{"id":36,"date":"2007-06-15T08:11:54","date_gmt":"2007-06-15T15:11:54","guid":{"rendered":"http:\/\/www.hearandplay.com\/main\/?p=36"},"modified":"2024-12-26T00:15:30","modified_gmt":"2024-12-26T08:15:30","slug":"the-power-of-using-superimposed-chords","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/the-power-of-using-superimposed-chords\/","title":{"rendered":"The Power Of Using Superimposed Chords"},"content":{"rendered":"


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At first look, the word “superimposition” may sound like a complex concept… but I assure you, it is easier than it looks!<\/font><\/span><\/font><\/p>\n

For a chord to be superimposed on top of another chord means just that! Usually, you’d play one particular chord on your left hand while playing another chord on your right (both at the same time).<\/font><\/span><\/font><\/p>\n

Major, Minor, and Dominant Chords<\/font><\/span><\/p>\n

You’d be surprised how many superimposed chords you already know how to play.<\/font><\/span><\/font><\/p>\n

In fact, any 7th, 9th, 11th, or 13th chord can be considered two chords superimposed on top of one another. You’ve probably heard the term “polychords<\/strong>” to describe these chords as well. Basically, polychords consist of two or more chords that are <\/font><\/span>stacked to create one larger chord.<\/span><\/font><\/font><\/p>\n

Think about it…<\/font><\/span><\/font><\/p>\n

What does a Cmaj7 chord consist of? <\/span><\/font> (I don’t know my maj7 chords<\/a>)<\/span><\/font><\/p>\n


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Cmaj7<\/strong> = C + E + G + B<\/font><\/span><\/font><\/p>\n

Well, obviously a Cmaj triad: C + E + G<\/font><\/span><\/font><\/p>\n

But you could also play an Emin triad: E + G + B<\/font><\/span><\/font><\/p>\n

Combine them together, and you have one C<\/strong>, two E’s<\/strong>, two G’s<\/strong>, and one B<\/strong>.<\/font><\/span><\/font><\/p>\n

Cmaj: C + <\/span>E + <\/span>G \/\/\/ Emin: <\/span>E + <\/span>G + B<\/span><\/font><\/p>\n

… Now get rid of any duplicate notes and you have: (C E G B)<\/font><\/span><\/font><\/p>\n

So playing an Emin over a Cmaj creates a Cmaj7 chord.<\/font><\/span><\/font><\/p>\n

…Moving on…<\/font><\/span><\/font><\/p>\n

What about major ninth chords? What two chords do they consist of? <\/font><\/span><\/font><\/p>\n

(I don’t know my maj9 chords<\/a>)<\/span><\/font><\/p>\n

Let’s look at Cmaj9. <\/font><\/span><\/font><\/p>\n

Cmaj9 = C + E + G + B + D<\/font><\/span><\/font><\/p>\n

If you look closely, you’ll see one major chord superimposed on top of another.<\/font><\/span><\/font><\/p>\n

If you see Cmaj on the bottom and Gmaj on the top, then you’re absolutely correct!<\/font><\/span><\/font><\/p>\n

Cmaj + Gmaj = Cmaj9<\/font><\/span><\/font><\/p>\n

What about major eleventh chords? <\/font><\/span> (I don’t know my maj11 chords<\/a>)<\/span><\/font><\/font><\/p>\n

Cmaj11: C + E + G + B + D + F<\/font><\/span><\/font><\/p>\n

There are several smaller chords in this huge polychord. It just depends on how you look at the chord.<\/font><\/span><\/font><\/p>\n

How many different chords do you see?<\/font><\/span><\/font><\/p>\n

Cmaj, Cmaj7, Emin, Emin7, Emin9, Gmaj, G7, Bdim<\/font><\/span><\/font><\/p>\n

How many different superimposed relationships?<\/font><\/span><\/font><\/p>\n

Cmaj + G7<\/font><\/span><\/font><\/p>\n

Cmaj + Bdim<\/font><\/span><\/font><\/p>\n

What about major thirteenth chords? <\/font><\/span> (I don’t know my maj13 chords<\/a>)<\/span><\/font><\/font><\/p>\n

