\n<\/em><\/p>\n
“What Is A Chord?”<\/em><\/h2>\nThere are so many ways to define a chord. These definitions may vary from the simplest to the most complex, however, there are certain keywords that all the definitions of chord have in common.<\/p>\n
Here’s a definition of chords that embraces all these keywords:<\/p>\n
\u00a0A chord is a collection of three or more related notes (agreeable or not) that is played\/heard together or separately.<\/p><\/blockquote>\n
Let’s go ahead and breakdown this definition of chord, so that you can have a better understanding of what a chord is.<\/p>\n
“…Collection Of Three Or More…”<\/em><\/h3>\nIt takes three or more notes to form a chord. A collection of two notes (aka – “intervals<\/a>“) are not considered to be chords even though Jermaine Griggs calls them “…the building blocks of chords.”<\/em><\/p>\nChords can be classified according to the number of notes (aka – “note aggregate”) they have…<\/p>\n
\n- A three note chord is called a triad<\/strong><\/li>\n
- A four note chord is called a tetrad<\/strong><\/li>\n
- A five note chord is called a pentad<\/strong><\/li>\n
- A six note chord is called a hexad<\/strong><\/li>\n
- A seventh note called is called a heptad<\/strong><\/li>\n<\/ul>\n
Consequently, before a collection of notes can be considered as a chord, it must have the features of a triad.<\/p>\n
“…Related Notes…”<\/em><\/h3>\nThere must be a relationship between the notes of a chord. Not all collections of three or more notes played on the keyboard are considered as chords; only notes that are related are considered as chords.<\/p>\n
The notes of a chord can be related in two ways:<\/p>\n
\n- Scale relationship<\/li>\n
- Intervallic relationship<\/li>\n<\/ul>\n
Scale Relationship Of Notes<\/strong><\/p>\nThe relationship between the notes of a chord, must be based on a particular scale. For example, the notes of the C major chord – which are C E and G:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,E,G,&color=FF6666&size=2\")
\n…are related by the C major scale:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,D,E,F,G,A,B,C&color=FF6666&size=2\")
\nA closer look at the C major chord:
\n
\n…and the C major scale:
\n
\n…shows that the notes of the C major chord:
\n
\n…are the first, third and fifth tones of the C major scale:
\n
\nAttention:<\/strong> Take note that any collection of notes without a scale relationship is not musically fit to be called a chord.<\/p>\nIntervallic Relationship Between Notes<\/strong><\/p>\nThe notes of a chord must be related by a given interval, whether in seconds in the case of C-D-E:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,D,E,&color=FF6666&size=2\")
\n…thirds in the case of C-E-G:
\n
\n…fourths in the case of C-F-B:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,F,B,&color=FF6666&size=2\")
\n…or fifths in the case of C-G-D:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,G,D&color=FF6666&size=2\")
\nThe notes of the C major chord:
\n
\n…have an intervallic relationship. C, E, and G:
\n
\n…are related in intervals of thirds.<\/p>\n
From C:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,&color=FF6666&size=2\")
\n…to E:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,E,&color=FF6666&size=2\")
\n…is a third.<\/p>\n
From C-E:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,E,&color=FF6666&size=2\")
\n…to G:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,G,&color=FF6666&size=2\")
\n…is also a third.<\/p>\n
In a nutshell, the notes of the C major chord:
\n
\n…are related in intervals of thirds.<\/p>\n
Attention: <\/strong>The intervallic relationship between the notes of a chord base on thirds is called tertian harmony. <\/em>Tertian <\/em>harmony<\/a> is the traditional harmony of chords that is commonly used. In this lesson, we’ll be limiting our scope to tertian chords.<\/a>
\n<\/em><\/p>\n“…Agreeable Or Not…”<\/em><\/h3>\nWhen notes are played together, the relationship between the notes is called harmony. When notes are played harmonically, the outcome is either pleasant or unpleasant.<\/p>\n
Pleasant combination of notes is known as concord while unpleasant\/harsh combinations are called discord. Whether a chord is pleasant or unpleasant depends on the intervals its built of.<\/p>\n
Let’s take this lesson to another level by taking a look at the classification of chords according to width.<\/p>\n
