Guitar Chords Theory
Guitar Chords Theory
Guitar Chords Theory
However, when learning chord construction, it's far more effective to think of these
building blocks as intervals rather than notes. It means you only have to learn each
chord once and simply move the formation of notes to a new fret to play a higher or
lower sounding version of that same chord. This will become clearer as we progress...
Just like scales, chords are built from a series of intervals. As mentioned earlier, you
ideally need a basic understanding of intervals before you take this course, but to
recap, there are 12 intervals in total that make up what is known as the chromatic
scale...
#4 #5
1 b2 2 b3 3 4 5 6 b7 7
b5 b6
A chord can be built by first selecting the 1 note. This is called the root note as it is
the 1st note in the scale. You could see this as the foundations of the chord structure.
We then select two or more additional intervals from the scale (e.g. the 3 and 5) and
build them on the root note to create the chord (so in our example we'd have 1 3 5).
#4 #5
1 b2 2 b3 3 4 5 6 b7 7
b5 b6
The root (sometimes abbreviated as R) is always the reference note when writing a
chord, so when you see Gmaj, Gm or G7, you'll know the root note is G.
C#maj, C#m or C#7, you'll know the root is... yep, C#.
It's the different combinations of intervals stacked above that root note that give us
the different chord types. We'll be looking at some of the most common chord types
throughout the series.
That, in a nutshell, is how chords are constructed. Now, let's lift open the hood and get into the
mechanics behind different types of chord you'll come across...
1 3 5
The root (1) is always the note by which the chord is referenced (letters A through to G).
For example, G major is so-called because its root note lies on G. We can abbreviate this chord
as G or Gmaj. E major would be abbreviated E or Emaj. C# major would be abbreviated C# or C#maj.
Here's how a major chord would typically be mapped out on the fretboard…
As you
can see,
all the
notes of
the major
triad are
included
in the
chord
form. We
could
play from the low E 6th string, the A string (the root doesn't have to be the
lowest sounding note in the chord!), D string or G string, basically any set of strings
that include the 1 3 5 triad structure.
Again, let's create a familiar R 3 5 major chord with the bass root on the A string,
allowing us to play the same chord in a different position on the fretboard…
So again,
we could
play
from the
A string,
D string
or G
string, as
each
would
include
the major triad.
Minor chord theory - minor triads
So, we learned the major triad was made up of the root, major 3rd and 5th.
The minor triad is made up of the root, minor 3rd and 5th. The word "minor" in the
context of a "minor chord" refers to the presence of the minor/flat 3rd.
1 ♭3 5
So technically it's that minor 3rd interval above the root which gives minor chords their sound. The
5th is neutral, which is why it's used in both major and minor chords. Think of it as adding more meat
to the chord.
All that we change from major triads is flatten the 3rd a half step - in other words, move it down one
fret. This gives us what is abbreviated as a ♭3 (a minor 3rd interval).
If we use the same chord form as before, but with a minor 3rd, we get this...
See how
that 3rd
has been
And with an A string chord? We can see how it's the same as the major chord but with
the 3rd flattened one fret position (one semitone)...
Below are the elements of a suspended 4th chord (e.g. Gsus4, Fsus4, Esus4)
1 4 5
So basically, the 3rd is replaced by the perfect 4th interval. The 4th lies one half step/semitone higher
than the major 3rd - the equivalent of one fret, as we can see in the E and A string forms from earlier…
That's
a suspend
ed 4th
chord and
would be
written as
Bsus4 if,
for
example,
the root
note was B.
When playing these chords, try and internalize their sound. What mood do they
convey?
You can also have suspended 2nd (e.g. Bsus2. Csus2) chords where the 3rd is
omitted and a major 2nd interval is used instead.
1 2 5
Just think
of
"suspended" or "sus" as meaning "no 3rd". This means suspended chords are neither major nor
minor.
In guitar chord theory, whenever the 3rd is not part of the chord, you effectively have
a major/minor neutral sound. Incidentally, that means both major and minor scales
will work over them.
Augmented & Diminished Chord
Theory
In the first guitar chord theory lesson, we learned about constructing major and minor triads.The
other two chord forms in the triad "family" are known as augmented and diminished chords.Just like
major and minor triads, they contain just three notes (hence, triad!).
Let's look at how to construct these chords tone by tone. This will allow you to create
chord voicing is anywhere on the fretboard. Make sure, however, you have a good
understanding of the fretboard to underpin what we're learning.
Augmented chords
Augmented chords have quite an unusual quality. They sound unstable and tense
when used in a chord progression, so they must be used in the appropriate context.
You'll learn more about this chord's function in a separate lesson.