Cmaj13: C + E + G + B + D + F + A<\/font><\/span><\/font><\/p>\n

Cmaj7 + Dmin<\/font><\/span><\/font><\/p>\n

Cmaj + B half diminished<\/font><\/span><\/font><\/p>\n

Cmaj + G9<\/font><\/span><\/font><\/p>\n

Here is a “cheat” chart for all the major, minor, and dominant chords covered above:<\/font><\/span><\/font><\/p>\n\n\n\n\n\n
Type<\/strong><\/font><\/td>\n9<\/strong><\/font><\/td>\n11<\/strong><\/font><\/td>\n13<\/strong><\/font><\/td>\n<\/tr>\n
Major<\/a><\/font><\/td>\n1maj + 5maj<\/font><\/td>\n1maj + 7dim<\/font><\/td>\n1maj7 + 2min<\/font><\/td>\n<\/tr>\n
Minor<\/a><\/font><\/td>\n1min + 5min<\/font><\/td>\n1min + b7maj<\/font><\/td>\n1min7 + 2min<\/font><\/td>\n<\/tr>\n
Dominant<\/a><\/font><\/td>\n1maj + 5min<\/font><\/td>\n1maj + b7maj<\/font><\/td>\n1dom7 + 2min<\/font><\/td>\n<\/tr>\n<\/table>\n

In order to read the chart above, you will have to know your major scales. I will demonstrate how to use this chart in the key of C major, but feel free to check out my 300-pg course<\/a> to learn all twelve major scales along with tons of major, minor, dominant, and diminished chords like the ones above!<\/font><\/span><\/font><\/p>\n

C major scale<\/font><\/span><\/font><\/p>\n

C — D — E — F — G — A — B — C<\/font><\/span><\/font><\/p>\n

1 — 2 — 3 — 4 — 5 — 6 — 7 — 8<\/font><\/span><\/font><\/p>\n

If you wanted to play a Cmaj9 chord, you would use the row titled “Major” and the column titled “9.”<\/font><\/span><\/font><\/p>\n

Notice the formula for a maj9 chord is 1maj + 5maj.<\/font><\/span><\/font><\/p>\n

If you know your major scales, then this will be very simple.<\/font><\/span><\/font><\/p>\n

The number in front of “maj” corresponds to the major scale. The “1” of C major is obviously C. So you’d play Cmaj on your left hand. The right hand chord, according to the formula, needs to be the 5maj chord of the scale.<\/font><\/span><\/font><\/p>\n

Count up the C major scale…<\/font><\/span><\/font><\/p>\n

C is 1 … D is 2… E is 3… F is 4… G is 5. Ding Ding Ding!<\/font><\/span><\/font><\/p>\n

So on your right hand, you’d play Gmaj.<\/font><\/span><\/font><\/p>\n

Cmaj9 = Cmaj + Gmaj<\/font><\/span><\/font><\/p>\n

*Follow these same steps for all the other types of chords.<\/font><\/span><\/font><\/p>\n


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Altered Chords<\/font><\/span><\/font><\/p>\n


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In my GospelKeys 202 video course: “Mastering Worship Chords”<\/a>, <\/strong>I cover a number of chord progressions that are used in worship music.<\/font><\/span><\/font><\/p>\n

If you already have the course, you will know that one of my favorite progressions is the “7-3-6”.<\/font><\/span><\/font><\/p>\n

This is a bit more advanced but certainly relevant for this section.<\/font><\/span><\/font><\/p>\n

Instead of playing a major or minor chord on the left hand as I’ve demonstrated above, we will play a tritone on our left hand and a major chord on our right hand.<\/font><\/span><\/font><\/p>\n

We’ve covered tritones in other newsletters but here is a brief summary:<\/font><\/span><\/font><\/p>\n

1) Tritones are made up of diminished 5th intervals.<\/font><\/span><\/font><\/p>\n