“What Is ‘Chord Quality’ All About?”<\/em><\/h2>\nThere are so many definitions of the term “chord” out there, however according to Jermaine Griggs, “A chord is a collection of related notes [pleasant or unpleasant] that are played or heard at the same time.”<\/em><\/p>\nTo the layman, a chord can either sound pleasant or unpleasant. But to the music and musicians, there are certain properties that chords have beyond sounding pleasant or unpleasant.<\/p>\n
One of the properties that distinguishes one chord from another chord is quality. Although the quality of a chord depends on several factors, here are two notable ones…<\/p>\n
\n- The intervals it contains (aka – “intervallic constituents”)<\/li>\n
- The interval between its first and third tones<\/li>\n<\/ul>\n
Let’s look at these two factors.<\/p>\n
Factor #1 – Intervallic Constituents<\/h3>\n
There are five classes of intervals – perfect, major, minor, augmented, and diminished intervals. The class of intervals a chord is made up of (aka – “intervallic constituents”) determines the overall quality of a chord.<\/p>\n
Example #1 – “Take a look at the C major triad…”<\/em><\/p>\nThe C major triad:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,E,G,&color=330066&size=2\")
\n…has the following intervallic constituents…<\/p>\n
C and E:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,E,&color=330066&size=2\")
\n…a major third<\/strong> interval.<\/p>\nC and G:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,G,&color=330066&size=2\")
\n…a perfect fifth<\/strong> interval.<\/p>\nThe quality of the C major triad is major<\/strong> because of the major third interval (which is its intervallic constituent.)<\/p>\nAttention<\/strong>: Don’t let the perfect fifth interval bother you. In terms of chord quality determination, only four classes of intervals are used as benchmarks and they are major, minor, augmented, and diminished.<\/p>\nExample #2 – “The C minor triad…”<\/em><\/p>\nThe C minor triad:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,Eb,G,&color=330066&size=2\")
\n…has the following intervallic constituents…<\/p>\n
C and Eb:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,Eb,&color=330066&size=2\")
\n…a minor third<\/strong> interval.<\/p>\nC and G:
\n
\n…a perfect fifth<\/strong> interval.<\/p>\nThe quality of the C minor triad is minor<\/strong> because of the minor third interval (which is its intervallic constituent.)<\/p>\nExample #3 – “The C augmented triad…”<\/em><\/p>\nThe C augmented triad:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,E,Gs,&color=330066&size=2\")
\n…has the following intervallic constituents…<\/p>\n
C and E:
\n
\n…a major third<\/strong> interval.<\/p>\nC and G#:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,Gs,&color=330066&size=2\")
\n…an augmented fifth<\/strong> interval.<\/p>\nThe quality of the C augmented triad is augmented<\/strong> because of the augmented fifth interval (which is its intervallic constituent.)<\/p>\nExample #4 – “The C diminished triad…”<\/em><\/p>\nThe C diminished triad:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,Eb,Gb,&color=330066&size=2\")
\n…has the following intervallic constituents…<\/p>\n
C and Eb:
\n
\n…a minor third<\/strong> interval.<\/p>\nC and Gb:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,Gb,&color=330066&size=2\")
\n…a diminished fifth<\/strong> interval.<\/p>\nThe quality of the C diminished triad is diminished<\/strong> because of the diminished fifth interval (which is its intervallic constituent.)<\/p>\nFactor #2 – The Interval Between Its First And Third Tones<\/h3>\n
The quality of a chord can also be determined by the interval between its first and third tones.<\/p>\n
In the C major triad:
\n
\n…for example, the interval between the first and the third tones (C and E):
\n
\n…is a major third interval and that’s why the C major triad is considered a major triad.<\/p>\n
However, there are occasions where you’ll need to go beyond the third [to other tones] to determine the quality of a chord.<\/p>\n
“Here’s one of those occasions…”<\/em><\/p>\nIf you’re given C-E-G#:
\n
\nYou shouldn’t Conclude that C-E-G# is a major triad simply because the interval between C and E:
\n
\n…is a major third. The chord given (C-E-G#):
\n
\n…has an augmented fifth<\/em>, consequently, it’s an augmented chord.<\/p>\nAlthough the quality of a chord can be determined by the interval between the root and the third, however, it’s advisable to always look beyond the root and third, to the fifth and seventh.<\/p>\n
