How To Form Basic Chords

I have a few piano students who are now playing songs from Fake Books, like Hal Leonard Scott The Piano Guy's Favorite Piano Fake Book Volume 2 . The kids know how to read notes and now they're applying their chord knowledge and playing popular songs with both hands. Here's some information I think you'll find very useful that every musician should know.

How To Form Basic Chords

Basic Chords and the Rules For Working Them Out

Although chord finders are valuable tools on the Internet, what do we do when we’re sitting at the piano and don’t have access to the computer, trying to figure out chords?

Here’s a breakdown on forming many chords you’ll use in your piano playing.

      Major

      Minor

      Dominant 7th

      Sus4

      Sus2 and add9

      Diminished

      Major Sevenths

Major Chords

Starting from the root note, count up FIVE semi-tones (5 half steps). Always use the root note when counting. This will bring you to the second note in the chord. From and including this note, count up FOUR semi-tones (4 half steps).  This will bring us to the final note in the chord.

Example: C Major - C is the root note in this chord. Count up 5 semi-tones from the C: C=1, C#= 2, D=3, Eb=4, E=5.  Then, count up 4 semi-tones from the second note in the chord: E=1, F=2, F#=3, G=4.  Play the C, E and G together and you have a C Major chord. By using this 'FIVE then FOUR' rule, you can work out any major chord.

Minor (m) Chords

For minor chords, simply reverse the rule for working out major chords. Instead of counting 5 then 4, count 4 then 5.

Example: C Minor - C is the root note in this chord. Count up 4 semi-tones from the C: C=1, C#=2, D=3, Eb=4.  Then, count up 5 semi-tones from the second note in the chord: Eb=1, E=2, F=3, F#=4, G=5.  Play the C, Eb and G together and you have a C Minor chord. By using this FOUR then FIVE' rule, you can work out any minor chord.

Dominant 7th (7) Chords

With 7th chords, you add an extra note onto the chord. This extra note is always the note two semi-tones (1 whole step) below the root note.  However, you don't play this note at the bottom of the chord - you simply move it to the top of the chord. 

Example: C7 – Form a C major chord... C, E, and G. The root note of this chord is C. Two semi-tones (1 whole step) below the root note is Bb.  Add this Bb to the top of the chord and we have a C7 chord- C, E, G and Bb. The same rule applies for working out minor 7th chords. 

Sus4 Chords

Example: Csus4

      Play C major - C, E, G

      Move the middle note of the chord UP one semi-tone (1 half-step). In this example, 

      Move E up one semi-tone. This brings us to F. Play the C, F and G together and 

      we have a Csus4 chord.

 Sus2 and add9 Chords

Sus2 Chords - Example: Csus

Play C major - C, E, G.

Move the middle note of the chord DOWN two semi-tones (1 whole step). In this example, move the E down two semi-tones. This brings us to D.

Play the C, D and G together and we have a Csus2 chord.

Add9 Chords - These chords are nearly identical to sus2 chords.  The only difference is, is that you play the middle note as well.  So, Cadd9 is made up of, C, D, E and G

Diminished (dim) Chords

Example:  Cdim

    

Play C major - C, E and G.

    

 Move the TOP TWO NOTES of the chord DOWN one semi-tone (1 half-step) - In this example, move the E and G down one semi-tone... this brings us to Eb and F#.

    

 Play the C, Eb and F# together and we have a Cdim chord.

Major Seventh (M7) Chords

These chords are used a lot in Jazz music. 

With major 7th chords, you add an extra note onto the chord.  This extra note is always the note ONE semi-tone (1 half-step) below the root note.  However, you don't play this note at the bottom of the chord - you simply move it to the top of the chord. 

Example: CM7 – Form a C major chord... C, E, and G. The root note of this chord is C. One semi-tone (1 half-step) below the root note is B. Add this B to the top of the chord and we have a CM7 chord...  C, E, G and B.

Now you have some music theory to apply to your piano playing. You now know how to form chords you’ll be using in your music.

I would like to recommend two resources that I personally own in my library that I refer to often:

Chords 101 & 102

300pg Piano By Ear Home Study Course

photo credit: F A C E via photopin (license)

All the best,






"Jazz washes away the dust of every day life." -- Art Blakey

Chords Are Shortcuts to Understanding Music

A Chart of 7th Chords

Here are eight types of 7th chords in all keys. These include the major 7th; the major 7th with a raised 5th (+5); the dominant 7th; the dominant 7th with a flatted 5th (-5); the minor 7th; the minor/major 7th; the half-diminished 7th; and the diminished 7th, sometimes rented for easier reading.

Although a few seldom-found chords are included, the chart omits chords that are either very rare or unusually awkward in notation. I'll post more chords for you in Part Two.

C maj7 = CEGB
C maj7 (+5) = CEG#B
C7 = CEGBb
C7 (-5) = CEGbBb
Cm7 = CEbGBb
Cm maj7 = CEbGB
C half-dim7 = CEbGbBb
C dim7 = CEbGbBbb

C# maj7 = C#E#G#B#
C# maj7 (+5) = C#E#GxB#
C#7 = C#E#G#B
C#7 (-5) = C#E#GB
C#m7 = C#EG#B
C#m maj7 = C#EG#B#
C# half-dim7 = C#EGB
C# dim7 = C#EGBb

D bmaj7 = DbFAbC
Db maj7 (+5) = DbFAC
Db7 = DbFAbCb
Db7 (-5) = DbFAbbCb
Dbm7 = DbFbAbCb
Dbm maj7 = DbFbAbC
Db half-dim7 = DbFbAbbCb
Db dim7 = DbFbAbbCbb