The Classification Of Chords According To Width<\/h2>\n
In this segment we’ll be looking at how music scholars classify chords according to width. When a chord is played, its width is determined by the number of scale tones it encompasses.<\/p>\n
Suffice it to say that if chords are classified according to width, there will be four chord classes.<\/p>\n
“Check them out…”<\/em><\/p>\n\n- Triads<\/li>\n
- Sixth chords<\/li>\n
- Seventh chords<\/li>\n
- Extended chords<\/li>\n<\/ul>\n
Give me the next seven minutes to throw more light on these chord classes.<\/p>\n
Triads<\/h3>\n
Earlier in this course, we learned that a chord consists of “three” or more notes (and I want you to underline the word three<\/span>.) The least texture a chord can have is a three-note texture, and that’s what music scholars call the triad.<\/p>\nGoing by the formation of chords in thirds (using tertian harmony), a triad consists of the first, third, and fifth tones of the scale. Consequently, triads encompass a fifth interval.<\/p>\n
The C major chord:
\n
\n…is a triad because it encompasses five tones of the C major scale:
\n
\n…from C to G (a fifth):
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,D,E,F,G,&color=FF6666&size=2\")
\n…and has a three note texture.<\/p>\n
There are four triad qualities:<\/p>\n
\n- The major triad<\/a><\/li>\n
- The minor triad<\/a><\/li>\n
- The augmented triad<\/a><\/li>\n
- The diminished triad<\/a><\/li>\n<\/ul>\n
…which Jermaine Griggs<\/strong> described in his book “4 Steps To Next Level Playing<\/a>” as the fantastic four<\/em>.<\/p>\nSixth Chords<\/h3>\n
The width of sixth chords encompass six tones of the scale. The major<\/a> and minor sixth<\/a> chords belong to this class of chords.<\/p>\nThe C major sixth chord:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,E,G,A,&color=FF6666&size=2\")
\n…a product of the relationship of the first, third, fifth, and “sixth” tones of the C natural major scale<\/a>:
\n
\n…while the C minor sixth chord:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,Eb,G,A,&color=FF6666&size=2\")
\n…a product of the relationship of the first, third, fifth, and “sixth” tones of the C melodic minor scale<\/a>:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,D,Eb,F,G,A,B,C&color=FF6666&size=2\")
\nAlthough there are no sixth chords originally in classical music, they are only considered to be inversions of seventh chords (the next class of chords we’re considering in this lesson.)<\/p>\nAttention:<\/strong> Take note that sixth chords are non-tertian chords because they are not absolutely built in intervals of thirds. The interval between the 5th and 6th tones is a [major] second interval.<\/p>\nSeventh Chords<\/h3>\n
A seventh chord is a chord that encompasses seven degrees of any given scale.<\/p>\n
In the formation of chord, we’re accustomed to starting out with the root and stacking notes in intervals of thirds. Using the C major scale:
\n
\n…we can start out with the root (C):
\n
\n…stack the third:
\n
\n…and the fifth:
\n
\nAttention:<\/strong> At the fifth level, a triad is formed.<\/p>\nThe addition of another third above the fifth (G):
\n
\n…which is B:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,B,&color=FF6666&size=2\")
\n…produces the C major seventh chord:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,E,G,B,&color=FF6666&size=2\")
\nSeventh chords are harmonically advanced than triads and they encompass seven degrees of a scale. In the case of the C major seventh chord:
\n
\n…seven degrees of the C major scale:
\n
\n…from C to B:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,D,E,F,G,A,B,&color=FF6666&size=2\")
\nThere are various classes of seventh chords, however these five are commonly used…<\/p>\n
\n- Major seventh chord<\/a><\/li>\n
- Minor seventh chord<\/a><\/li>\n
- Dominant seventh chord<\/a><\/li>\n
- Half-diminished seventh chord<\/a><\/li>\n
- Diminished seventh chord<\/a><\/li>\n<\/ul>\n
Extended Chords<\/h3>\n
Extended chords are chords that contain compound intervals. Compound intervals are intervals that are bigger than an eighth.<\/p>\n
\u00a0A chord is a collection of three or more related notes (agreeable or not) that is played\/heard together or separately.<\/p><\/blockquote>\n
Let’s go ahead and breakdown this definition of chord, so that you can have a better understanding of what a chord is.<\/p>\n