In a nutshell, chord qualities are described using the following terms:<\/p>\n
\n- Major<\/li>\n
- Minor<\/li>\n
- Diminished<\/li>\n
- Augmented<\/li>\n
- Dominant<\/li>\n<\/ul>\n
Take note that the term dominant is used to describe chords that are formed on the fifth degree of the key (whether major or minor.)<\/p>\n
Three Chord Qualities You Should Pay Attention To And Why<\/h2>\n
In the classification of chords according to quality, there are major chords, minor chords, diminished chords, augmented chords, and dominant chords. However, there are three chord qualities that are an everyday option for you and I.<\/p>\n
Here they are…<\/p>\n
Major chords<\/p>\n
Minor chords<\/p>\n
Dominant chords<\/p><\/blockquote>\n
Submission:<\/strong> I’m not saying all chord qualities are not important; far from that. All chord qualities have their place in music, however, we singled out these three because of a variety of reasons. But in this lesson, I’ll be giving you just two reasons why you need to pay attention to these three chord qualities.<\/p>\nReason #1 – Tonality<\/h3>\n
One of the reasons why these three chord qualities are important is because of tonality. In the concept of tonality, the idea is to make a particular tone a key (aka – “tonal center”.) The note C:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,&color=330066&size=2\")
\n…becomes a key if made a tonal center. Due to the fact that there are two types of tonality (aka – “key”), the note C:
\n
\n….can either be a major or a minor key.<\/p>\n
For a tonality to be established or contradicted, it requires the harmonic force of the fifth degree (aka – “dominant”) of the scale. In the key of C major:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,D,E,F,G,A,B,C&color=330066&size=2\")
\n…and C minor:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,D,Eb,F,G,Ab,Bb,C&color=330066&size=2\")
\n…the fifth degree (aka – “dominant”) is G:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,G,&color=330066&size=2\")
\n…and is the harmonic force that establishes the keys of C major and C minor.<\/p>\n
At this point, let me highlight the three most important terms in the concept of tonality – major, minor, and dominant. The terms major and minor are the two types of tonality, while the dominant is the harmonic force that establishes them.<\/p>\n
“Here’s the relationship between these three terms and our subject”<\/em><\/p>\nThe chord of the first degree (aka – “tonic chord<\/a>“) in the major key is a major chord, while the tonic chord in the minor key<\/a> is a minor chord. There are no diminished and augmented keys right? Therefore, major and minor chords function as the tonic chords of the major and minor keys.<\/p>\nDominant chords due to their function as the harmonic force that can establish or contradict tonality, can be used as passing chords to major and minor chords.<\/p>\n
In a nutshell, major, minor, and dominant chords are in direct relationship with the concept of tonality and any pianist who is serious must learn them.<\/p>\n
Reason #2 – Chord Progression<\/h3>\n
The movement of chords from one degree of the scale to another is called a chord progression. In classical music and jazz music, the strongest chord progression is in fifths.<\/p>\n
Remember that the harmonic force that establishes tonality is the fifth degree.<\/p><\/blockquote>\n
Due to the dominant’s affinity for the tonic, chord progressions are usually made in fifths. In the key of C major:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,D,E,F,G,A,B,C,&color=330066&size=2\")
\n…where the dominant is G:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,G,,&color=330066&size=2\")
\n…the strongest option of what comes before G is D:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,,D,&color=330066&size=2\")
\nThis is because D lies a fifth above G:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,G,D,&color=330066&size=2\")
\nAltogether, from D:
\n
\n…to G:
\n
\n…to C:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,,&color=330066&size=2\")
\n…produces the 2-5-1 chord progression – one of the most important chord progression in jazz and popular music styles.<\/p>\n
In the key of C major:
\n
\n…here are the chords of the 2-5-1 chord progression…<\/p>\n
Chord 2:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,D,F,A,C,&color=330066&size=2\")
\n…the D minor<\/strong> seventh chord.<\/p>\nChord 5:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,G,B,D,F,&color=330066&size=2\")
