{"id":5323,"date":"2017-07-27T16:55:49","date_gmt":"2017-07-27T14:55:49","guid":{"rendered":"https:\/\/www.jazzguitar.be\/blog\/?p=5323"},"modified":"2024-11-26T15:39:16","modified_gmt":"2024-11-26T14:39:16","slug":"jazz-guitar-chord-theory","status":"publish","type":"post","link":"https:\/\/www.jazzguitar.be\/blog\/jazz-guitar-chord-theory\/","title":{"rendered":"Jazz Guitar Chord Theory &#8211; How to Construct Chords?"},"content":{"rendered":"<p style=\"font-size: 18px; line-height: 160%; font-weight: bold;\">What are jazz guitar chords? How are jazz guitar chords built? What makes a chord minor or major? In this lesson, you will learn how to construct jazz guitar chords. Learning the (relative) simple theory behind chords will make your life as a jazz guitar player a lot easier and is essential when learning how to play guitar chords, so let&#8217;s dive straight in!<\/p>\n<span style=\"--tl-form-height-m:555.828px;--tl-form-height-t:361.672px;--tl-form-height-d:361.672px;\" class=\"tl-placeholder-f-type-shortcode_10980 tl-preload-form\"><span><\/span><\/span>\n<h2>Major Chord Construction<\/h2>\n<p>To get started, we begin with a scale we all know, the <b>C major scale<\/b>. The 7 notes in this scale are numbered, these numbers are important (they are like a formula).<\/p>\n<table class=\"tableizer-table\" style=\"margin-top: 30px;\">\n<tbody>\n<tr class=\"tableizer-firstrow\">\n<th style=\"border-top: 0; width: 250px; text-align: center; color: red;\">C Major Scale<\/th>\n<td style=\"background-color: black; color: white;\">C<\/td>\n<td style=\"background-color: black; color: white;\">D<\/td>\n<td style=\"background-color: black; color: white;\">E<\/td>\n<td style=\"background-color: black; color: white;\">F<\/td>\n<td style=\"background-color: black; color: white;\">G<\/td>\n<td style=\"background-color: black; color: white;\">A<\/td>\n<td style=\"background-color: black; color: white;\">B<\/td>\n<\/tr>\n<tr class=\"tableizer-firstrow\">\n<th style=\"border-bottom: 0; width: 150px; text-align: left;\"><\/th>\n<td>1<\/td>\n<td>2<\/td>\n<td>3<\/td>\n<td>4<\/td>\n<td>5<\/td>\n<td>6<\/td>\n<td>7<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>&nbsp;<\/p>\n<p>Chords are based on <b>third intervals<\/b>. There are 2 kinds of thirds (or 3rds):<\/p>\n<table class=\"tableizer-table\" style=\"margin-top: 30px;\">\n<tbody>\n<tr class=\"tableizer-firstrow\">\n<th style=\"border-top: 0; width: 200px; text-align: center; color: red;\">Minor Third<\/th>\n<td style=\"width: 200px;\">Interval of 3 half steps<\/td>\n<td style=\"width: 200px;\">Symbol: minor 3rd<\/td>\n<\/tr>\n<tr class=\"tableizer-firstrow\">\n<th style=\"border-top: 0; width: 250px; text-align: center; color: red;\">Major Third<\/th>\n<td>Interval of 4 half steps<\/td>\n<td>Symbol: major 3rd<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>&nbsp;<\/p>\n<p>Let&#8217;s start by stacking 2 thirds on the first note (1, also called the <em>root<\/em>) of the C major scale:<\/p>\n<table class=\"tableizer-table\" style=\"margin-top: 30px; width: 300px;\">\n<tbody>\n<tr>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">C<\/td>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">E<\/td>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">G<\/td>\n<\/tr>\n<tr>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">1<\/td>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">3<\/td>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">5<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>&nbsp;<\/p>\n<p>The result is a <strong>C major triad<\/strong> or C (a triad is a chord that contains 3 notes).<\/p>\n<ul>\n<li>From note C to E is a major 3rd (4 half steps)<\/li>\n<li>From note E to G a minor 3rd (3 half steps)<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<p><strong>Every major chord has this structure: <\/strong>first a major third, then a minor third. A chord like this is called major because there is a major 3rd (4 half steps) between the root and the 3rd.<\/p>\n<blockquote><p>Memorize the chord formula for major chords: <span style=\"background-color: #ffcc00; padding: 5px;\">1 \u00a0\u00a03 \u00a0\u00a05<\/span><\/p><\/blockquote>\n<h2>Minor Chord Construction<\/h2>\n<p>Now let&#8217;s stack 2 thirds on top of the second note (2) of the C major scale. This might be <strong>a bit confusing<\/strong>, but we now call that second note of the major scale &#8220;1&#8221;, because it becomes the root of our chord:<\/p>\n<table class=\"tableizer-table\" style=\"margin-top: 30px; width: 300px;\">\n<tbody>\n<tr>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">D<\/td>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">F<\/td>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">A<\/td>\n<\/tr>\n<tr>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">1<\/td>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">b3<\/td>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">5<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>&nbsp;<\/p>\n<p>The result is a <strong>D minor triad<\/strong> or Dm.