelled suspended (sus), and follow the same rules for resolution (p. 176) in popular music as they do in classical.

 

5.28 Harmony and Form: Chapter 5 - Naming Other Chords (Understanding Basic Music Theory)

 

5.4.5 Bass Notes

The bass line (Accompaniment, p. 81) of a piece of music is very important, and the composer/arranger often will want to specify what note should be the lowest-sounding in the chord. At the end of the chord name will be a slash followed by a note name, for example C/E. The note following the slash should be the bass note.

 

5.29 Harmony and Form: Chapter 5 - Naming Other Chords (Understanding Basic Music Theory)

 

The note named as the bass note can be a note normally found in the chord – for example, C/E or C/G – or it can be an added note – for example C/B or C/A. If the bass note is not named, it is best to use the tonic (p. 121) as the primary bass note.

Exercise 5.4.3

Name the chords. (Hint: Look for suspensions, added notes, extensions, and basses that are not the root. Try to identify the main triad or root rst.)

 

5.30 Harmony and Form: Chapter 5 - Naming Other Chords (Understanding Basic Music Theory)

 

Exercise 5.4.4

For guitarists, pianists, and other chord players: Get some practical practice. Name some chords you don’t have memorized (maybe F6, Am/G, Fsus4, BM7, etc.). Chords with ngerings that you don’t know but with a sound that you would recognize work best for this exercise. Decide what notes must be in those chords, nd a practical ngering for them, play the notes and see what they sound like.

 

5.4.6 Altering Notes and Chords

If a note in the chord is not in the major or minor scale of the root of the chord, it is an altered note and makes the chord an altered chord. The alteration – for example ” at ve” or “sharp nine” – is listed in the chord symbol. Any number of alterations can be listed, making some chord symbols quite long. Alterations are not the same as accidentals. Remember, a chord symbol always names notes in the scale of the chord root , ignoring the key signature of the piece that the chord is in, so the alterations are from the scale of the chord, not from the key of the piece.

 

naming other chords

Figure 5.31: There is some variation in the chord symbols for altered chords. Plus/minus or sharp/ at symbols may appear before or after the note number. When sharps and ats are used, remember that the alteration is always from the scale of the chord root, not from the key signature.

 

Exercise 5.4.5

On a treble clef sta , write the chords named. You can print this PDF le if you need sta paper for this exercise.

1. D (dominant) seventh with a at nine

2. A minor seventh with a at ve

3. G minor with a sharp seven

4. B at (dominant) seventh with a sharp nine

5. F nine sharp eleven

 

Basic Music Theory

 

Read More..

6.1 Ear Training (Understanding Basic Music Theory)

6.2 Tuning Systems (Understanding Basic Music Theory)

6.3 Modes and Ragas (Understanding Basic Music Theory)

6.4 Transposition : Changing Keys (Understanding Basic Music Theory)

Solutions to Exercises in Chapter 6 (Understanding Basic Music Theory)

Leave a Comment