|
...search in soundme: |
|
|
Whoever plays the guitar, either as a hobby or as a profession, surely started to play by strumming two or three chords, and in a majority of the cases, these harmonically simple chords were learned from a friend or a typical guitar book.
It's not entirely correct to talk about simple or difficult chords, but instead we will talk about basic and enhanced chords. Starting with a major chord you can come to any type of chord, knowing only the theoretical rules of musical harmony. You can come across some simple fingerings, like that of Em in the first position, or
more complicated fingerings like Bbmaj7/6/9 in the third position. These are purely physical and practical problems that are easily fixed.
We will now analyze how the chords are built, clearly starting from the base that makes up the chord: the triad.
A chord is a combination of many sounds, that gives a harmonic overlap. To be defined as such, the chord has to have at least three notes, more precisely three degrees of the scale from which the chord derives. In fact the base from which we start building a chord
is the scale that, as seen in the construction of the scales section, is composed of a series of notes commonly called degrees. Overlapping three (or more) of these degrees forms the chord, while combining only two degrees (usually the I° and the V°) we have a harmonic overlap called a bichord (often used in rock guitar riffs, and in this case is called a powerchord). We now need to understand with that criteria to operate this harmonic conformation, using the scale of C major as an example.
The starting scale is major, divided into its eight degrees.
|
Their is one basic rule and its very simple: from the scale you take three notes, the I°, III° and V°. From the scale of C we therefore extract the C, E and G notes that, when overlapped, form the triad. This is also identified as a mode, and in specific cases we have formed a major triad. |
|
How do you establish a mode? It can be said that the triad must automatically be major if its extracted from the major scale. This is true, but the best way to understand the triad mode is to analyze the intervals. For those who aren't familiar with the intervals, should return to the intervals section in this site.
Studying this section will greatly help you in learning the various subjects inherent to music.
Now lets learn which rules govern the construction of the various types of triads.
As always, practical examples of a written text are always useful.
If the distance between the I° and the III° is a third major, which is two tones, the triad can be considered major (if it also includes a V° perfect) or aumented (if the V° is aumented).
But if the distance is a third minor, which is a tone and a half, the triad can be minor (with the presence of the V° perfect) or diminished (if the V° is diminished).
Depending on the distance between the III° and the V°, we will have a major (or minor) triad, aumented or diminished.
|
Major Triad The starting structure is made up of three degrees taken from the major scale. These form the major triad, composed of a root, third major and fifth perfect. When forming this triad, a third major (between the I° and the III°) and a third minor interval (between the III° and the V°) must overlap the root. Remember that these terms come from the rules that govern the formation of the intervals. |
I° = root |
|
Minor Triad
Lowering the third degree by a half-step, it becomes a minor, forming a third minor interval between the first and the third degrees. The interval between the third and the fifth degrees becomes a third major. |
I° = root |
|
Diminished Triad
If the fifth degree is also lowered by a half-step, we get a diminished triad. This is formed by overlapping the root with two intervals of third minor, one between the I° and the III° and the other between the III° and the V°. |
I° = root |
|
Aumented Triad
We can raise the V° of the major triad a half-step, to get an aumented triad. This is an overlap of two intervals of third major, one between the I° and the III° and the other between the III° and the V°. |
I° = root |
As you can see, the triad is an overlap of two third degree intervals, that vary depending on the type of triad. We can summarize by stating that:
The examples seen in C are obviously valid for all the scales. It's clear that if a third major interval has an alteration, for instance the interval between the I° and the III° in A major (therefore A and C# notes),
lowering the interval a half-step (from third major to third minor) we also remove a half-step from the third degree note (the
C# therefore goes down to C). I reccommend that you build the triads in all the scales, following the rules seen in this section. The triad exercises are on the following page. You can then check your results on the triads in all the scales page.
 Top of page |
|
|