“…Collection Of Three Or More…”<\/em><\/h3>\nIt takes three or more notes to form a chord. A collection of two notes (aka – “intervals<\/a>“) are not considered to be chords even though Jermaine Griggs calls them “…the building blocks of chords.”<\/em><\/p>\nChords can be classified according to the number of notes (aka – “note aggregate”) they have…<\/p>\n
\n- A three note chord is called a triad<\/strong><\/li>\n
- A four note chord is called a tetrad<\/strong><\/li>\n
- A five note chord is called a pentad<\/strong><\/li>\n
- A six note chord is called a hexad<\/strong><\/li>\n
- A seventh note called is called a heptad<\/strong><\/li>\n<\/ul>\n
Consequently, before a collection of notes can be considered as a chord, it must have the features of a triad.<\/p>\n
“…Related Notes…”<\/em><\/h3>\nThere must be a relationship between the notes of a chord. Not all collections of three or more notes played on the keyboard are considered as chords; only notes that are related are considered as chords.<\/p>\n
The notes of a chord can be related in two ways:<\/p>\n
\n- Scale relationship<\/li>\n
- Intervallic relationship<\/li>\n<\/ul>\n
Scale Relationship Of Notes<\/strong><\/p>\nThe relationship between the notes of a chord, must be based on a particular scale. For example, the notes of the C major chord – which are C E and G:
\n
\n…are related by the C major scale:
\n
\nA closer look at the C major chord:
\n
\n…and the C major scale:
\n
\n…shows that the notes of the C major chord:
\n
\n…are the first, third and fifth tones of the C major scale:
\n
\nAttention:<\/strong> Take note that any collection of notes without a scale relationship is not musically fit to be called a chord.<\/p>\nIntervallic Relationship Between Notes<\/strong><\/p>\nThe notes of a chord must be related by a given interval, whether in seconds in the case of C-D-E:
\n
\n…thirds in the case of C-E-G:
\n
\n…fourths in the case of C-F-B:
\n
\n…or fifths in the case of C-G-D:
\n
\nThe notes of the C major chord:
\n
\n…have an intervallic relationship. C, E, and G:
\n
\n…are related in intervals of thirds.<\/p>\n
From C:
\n
\n…to E:
\n
\n…is a third.<\/p>\n
From C-E:
\n
\n…to G:
\n
\n…is also a third.<\/p>\n
In a nutshell, the notes of the C major chord:
\n
\n…are related in intervals of thirds.<\/p>\n
Attention: <\/strong>The intervallic relationship between the notes of a chord base on thirds is called tertian harmony. <\/em>Tertian <\/em>harmony<\/a> is the traditional harmony of chords that is commonly used. In this lesson, we’ll be limiting our scope to tertian chords.<\/a>
\n<\/em><\/p>\n“…Agreeable Or Not…”<\/em><\/h3>\nWhen notes are played together, the relationship between the notes is called harmony. When notes are played harmonically, the outcome is either pleasant or unpleasant.<\/p>\n
Pleasant combination of notes is known as concord while unpleasant\/harsh combinations are called discord. Whether a chord is pleasant or unpleasant depends on the intervals its built of.<\/p>\n
Let’s take this lesson to another level by taking a look at the classification of chords according to width.<\/p>\n
The Classification Of Chords According To Width<\/h2>\n
In this segment we’ll be looking at how music scholars classify chords according to width. When a chord is played, its width is determined by the number of scale tones it encompasses.<\/p>\n
Suffice it to say that if chords are classified according to width, there will be four chord classes.<\/p>\n
“Check them out…”<\/em><\/p>\n\n- Triads<\/li>\n
- Sixth chords<\/li>\n
- Seventh chords<\/li>\n
- Extended chords<\/li>\n<\/ul>\n
Give me the next seven minutes to throw more light on these chord classes.<\/p>\n
Triads<\/h3>\n
Earlier in this course, we learned that a chord consists of “three” or more notes (and I want you to underline the word three<\/span>.) The least texture a chord can have is a three-note texture, and that’s what music scholars call the triad.<\/p>\nGoing by the formation of chords in thirds (using tertian harmony), a triad consists of the first, third, and fifth tones of the scale. Consequently, triads encompass a fifth interval.<\/p>\n
The C major chord:
\n
\n…is a triad because it encompasses five tones of the C major scale:
\n
\n…from C to G (a fifth):
\n
\n…and has a three note texture.<\/p>\n
There are four triad qualities:<\/p>\n
\n- The major triad<\/a><\/li>\n
- The minor triad<\/a><\/li>\n