D maj7 = DF#AC#
D maj7 (+5) = DF#A#C#
D7 = DF#AC
D7 (-5) = DF#AbC
Dm7 = DFAC
Dm maj7 = DFAC#
D half-dim7 = DFAbC
D dim7 = DFAbCb

Eb maj7 = EbG#BD#
Eb maj7 (+5) = EbGBD
Eb7 = EbGBbDb
Eb7 (-5) = EbGBbbDb
Ebm7 = EbGbBbDb
Ebm maj7 = EbGbBbD
E half-dim7 = EbGbBbbDb
E dim7 = EbGbBbbDbb

E maj7 = EG#BD#
E maj7 (+5) = EG#B#D#
E7 = EG#BD
E7 (-5) = EG#BbD
Em7 = EGBD
Em maj7 = EGBD#
E half-dim7 = EGBbD
E dim7 = EGBbDb

F maj 7 = FACE
F maj7 (=5) = FAC#E
F7 = FACEb
F7 (-5) = FACbEb
Fm7 = FAbCEb
Fm maj7 = FAbCE
F half-dim7 = FAbCbEb
F dim7 = FAbCbEbb

Piano Chords and Importance

• Practice and remember them (memorize inversions)
• The 3 most important chords in any song (I, IV, V)
• Chords are shortcut to understanding music

You use them to harmonize the melody. Chords are shortcuts to understanding music. They are called chord progressions which help you to play beautiful music.

Basic Guidelines

Major, Minor, (used the most)  Augmented and Diminished (Used as transitional, used sparingly).

Major Chord = 4+3 (4 1/2 steps and 3 1/2 steps) or semi-tones.

12 major chords give a cheerful, a bright sound. Know root positions and inversion breakdowns, arrange, re-order the notes... more later.

You may want to pick up these CDs for your music learning, Chords 101 and 102

"Jazz washes away the dust of every day life." -- Art Blakey

Learn Big, Rich Jazz Piano Chords

Learn Big, Rich Jazz Piano Chords

Understanding Jazz Chords

Jazz piano chords can sometimes be confusing at first glance. In this article, I am going to explain how jazz players usually interpret chords and pick tensions to create lush chords. Bear in mind, every musician has their own "tricks" that they use to form their chords. However, there are some basic harmonic concepts that you need to understand and I'll cover some of them in this article.

If you are looking for an instructional course on creating full chords at the piano, I'd suggest the JazzPianoLessons.com Piano Chords bundle. This three-DVD set covers both basic seventh chords along with advanced quartal voicings, tensions, alterations, upper-structure triads, rootless voicings and more.

Learn more about Jazz Piano Chords

Let's begin with a basic seventh chord for D-7. Example A is what a typical voicing of a D-7 chord might look like.

Example A



O.K., that's pretty simple, right? Now take a look at example B. Does this still look like a D-7 to you?

Example B

Labeling Chords

You might look at this chord and think F Maj7 or D-9. We can rule out F Maj7 because the root is a D. However, why didn't I label this chord D-9?

I did not label the chord as D-9 because it is common for jazz players to automatically add tensions to the chords that they are playing. Jazz players know which available tensions each chord can utilize. Personally, I'd rather see a chord written as D-7 than D-9 or D-9 (add 11). I think that many (not all) pianists would agree with me because as jazz players, we are accustomed to working from a "shell".

Basically, when I see D-7, I already know that the 9th and 11th are probably available to me. When looking at a lead sheet, especially in a low-light gig situation, I want the lead sheet to be as un-cluttered as possible.

The "Right" Tensions

You might be wondering, which tensions are the "right" tensions for a particular chord? Well, let's go through the three basic chords: Major, minor and Dominant 7th chords.

Major 7th available tensions are: 9, #11 or 6 (usually replaces the 7th)
Minor 7th available tensions: 9 and 11. 6 would replace the 7th.
Dominant 7th available tensions: b9, 9, #9, #11, b13 and 13.


Chord Type Available Tensions
Major: 9, # 11 or 6 (usually replaces the 7th)
Minor: 9 and 11. 6 would replace the 7th
Dominant: b9, 9, # 9, #11, b13 and 13

So, looking back at the D-7 chord in example B, you'll notice that I am adding the 9th to the chord. This is just one of many different voicings that I cover in the Piano Chords bundle.

Dominant 7th Tensions

I want to draw your attention to the Dominant 7th available tensions. Once again, they are b9, 9, #9, #11, b13 and 13. Let's go through the notes for a C7 chord.

C7 chord tones are: C-E-G-Bb

Available tensions are: Db-D-D#-F#-Ab-A

You'll notice that the only two notes left that are not represented are F and B. F would be a sus4 and B would change the C7 to a C Maj7 chord.

I like to bring this up because remember, when you improvise, you can use any chord tones or available tensions in your solo. So, on a Dominant 7th chord, there are really only two notes that you would try to avoid. This also means that when you play a Dominant 7th chord, you can add almost any note as a tension. Well, let me put it this way, you have a 10 out of 12 chance of hitting the "right" note!

The Million Dollar Question, "Why 13 and not 6?"

I have been asked this question for years! It is a difficult question to answer because it is like asking why does 2+2=4? However, I do have my explanation. Let's take the C7 chord as an example again.

The chord tones (notes that are found in the chord and not tensions) are C-E-G-Bb for a C7 chord. The C is the root, E is the third, G is the fifth and Bb is the flatted 7th.

It is perfectly reasonable to think of D, F# and A as two, sharp four and six. However, we would call D the ninth, F# sharp eleven and A the thirteenth. You might be asking, "Why?"
Since chords are predominantly formed by "stacking" thirds, we would consider the D-F# and A as being "upper structures" of the chord.

Learn more about Jazz Piano Chords

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