As with every other chord, the most basic form of augmented chord is a triad.
Augmented triads are basically major triads with an augmented 5th (♯5), also called
a sharp 5th, which means you take the 5th tone of the major triad and move
it up one half step (the equivalent of one fret).
1 3 ♯5
So if we build an augmented chord with the E string as the root, we might get something like this…
Note, that it's only necessary to include the 3 notes in the triad - in the example above
we've included a second root an octave higher on the G string, but this isn't necessary.
Keep this in mind when you're forming chords around the neck and you want a
particular voicing that can't accommodate more than 3 or 4 strings on the guitar.
The augmented
5th gives the
chord a
completely
different sound
to a major triad because the augmented 5th interacts with the root and 3rd differently
to the perfect 5th found in major triads.
See the augmented guitar chords lesson for more chord charts and theory behind how
these chords can function in your music.
Diminished chords
Diminished triads are basically minor
chords with a diminished (flat) 5th...
1 ♭3 ♭5
Simply remember:
Let's look at a typical diminished chord form built on an E string root note…
See
the diminished
guitar
chords lesson for
more forms and
some of their
common functions.
As you learn the fretboard, you'll naturally see chord forms appear all over, giving
you several voicing is for the same chord. I recommend using this interactive learning
software to help develop and connect your fretboard and chord knowledge.
In the next guitar chord theory lesson we'll cover 7th chords which can be seen as the
primary extensions of the triads we've looked at.
Chord Theory - 7th Chords
In guitar chord theory part 1 we looked at major, minor and suspended triads (three
note chords). In part 2 we learned how to construct augmented and diminished triads.
These five chord types form the basis of all chords.
Today we're looking at a family of chords that contain four notes, known as 7th
chords. These can be seen as primary extensions of the basic, three note triads we
learned in the first two parts.
Don't get confused at this stage with their names. Just focus on getting to know how
each one is built and the unique sound each one creates. A lot of this knowledge will
come naturally if you know the fretboard.
Here's a useful introductory video on 7th chords and what the "7th" refers to…
Remember that a major triad was the Root, 3rd and 5th notes from the major scale?
Well a major 7th chord is the triad with an added major 7th tone...
1 3 5 7
The Root (1), 3rd (3), 5th (5) and 7th (7) form a major 7th chord. For example...
Notice how it just uses those 4 tones (1 3 5 7), unmoved from the major scale.
The major 7th chord is abbreviated as "maj7", so if the root note lied on A, it would be Amaj7.
Sometimes, it may be abbreviated further to "M7" (capital M), e.g. AM7, BM7, CM7 etc.
1 3 5 ♭7
Dominant 7th chords are abbreviated by simply adding a 7 to the root letter. For example, C7, B7, D7
etc.
When you see just the 7 added like this, we can assume that the 3rd and 5th (with some exceptions)
of the major triad are also part of the chord.
1 ♭3 5 ♭7
Two commonly used minor 7th chord forms, rooted on the E and A strings...
We abbreviate minor 7th chords as "m7". E.g. Cm7, Bm7, Dm7 etc. sometimes as "min7".
1 ♭3 5 7
This wonderfully
mysterious sounding
chord is often used
as a more tense
minor
tonic/resolution
chord within harmonic or melodic minor based progressions. Also used in between regular minor and
minor 7th chords, creating a harmony line through both 7th positions.
Remember, with a good knowledge of the fretboard, you'll start to see these chord forms pop up all
over the neck. This interactive software will help you see the big picture.
I think you can see where we're going with this now!
1 3 ♯5 ♭7
Sometimes, you'll see a special symbol used for half diminished chords - ø - e.g. Bø, Cø etc. However, I
would discourage people from using it as not everyone knows what it means and music should be a
common language!
1 ♭3 ♭5 ♭♭7
In other words, it's a half diminished chord with the 7th flattened one more semitone (or fret).
The abbreviation of
this chord is simply
"dim7", e.g. Cdim7,
Fdim7, Gdim7 etc.
but can also be
abbreviated using
the diminished
symbol (which looks like a degrees symbol) as °7 , e.g. C°7, F°7, G°7 etc.
As I said at the beginning, don't worry yourself over why some of these chord names
sound a bit confusing, just know what notes they involve and the sound they create.
Just think of diminished 7th chords as minor chords with a flat 5 and double flat 7th.
1 4 5 ♭7
Abbreviated as
"7sus4", e.g.
C7sus4, E7sus4,
G7sus4 etc.
And here's a
commonly used A string chord shape for a 7th suspended 2nd...
1 2 5 ♭7
Abbreviated as
"7sus2", e.g.
D7sus2, F7sus2,
A7sus2 etc.