<\/p>\n<ul>\n<li>From D to F is a minor third<\/li>\n<li>From F to A is a major third<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<p><strong>Every minor chord has this structure<\/strong>: first a minor third, then a major third (the mirror of a major chord). \u00a0A chord like this is called minor because there is a minor 3rd (3 half steps) between the root and the 3rd.<\/p>\n<blockquote><p>Memorize the chord formula for minor chords: <span style=\"background-color: #ffcc00; padding: 5px;\">1 b3 5<\/span><\/p><\/blockquote>\n<p>&nbsp;<\/p>\n<p><u><strong>Important<\/strong><\/u>: the <strong>b<\/strong> (aka <em>flat<\/em>) before the 3 means <em>a half tone lower<\/em> (than 3). Further in this tutorial we&#8217;ll encounter a <strong>#<\/strong> (aka <em>sharp<\/em>), which means <em>a half tone higher<\/em>. A half tone on the guitar is 1 fret.<\/p>\n<h2>Dim Chord Construction<\/h2>\n<p>Back to the C major scale. Now we&#8217;re going to skip a few notes and stack thirds on the 7th note (7) of the C major scale:<\/p>\n<table class=\"tableizer-table\" style=\"margin-top: 30px; width: 300px;\">\n<tbody>\n<tr>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">B<\/td>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">D<\/td>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">F<\/td>\n<\/tr>\n<tr>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">1<\/td>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">b3<\/td>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">b5<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>&nbsp;<\/p>\n<p>The result is a <strong>B diminished triad<\/strong> or Bdim.<\/p>\n<ul>\n<li>From B to D is a minor 3rd<\/li>\n<li>From D to F is also a minor 3rd<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<p><strong>Every diminished triad chord has this structure<\/strong>: a minor third and another minor third.<\/p>\n<blockquote><p>Memorize the chord formula for diminished chords: <span style=\"background-color: #ffcc00; padding: 5px;\">1 b3 b5<\/span><\/p><\/blockquote>\n<h2>Diatonic Chords<\/h2>\n<p>I&#8217;ll summarize and complete the other notes of the C major scale:<\/p>\n<table class=\"tableizer-table\" style=\"margin-top: 30px;\">\n<tbody>\n<tr>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: left; padding-left: 15px;\"><\/td>\n<td style=\"background-color: #000000; color: #ffffff; width: 100px; text-align: left; padding-left: 15px;\">Notes<\/td>\n<td style=\"background-color: #000000; color: #ffffff; width: 100px; text-align: left; padding-left: 15px;\">Formula<\/td>\n<td style=\"background-color: #000000; color: #ffffff; width: 150px; text-align: left; padding-left: 15px;\">Chord Name<\/td>\n<td style=\"background-color: #000000; color: #ffffff; width: 150px; text-align: left; padding-left: 15px;\">Symbol<\/td>\n<\/tr>\n<tr>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">1<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">C E G<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">1 3 5<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">C major<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">C<\/td>\n<\/tr>\n<tr>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">2<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">D F A<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">1 b3 5<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">D minor<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">Dm or Dmin or D-<\/td>\n<\/tr>\n<tr>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">3<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">E G B<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">1 b3 5<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">E minor<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">Em or Emin or E-<\/td>\n<\/tr>\n<tr>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">4<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">F A C<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">1 3 5<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">F major<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">F<\/td>\n<\/tr>\n<tr>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">5<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">G