Augmented chords are a composite of the major chord formula, containing the root, third, and raised fifth. (e.g. C+ formula is R, M3, and #5 (C-E-G#). Augmented seventh chords, (such as C+7) are a variation of major seventh chords, in that they contain a raised fifth along with a major seventh interval (i.e.. R, M3,...
Suspended chords (sus2 and sus4) are part of the major family and are an exception to the rule of never omitting the third. In either a Csus2 or a Csus4, the third is replaced by the second or fourth, respectively, however, the root, fifth, and any other intervals remain unchanged. Hence a Csus2 contains R,...
Dominant chords (e.g. E7, F9, G11, and C13) like major chords, employ the root, a major third, and perfect fifth – but always contain a flat seventh like those found in minor chords. Therefore a C dominant seventh or C7 would be (C-1st, E-3rd, G-5th, and B-flat 7th). All dominant chords contain the ninth interval...
Minor chords are constructed when the major chord formula is altered from R, M3rd, P5, to R, 3 rd P5. Moreover, as in this particular instance, the numerical equivalent is simply not found in standard notation (you will probably never see a chord annotated in this manner, such as Cmaj12). In other instances, adding notes...
Major chords are built from the Circle of Fifths (and are coincidentally mirrored by their respective Major Scales) and are constructed of Root or 1st, Major Third, M3 or maj3, and the Perfect Fifth or P5. The root should always be the bass note CYCLOPEDIA MUSIC THEORY CHORD THEORY 88 (the lowest note) and none...
Chords are built in a triad structure (simply meaning there are three essential intervals or notes, necessary to form a chord – without these three requisite intervals, no chord truly exists). As explained below, the combination of the 1st, 3rd, and 5th intervals (the major chord formula) is essentially adding thirds to the root –...
Chord theory is much like any other facet of music theory because of the nearly endless possibilities that arise just from a single principle. Once you become familiar with basic chord structure, deciphering more complex chords becomes less ominous and foreboding. Terms such as diminished, suspended, and augmented; along with interval extensions like add9 and...
As you may have noted in the regular course of playing, often a chord “shape” may be moved up and down the fretboard without altering its construction – and the displaced position becomes an entirely new chord. In other words, if you fret the board as follows: 1-3-3-2-1-1, this yields a Fmaj chord. However, sliding...
Aside from the symmetrical and modal scales, there are yet more facets of scale theory. There are scales more unique to the most dominant genres of music – rock and rhythm and blues (including country, southern rock, light rock, acoustic rock, jazz-rock, and blues-rock). These scales are produced by taking the 1st (root), 2nd, 3rd,...
The first study in scale theory is the most fundamental type of scales, called symmetrical scales – they are referred to as symmetrical because they are tonally proportional, and more than one note could be considered the root. The reason for this is simply because the intervals are singularly fixed or alternately balanced. The first...
Modal mixing is the practice of borrowing notes from a parallel key and is most commonly found in major keys, taking intervals from their parallel minors. Modal mixing changes the quality of a chord but does not necessarily alter its function. This musical device can be used in melodies, in one or more chords, along...
Bimodality is the practice of simultaneously using two distinct pitch collections. This makes the key or tonal center more ambiguous, and therefore, ostensibly more interesting for listeners. Bimodality can create unique harmonization and push the tonal boundaries of a musical composition. It’s generally considered a contemporary method, but is also found in classical music, and...
The next component of scale theory is the distinction of each degree of a scale or chord. Just as in the above examples, beginning on the 5th degree or 6th degree affects the perfect fifth and Relative Minor respectively – so will beginning on any degree of a scale invoke a mode (the displaced starting...
In order to invoke the Relative or Natural Minor of a scale, simply begin at the sixth degree and follow the above interval formula of tone, tone, semitone, {tone}, tone, tone, semitone. Therefore, the sixth degree (note) of a C Major scale will yield a Relative Minor of Am. Of course, as with the major...
A scale is divided into two halves, called tetrachords. The scale degrees are determined by a formula outlining the intervals or steps. This formula (for every Major and Relative or Natural Minor) is as follows: tone, tone, semitone, {tone}, tone, tone, semitone – or whole (step), whole, half, {whole}, whole, whole, half. Since these scales...
Scales are invaluable tools by which to refine articulation and reinforce dexterity. For these reasons, most guitarists practice scales for these purposes, without realizing the superficiality of their drill. Although scales do exercise and improve articulation, increase dexterity, and allow greater fluency, they may provide much more – such as a deeper understanding of key...
The number of sharps and flats in the key signature determines the key of a musical piece. This determination is relative to the Circle of Fifths because it annotates what sharps or flats will follow in that key. For instance, if there are no sharps or flats in the key signature it is in the...
Thus far, most of the notes displayed have been natural. That is, played as they are named, without changing their pitch. A note of the same name, but played higher or lower is called an octave. Pitch is measured in tones and semitones. A semitone is the difference in pitch between one note and another....
Musical compositions are played at different tempos and in different volumes. Often you will see assorted types of signs explicating a specific accent or volume in which to play a note or cliché. You may see an f, which is a sign that means forte or loud. The opposite of the forte sign is the...
With the rules in mind, one might wonder how to hold a note across a bar line, from one measure to another. If a note must be sustained from one measure across another, or if a value of a beat cannot be written by a dot, a tie is used in each of the above...
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