\n…the G dominant<\/strong> seventh chord.<\/p>\nChord 1:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,E,G,B,,&color=330066&size=2\")
\n…the C major<\/strong> seventh chord.<\/p>\nThere are three chord qualities in the 2-5-1 chord progression to the major key, the major, minor, and dominant chord qualities and this makes them important once again.<\/p>\n
Final Words<\/h2>\n
Although this doesn’t mean that you shouldn’t learn other chord qualities, but the major, minor, and dominant chords are three important chord qualities that every pianist should be serious about learning.<\/p>\n
Major and minor chords are common chords because they are the primary chords in the major and minor keys. If you don’t mind, kindly check this lesson on Keyboard Harmony 101: The Fundamental Precepts Of Harmony<\/a>, where we covered the importance and application of primary chords in the major key.<\/p>\n
To the layman, a chord can either sound pleasant or unpleasant. But to the music and musicians, there are certain properties that chords have beyond sounding pleasant or unpleasant.<\/p>\n
One of the properties that distinguishes one chord from another chord is quality. Although the quality of a chord depends on several factors, here are two notable ones…<\/p>\n
- \n
- The intervals it contains (aka – “intervallic constituents”)<\/li>\n
- The interval between its first and third tones<\/li>\n<\/ul>\n
Let’s look at these two factors.<\/p>\n
Factor #1 – Intervallic Constituents<\/h3>\n
There are five classes of intervals – perfect, major, minor, augmented, and diminished intervals. The class of intervals a chord is made up of (aka – “intervallic constituents”) determines the overall quality of a chord.<\/p>\n
Example #1 – “Take a look at the C major triad…”<\/em><\/p>\n
The C major triad:
\n
\n…has the following intervallic constituents…<\/p>\nC and E:
\n
\n…a major third<\/strong> interval.<\/p>\nC and G:
\n
\n…a perfect fifth<\/strong> interval.<\/p>\nThe quality of the C major triad is major<\/strong> because of the major third interval (which is its intervallic constituent.)<\/p>\n
Attention<\/strong>: Don’t let the perfect fifth interval bother you. In terms of chord quality determination, only four classes of intervals are used as benchmarks and they are major, minor, augmented, and diminished.<\/p>\n
Example #2 – “The C minor triad…”<\/em><\/p>\n
The C minor triad:
\n
\n…has the following intervallic constituents…<\/p>\nC and Eb:
\n
\n…a minor third<\/strong> interval.<\/p>\nC and G:
\n
\n…a perfect fifth<\/strong> interval.<\/p>\nThe quality of the C minor triad is minor<\/strong> because of the minor third interval (which is its intervallic constituent.)<\/p>\n
Example #3 – “The C augmented triad…”<\/em><\/p>\n
The C augmented triad:
\n
\n…has the following intervallic constituents…<\/p>\nC and E:
\n
\n…a major third<\/strong> interval.<\/p>\nC and G#:
\n
\n…an augmented fifth<\/strong> interval.<\/p>\nThe quality of the C augmented triad is augmented<\/strong> because of the augmented fifth interval (which is its intervallic constituent.)<\/p>\n
Example #4 – “The C diminished triad…”<\/em><\/p>\n
The C diminished triad:
\n
\n…has the following intervallic constituents…<\/p>\nC and Eb:
\n
\n…a minor third<\/strong> interval.<\/p>\nC and Gb:
\n
\n…a diminished fifth<\/strong> interval.<\/p>\nThe quality of the C diminished triad is diminished<\/strong> because of the diminished fifth interval (which is its intervallic constituent.)<\/p>\n
Factor #2 – The Interval Between Its First And Third Tones<\/h3>\n
The quality of a chord can also be determined by the interval between its first and third tones.<\/p>\n
In the C major triad:
\n
\n…for example, the interval between the first and the third tones (C and E):
\n
\n…is a major third interval and that’s why the C major triad is considered a major triad.<\/p>\nHowever, there are occasions where you’ll need to go beyond the third [to other tones] to determine the quality of a chord.<\/p>\n
“Here’s one of those occasions…”<\/em><\/p>\n
If you’re given C-E-G#:
\n
\nYou shouldn’t Conclude that C-E-G# is a major triad simply because the interval between C and E:
\n
\n…is a major third. The chord given (C-E-G#):
\n
\n…has an augmented fifth<\/em>, consequently, it’s an augmented chord.<\/p>\nAlthough the quality of a chord can be determined by the interval between the root and the third, however, it’s advisable to always look beyond the root and third, to the fifth and seventh.<\/p>\n