B D<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">1 3 5<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">G major<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">G<\/td>\n<\/tr>\n<tr>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">6<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">A C E<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">1 b3 5<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">A minor<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">Am or Amin or A-<\/td>\n<\/tr>\n<tr>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">7<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">B D F<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">1 b3 b5<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">B diminished<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">Bdim or B\u00b0<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>&nbsp;<\/p>\n<p>These chords are called the <b>diatonic chords<\/b> of C major.<\/p>\n<p><a name=\"#chord\"><\/a><\/p>\n<h2>Finding Chord Tones<\/h2>\n<p>Next you&#8217;ll learn <strong>how to find the notes of a chord<\/strong> in a convenient way. There are actually 2 methods to construct chords. The first method is explained here, the second (more practical) method, you&#8217;ll learn a bit further in this lesson:<\/p>\n<p>The first method starts from the <b>major scale<\/b> and involves 3 steps:<\/p>\n<p>1) Find the <b>major scale<\/b> of a given key.<\/p>\n<p><u>Example<\/u>: to find the notes of a Gm chord, first find the notes of the G major scale:<\/p>\n<table class=\"tableizer-table\" style=\"margin-top: 30px;\">\n<tbody>\n<tr class=\"tableizer-firstrow\">\n<th style=\"border-top: 0; width: 250px; text-align: center; color: red;\">G Major Scale<\/th>\n<td style=\"background-color: black; color: white;\">G<\/td>\n<td style=\"background-color: black; color: white;\">A<\/td>\n<td style=\"background-color: black; color: white;\">B<\/td>\n<td style=\"background-color: black; color: white;\">C<\/td>\n<td style=\"background-color: black; color: white;\">D<\/td>\n<td style=\"background-color: black; color: white;\">E<\/td>\n<td style=\"background-color: black; color: white;\">F#<\/td>\n<\/tr>\n<tr class=\"tableizer-firstrow\">\n<th style=\"border-bottom: 0; width: 150px; text-align: left;\"><\/th>\n<td>1<\/td>\n<td>2<\/td>\n<td>3<\/td>\n<td>4<\/td>\n<td>5<\/td>\n<td>6<\/td>\n<td>7<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>&nbsp;<\/p>\n<p>2) Construct the <b>major chord<\/b> by using the major chord formula: 1 3 5<\/p>\n<p><u>Example<\/u>: In our G major example that would be:<\/p>\n<table class=\"tableizer-table\" style=\"margin-top: 30px; width: 300px;\">\n<tbody>\n<tr>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">G<\/td>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">B<\/td>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">D<\/td>\n<\/tr>\n<tr>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">1<\/td>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">3<\/td>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">5<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>&nbsp;<\/p>\n<p>3) Apply the <b>minor chord formula<\/b> to the major chord. The chord formula for minor chords is 1 b3 5.<\/p>\n<p><u>Example<\/u>: This means the 3rd of the major chord (G B D) has to be lowered half a step. This is because in a minor chord (1 b3 5) there is a b in front of the 3, meaning the 3 is a half tone lower than the 3 in the major chord (1 3 5), where there is no b before the 3.<\/p>\n<p>Making the 3 (B) a half note lower is done by placing a b behind the note, like this: Bb (aka <em>B flat<\/em>). This is a bit confusing because in formulas we place the b before the note, but with actual chord tones, we place the b after the note.<\/p>\n<p>The other notes of the chord don&#8217;t change, so these are <strong>the notes of a G minor chord<\/strong>:<\/p>\n<table class=\"tableizer-table\" style=\"margin-top: 30px; width: 300px;\">\n<tbody>\n<tr>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">G<\/td>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">bB<\/td>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">D<\/td>\n<\/tr>\n<tr>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">1<\/td>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">b3<\/td>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">5<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>&nbsp;<\/p>\n<p>To visualize this, have a look at the notes on the guitar neck:<\/p>\n<p>At the left are the 3 notes of G (1 3 5 = G B D).