Now let’s check this out on the fretboard in the A and G shapes. Minor 7 b5 or Half Diminished: 1-♭3-♭7-♭7 or stacking root – minor 3rd – minor 3rd – major 3rd Minor 7: 1-♭3-5-♭7 or stacking root – minor 3rd – major 3rd – minor 3rdĭominant 7: 1-3-5-♭7 or stacking root – major 3rd – minor 3rd – minor 3rd Major 7: 1-3-5-7 or stacking root – major 3rd – minor 3rd – major 3rd To summarize you should memorize these four different scale formulas from above: It’s important to understand all of them to be able to communicate with other musicians, when playing only by yourself it usually enough to understand it from one perspective.
This shares the formula with two other chords above, can you figure out which two? GĪ-C-E♭ is a diminished triad, with the flat 7th (G) we get an Am7♭5 chord, this could be pronounced both ”A minor 7 flat 5” or ”A half diminished”: AĪs you see, there are a few different ways to express how these chord are constructed. 1-♭3-5-♭7 equals m7: CĬompare the intervals of this to the Cm7 above: Dį-A-C is major triad, when we add Eb, the flat 7th, we create a F dominant 7th chord: F I’m quite sure you’ll learn on a deeper level this way.Ĭ-E♭-G is a minor triad, with the B♭ added we get a C minor 7th chord. I’ll give some info away while I want you to try to figure out the rest on your own. The next step is to analyse what kind of 7th chord we’ll get when stacking thirds likes this, then we have to see each starting point as a ”new root note”. So in this case B♭ to D is a major 3rd apart, F is a perfect 5th from the B♭ and a minor 3rd from the D, A is a major 7th above the B♭ and a major 3rd from the F. It’s really worth practicing being able to see the interval both from the root note and the previous note of the chord. We can also see it as the following scale formula: 1-3-5-7. Now we have our basic triad with the A note added, the A is a major 7th apart from B♭ so now we’ve constructed a major 7th chord – often written as maj7 or a triangle.
.jpg "notea that make up 9th and 11th chords")
That basically means we’ll skip every other note of the scale, so with B♭ as our starting point we get: B♭, D, F, A. To harmonize a major scale we’ll stack thirds from each given starting point. The B♭ major scale contains the following notes: B♭, C, D, E♭, F, G, A. Let’s do it in the key of B♭, just to get away from C as our key center for a little while. We’re gonna look at this from the angle of harmonizing a major scale. Try them on both adjacent and non-adjacent string sets!! Lots of cool voicings to be found within all the CAGED shapes.
#Notea that make up 9th and 11th chords full#
I wanna remind you that some of the triads are tricky to finger in full five or six string voicings, however as long as you get all the three intervals that each triad type is built from it’s actually enough to play just three strings. For the minor and diminished triads I put the 5th or flat 5th on the high E string in the C shape instead of lowering the 3rd, to try to keep it within a decent reach and within the actual range of the C shape.įor the sus2 and sus4 triads I added two notes on one string to show the possibilities that occur when you have the major 2nd intervals available in the scale formula, as I mentioned above. Here’s how it lays out on the fretboard in the C shape and the E shape, I highly encourage you to take your previous knowledge of the CAGED system and figure out the rest of the shapes as well. With C as our root we’d get the following: These chords often resolve to a major or minor triad with the same root, but there are other uses as well.
It’s because they contain the dissonance of a major 2nd interval – in a sus2 triad there is a whole step between the root and the major 2nd and in a sus4 triad there is a whole step between the perfect 4th and perfect 5th (this is when they are closed voiced within one octave). These are also less harmonically stable than a major or minor triad, but in the case of suspended triads it’s not because the lack of a perfect 5th. Suspended triads come in two variations and they replace the 3rd of a chord with either the major 2nd or the perfect 4th. For that reason diminished and augmented triads can also be used in a similar way to dominant chords since they usually provide a certain harmonic direction. Since none of these have a perfect 5th they are less harmonically stable than a major or minor triad and almost always want to resolve into another chord. A diminished triad has a minor quality but with a flattened 5th, an augmented triad has a major quality but with the sharpened 5th. These include diminished, augmented and suspended triads. There are also another few types of triads that are great to know about.
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