- The augmented triad<\/a><\/li>\n
- The diminished triad<\/a><\/li>\n<\/ul>\n
…which Jermaine Griggs<\/strong> described in his book “4 Steps To Next Level Playing<\/a>” as the fantastic four<\/em>.<\/p>\nSixth Chords<\/h3>\n
The width of sixth chords encompass six tones of the scale. The major<\/a> and minor sixth<\/a> chords belong to this class of chords.<\/p>\nThe C major sixth chord:
\n
\n…a product of the relationship of the first, third, fifth, and “sixth” tones of the C natural major scale<\/a>:
\n
\n…while the C minor sixth chord:
\n
\n…a product of the relationship of the first, third, fifth, and “sixth” tones of the C melodic minor scale<\/a>:
\n
\nAlthough there are no sixth chords originally in classical music, they are only considered to be inversions of seventh chords (the next class of chords we’re considering in this lesson.)<\/p>\nAttention:<\/strong> Take note that sixth chords are non-tertian chords because they are not absolutely built in intervals of thirds. The interval between the 5th and 6th tones is a [major] second interval.<\/p>\nSeventh Chords<\/h3>\n
A seventh chord is a chord that encompasses seven degrees of any given scale.<\/p>\n
In the formation of chord, we’re accustomed to starting out with the root and stacking notes in intervals of thirds. Using the C major scale:
\n
\n…we can start out with the root (C):
\n
\n…stack the third:
\n
\n…and the fifth:
\n
\nAttention:<\/strong> At the fifth level, a triad is formed.<\/p>\nThe addition of another third above the fifth (G):
\n
\n…which is B:
\n
\n…produces the C major seventh chord:
\n
\nSeventh chords are harmonically advanced than triads and they encompass seven degrees of a scale. In the case of the C major seventh chord:
\n
\n…seven degrees of the C major scale:
\n
\n…from C to B:
\n
\nThere are various classes of seventh chords, however these five are commonly used…<\/p>\n
\n- Major seventh chord<\/a><\/li>\n
- Minor seventh chord<\/a><\/li>\n
- Dominant seventh chord<\/a><\/li>\n
- Half-diminished seventh chord<\/a><\/li>\n
- Diminished seventh chord<\/a><\/li>\n<\/ul>\n
Extended Chords<\/h3>\n
Extended chords are chords that contain compound intervals. Compound intervals are intervals that are bigger than an eighth.<\/p>\n
Chords can be classified according to the number of notes (aka – “note aggregate”) they have…<\/p>\n
- \n
- A three note chord is called a triad<\/strong><\/li>\n
- A four note chord is called a tetrad<\/strong><\/li>\n
- A five note chord is called a pentad<\/strong><\/li>\n
- A six note chord is called a hexad<\/strong><\/li>\n
- A seventh note called is called a heptad<\/strong><\/li>\n<\/ul>\n
Consequently, before a collection of notes can be considered as a chord, it must have the features of a triad.<\/p>\n
“…Related Notes…”<\/em><\/h3>\n
There must be a relationship between the notes of a chord. Not all collections of three or more notes played on the keyboard are considered as chords; only notes that are related are considered as chords.<\/p>\n
The notes of a chord can be related in two ways:<\/p>\n
- \n
- Scale relationship<\/li>\n
- Intervallic relationship<\/li>\n<\/ul>\n
Scale Relationship Of Notes<\/strong><\/p>\n
The relationship between the notes of a chord, must be based on a particular scale. For example, the notes of the C major chord – which are C E and G:
\n
\n…are related by the C major scale:
\n
\nA closer look at the C major chord:
\n
\n…and the C major scale:
\n
\n…shows that the notes of the C major chord:
\n
\n…are the first, third and fifth tones of the C major scale:
\n
\nAttention:<\/strong> Take note that any collection of notes without a scale relationship is not musically fit to be called a chord.<\/p>\nIntervallic Relationship Between Notes<\/strong><\/p>\n
The notes of a chord must be related by a given interval, whether in seconds in the case of C-D-E:
\n
\n…thirds in the case of C-E-G:
\n
\n…fourths in the case of C-F-B:
\n
\n…or fifths in the case of C-G-D:
\n
\nThe notes of the C major chord:
\n
\n…have an intervallic relationship. C, E, and G:
\n
\n…are related in intervals of thirds.<\/p>\nFrom C:
\n
\n…to E:
\n
\n…is a third.<\/p>\nFrom C-E:
\n
\n…to G:
\n
\n…is also a third.<\/p>\nIn a nutshell, the notes of the C major chord:
\n