<\/p>\n<p>At the right are the 3 notes of Gm (1 b3 5 = G Bb D). The Bb is one fret (= half tone) lower than B:<\/p>\n<p><img fetchpriority=\"high\" decoding=\"async\" src=\"https:\/\/www.jazzguitar.be\/images\/lessons\/g-and-gm.gif\" alt=\"G chord tones vs Gm chord tones\" width=\"476\" height=\"207\" \/><\/p>\n<h2>Maj7 Chord Construction<\/h2>\n<p>Let&#8217;s have a look at seventh chords.<\/p>\n<blockquote><p>Seventh chords are chords that contain 4 or more different notes and are the bread and butter of jazz music.<\/p><\/blockquote>\n<p>Again, let&#8217;s start with the <b>C major scale<\/b>:<\/p>\n<table class=\"tableizer-table\" style=\"margin-top: 30px;\">\n<tbody>\n<tr class=\"tableizer-firstrow\">\n<th style=\"border-top: 0; width: 250px; text-align: center; color: red;\">C Major Scale<\/th>\n<td style=\"background-color: black; color: white;\">C<\/td>\n<td style=\"background-color: black; color: white;\">D<\/td>\n<td style=\"background-color: black; color: white;\">E<\/td>\n<td style=\"background-color: black; color: white;\">F<\/td>\n<td style=\"background-color: black; color: white;\">G<\/td>\n<td style=\"background-color: black; color: white;\">A<\/td>\n<td style=\"background-color: black; color: white;\">B<\/td>\n<\/tr>\n<tr class=\"tableizer-firstrow\">\n<th style=\"border-bottom: 0; width: 150px; text-align: left;\"><\/th>\n<td>1<\/td>\n<td>2<\/td>\n<td>3<\/td>\n<td>4<\/td>\n<td>5<\/td>\n<td>6<\/td>\n<td>7<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>&nbsp;<\/p>\n<p>The construction of seventh chords follows the same principle as constructing triads: <strong>stacking thirds<\/strong> on top of each other. Triads were made by stacking 2 thirds on top of the root.\u00a0\u00a0Seventh chords are constructed by stacking 3 thirds on top of the root.<\/p>\n<p>Let&#8217;s stack 3 thirds on the 1 of the C major scale:<\/p>\n<table class=\"tableizer-table\" style=\"margin-top: 30px; width: 300px;\">\n<tbody>\n<tr>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">C<\/td>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">E<\/td>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">G<\/td>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">B<\/td>\n<\/tr>\n<tr>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">1<\/td>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">3<\/td>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">5<\/td>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">7<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>&nbsp;<\/p>\n<p>The result is a <strong>C major 7 chord<\/strong> (Cmaj7).<\/p>\n<ul>\n<li>From C to E is a major third.<\/li>\n<li>From E to G is a minor third.<\/li>\n<li>From G to B is a major third.<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<p><strong>Every major 7 chord has this structure<\/strong>: first a major third, then a minor third, followed by a major third.<\/p>\n<blockquote><p>Memorize the chord formula for major 7 chords: <span style=\"background-color: #ffcc00; padding: 5px;\">1 3 5 7<\/span><\/p><\/blockquote>\n<h2>m7 Chord Construction<\/h2>\n<p>Let&#8217;s do the same for the 2nd note of the C major scale:<\/p>\n<table class=\"tableizer-table\" style=\"margin-top: 30px; width: 300px;\">\n<tbody>\n<tr>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">D<\/td>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">F<\/td>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">A<\/td>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">C<\/td>\n<\/tr>\n<tr>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">1<\/td>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">b3<\/td>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">5<\/td>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">b7<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>&nbsp;<\/p>\n<p>The result is a <strong>D minor 7 chord<\/strong> or Dm7.<\/p>\n<ul>\n<li>From D to F is a minor third.<\/li>\n<li>From F to A is a major third.<\/li>\n<li>From A to C is a minor third.<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<p><strong>Every minor 7 chord has this structure<\/strong>: first a minor third, then a major third, then a minor third.