In a nutshell, chord qualities are described using the following terms:<\/p>\n
- \n
- Major<\/li>\n
- Minor<\/li>\n
- Diminished<\/li>\n
- Augmented<\/li>\n
- Dominant<\/li>\n<\/ul>\n
Take note that the term dominant is used to describe chords that are formed on the fifth degree of the key (whether major or minor.)<\/p>\n
Three Chord Qualities You Should Pay Attention To And Why<\/h2>\n
In the classification of chords according to quality, there are major chords, minor chords, diminished chords, augmented chords, and dominant chords. However, there are three chord qualities that are an everyday option for you and I.<\/p>\n
Here they are…<\/p>\n
Major chords<\/p>\n
Minor chords<\/p>\n
Dominant chords<\/p><\/blockquote>\n
Submission:<\/strong> I’m not saying all chord qualities are not important; far from that. All chord qualities have their place in music, however, we singled out these three because of a variety of reasons. But in this lesson, I’ll be giving you just two reasons why you need to pay attention to these three chord qualities.<\/p>\n
Reason #1 – Tonality<\/h3>\n
One of the reasons why these three chord qualities are important is because of tonality. In the concept of tonality, the idea is to make a particular tone a key (aka – “tonal center”.) The note C:
\n
\n…becomes a key if made a tonal center. Due to the fact that there are two types of tonality (aka – “key”), the note C:
\n
\n….can either be a major or a minor key.<\/p>\nFor a tonality to be established or contradicted, it requires the harmonic force of the fifth degree (aka – “dominant”) of the scale. In the key of C major:
\n
\n…and C minor:
\n
\n…the fifth degree (aka – “dominant”) is G:
\n
\n…and is the harmonic force that establishes the keys of C major and C minor.<\/p>\nAt this point, let me highlight the three most important terms in the concept of tonality – major, minor, and dominant. The terms major and minor are the two types of tonality, while the dominant is the harmonic force that establishes them.<\/p>\n
“Here’s the relationship between these three terms and our subject”<\/em><\/p>\n
The chord of the first degree (aka – “tonic chord<\/a>“) in the major key is a major chord, while the tonic chord in the minor key<\/a> is a minor chord. There are no diminished and augmented keys right? Therefore, major and minor chords function as the tonic chords of the major and minor keys.<\/p>\n
Dominant chords due to their function as the harmonic force that can establish or contradict tonality, can be used as passing chords to major and minor chords.<\/p>\n
In a nutshell, major, minor, and dominant chords are in direct relationship with the concept of tonality and any pianist who is serious must learn them.<\/p>\n
Reason #2 – Chord Progression<\/h3>\n
The movement of chords from one degree of the scale to another is called a chord progression. In classical music and jazz music, the strongest chord progression is in fifths.<\/p>\n
Remember that the harmonic force that establishes tonality is the fifth degree.<\/p><\/blockquote>\n
Due to the dominant’s affinity for the tonic, chord progressions are usually made in fifths. In the key of C major:
\n
\n…where the dominant is G:
\n
\n…the strongest option of what comes before G is D:
\n
\nThis is because D lies a fifth above G:
\n
\nAltogether, from D:
\n
\n…to G:
\n
\n…to C:
\n
\n…produces the 2-5-1 chord progression – one of the most important chord progression in jazz and popular music styles.<\/p>\nIn the key of C major:
\n
\n…here are the chords of the 2-5-1 chord progression…<\/p>\nChord 2:
\n
\n…the D minor<\/strong> seventh chord.<\/p>\nChord 5:
\n
\n…the G dominant<\/strong> seventh chord.<\/p>\nChord 1:
\n
\n…the C major<\/strong> seventh chord.<\/p>\nThere are three chord qualities in the 2-5-1 chord progression to the major key, the major, minor, and dominant chord qualities and this makes them important once again.<\/p>\n
Final Words<\/h2>\n
Although this doesn’t mean that you shouldn’t learn other chord qualities, but the major, minor, and dominant chords are three important chord qualities that every pianist should be serious about learning.<\/p>\n
Major and minor chords are common chords because they are the primary chords in the major and minor keys. If you don’t mind, kindly check this lesson on Keyboard Harmony 101: The Fundamental Precepts Of Harmony<\/a>, where we covered the importance and application of primary chords in the major key.<\/p>\n