\n…are related in intervals of thirds.<\/p>\nAttention: <\/strong>The intervallic relationship between the notes of a chord base on thirds is called tertian harmony. <\/em>Tertian <\/em>harmony<\/a> is the traditional harmony of chords that is commonly used. In this lesson, we’ll be limiting our scope to tertian chords.<\/a>
\n<\/em><\/p>\n“…Agreeable Or Not…”<\/em><\/h3>\n
When notes are played together, the relationship between the notes is called harmony. When notes are played harmonically, the outcome is either pleasant or unpleasant.<\/p>\n
Pleasant combination of notes is known as concord while unpleasant\/harsh combinations are called discord. Whether a chord is pleasant or unpleasant depends on the intervals its built of.<\/p>\n
Let’s take this lesson to another level by taking a look at the classification of chords according to width.<\/p>\n
The Classification Of Chords According To Width<\/h2>\n
In this segment we’ll be looking at how music scholars classify chords according to width. When a chord is played, its width is determined by the number of scale tones it encompasses.<\/p>\n
Suffice it to say that if chords are classified according to width, there will be four chord classes.<\/p>\n
“Check them out…”<\/em><\/p>\n
- \n
- Triads<\/li>\n
- Sixth chords<\/li>\n
- Seventh chords<\/li>\n
- Extended chords<\/li>\n<\/ul>\n
Give me the next seven minutes to throw more light on these chord classes.<\/p>\n
Triads<\/h3>\n
Earlier in this course, we learned that a chord consists of “three” or more notes (and I want you to underline the word three<\/span>.) The least texture a chord can have is a three-note texture, and that’s what music scholars call the triad.<\/p>\n
Going by the formation of chords in thirds (using tertian harmony), a triad consists of the first, third, and fifth tones of the scale. Consequently, triads encompass a fifth interval.<\/p>\n
The C major chord:
\n
\n…is a triad because it encompasses five tones of the C major scale:
\n
\n…from C to G (a fifth):
\n
\n…and has a three note texture.<\/p>\nThere are four triad qualities:<\/p>\n
- \n
- The major triad<\/a><\/li>\n
- The minor triad<\/a><\/li>\n
- The augmented triad<\/a><\/li>\n
- The diminished triad<\/a><\/li>\n<\/ul>\n
…which Jermaine Griggs<\/strong> described in his book “4 Steps To Next Level Playing<\/a>” as the fantastic four<\/em>.<\/p>\n
Sixth Chords<\/h3>\n
The width of sixth chords encompass six tones of the scale. The major<\/a> and minor sixth<\/a> chords belong to this class of chords.<\/p>\n
The C major sixth chord:
\n
\n…a product of the relationship of the first, third, fifth, and “sixth” tones of the C natural major scale<\/a>:
\n
\n…while the C minor sixth chord:
\n
\n…a product of the relationship of the first, third, fifth, and “sixth” tones of the C melodic minor scale<\/a>:
\n
\nAlthough there are no sixth chords originally in classical music, they are only considered to be inversions of seventh chords (the next class of chords we’re considering in this lesson.)<\/p>\nAttention:<\/strong> Take note that sixth chords are non-tertian chords because they are not absolutely built in intervals of thirds. The interval between the 5th and 6th tones is a [major] second interval.<\/p>\n
Seventh Chords<\/h3>\n
A seventh chord is a chord that encompasses seven degrees of any given scale.<\/p>\n
In the formation of chord, we’re accustomed to starting out with the root and stacking notes in intervals of thirds. Using the C major scale:
\n
\n…we can start out with the root (C):
\n
\n…stack the third:
\n
\n…and the fifth:
\n
\nAttention:<\/strong> At the fifth level, a triad is formed.<\/p>\nThe addition of another third above the fifth (G):
\n
\n…which is B:
\n
\n…produces the C major seventh chord:
\n
\nSeventh chords are harmonically advanced than triads and they encompass seven degrees of a scale. In the case of the C major seventh chord:
\n
\n…seven degrees of the C major scale:
\n
\n…from C to B:
\n
\nThere are various classes of seventh chords, however these five are commonly used…<\/p>\n- \n
- Major seventh chord<\/a><\/li>\n
- Minor seventh chord<\/a><\/li>\n
- Dominant seventh chord<\/a><\/li>\n
- Half-diminished seventh chord<\/a><\/li>\n
- Diminished seventh chord<\/a><\/li>\n<\/ul>\n
Extended Chords<\/h3>\n
Extended chords are chords that contain compound intervals. Compound intervals are intervals that are bigger than an eighth.<\/p>\n
- Minor seventh chord<\/a><\/li>\n
- The minor triad<\/a><\/li>\n
- The major triad<\/a><\/li>\n
- A four note chord is called a tetrad<\/strong><\/li>\n