<\/p>\n<blockquote><p>Memorize the chord formula for minor 7 chords: <span style=\"background-color: #ffcc00; padding: 5px;\">1 b3 5 b7<\/span><\/p><\/blockquote>\n<h2>Dominant 7 Chord Construction<\/h2>\n<p>Now let&#8217;s skip some notes and stack 3 thirds on top of the 5th note of the C major scale:<\/p>\n<table class=\"tableizer-table\" style=\"margin-top: 30px; width: 300px;\">\n<tbody>\n<tr>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">G<\/td>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">B<\/td>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">D<\/td>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">F<\/td>\n<\/tr>\n<tr>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">1<\/td>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">3<\/td>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">5<\/td>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">b7<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>&nbsp;<\/p>\n<p>The result is a <strong>G dominant 7 chord<\/strong> or G7.<\/p>\n<ul>\n<li>From G to B is a major<br \/>\nthird.<\/li>\n<li>from B to D is a minor third.<\/li>\n<li>From D to F is a minor third.<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<p><strong>Every dominant 7 chord has this structure<\/strong>: first a major third, then a minor third, followed by another minor third.<\/p>\n<blockquote><p>Memorize the chord formula for dominant 7 chords: <span style=\"background-color: #ffcc00; padding: 5px;\">1 3 5 b7<\/span><\/p><\/blockquote>\n<p>Learn more about dominant chords in this lesson: <a href=\"https:\/\/www.jazzguitar.be\/blog\/dominant-chords\/\">What Is a Dominant Chord?<\/a><\/p>\n<h2>m7b5 Chord Construction<\/h2>\n<p>We&#8217;ll skip some more notes and stack 3 thirds on top of the 7th note of the C major scale:<\/p>\n<table class=\"tableizer-table\" style=\"margin-top: 30px; width: 300px;\">\n<tbody>\n<tr>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">B<\/td>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">D<\/td>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">F<\/td>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">A<\/td>\n<\/tr>\n<tr>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">1<\/td>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">b3<\/td>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">b5<\/td>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">b7<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>&nbsp;<\/p>\n<p>The result is a <strong>B half diminished chord<\/strong> or Bm7b5.<\/p>\n<ul>\n<li>From B to D is a minor third.<\/li>\n<li>From D to F is a minor third.<\/li>\n<li>From F to A is a major third.<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<p><strong>Every half diminished 7 chord has this structure<\/strong>: first a minor third, another minor third, followed by a major third.<\/p>\n<blockquote><p>Memorize the chord formula for half diminished 7 chords: <span style=\"background-color: #ffcc00; padding: 5px;\">1 b3 b5 b7<\/span><\/p><\/blockquote>\n<h2>Diatonic 7th Chords<\/h2>\n<p>I&#8217;ll summarize and complete the other notes of the C major scale:<\/p>\n<table class=\"tableizer-table\" style=\"margin-top: 30px;\">\n<tbody>\n<tr>\n<td style=\"background-color: #000000; color: #ffffff; width: 20px; text-align: left; padding-left: 15px;\"><\/td>\n<td style=\"background-color: #000000; color: #ffffff; width: 100px; text-align: left; padding-left: 15px;\">Notes<\/td>\n<td style=\"background-color: #000000; color: #ffffff; width: 100px; text-align: left; padding-left: 15px;\">Formula<\/td>\n<td style=\"background-color: #000000; color: #ffffff; width: 150px; text-align: left; padding-left: 15px;\">Chord Name<\/td>\n<td style=\"background-color: #000000; color: #ffffff; width: 150px; text-align: left; padding-left: 15px;\">Symbol<\/td>\n<\/tr>\n<tr>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">1<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">C E G B<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">1 3 5 7<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">C major 7<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">Cmaj7<\/td>\n<\/tr>\n<tr>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">2<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">D F A C<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">1 b3 5 b7<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">D minor 7<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">Dm7 or Dmin7 or D-7<\/td>\n<\/tr>\n<tr>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">3<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">E G B D<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">1 b3 5 b7<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">E minor 7<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">Em7 or Emin7 or E-7<\/td>\n<\/tr>\n<tr>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">4<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">F A C E<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">1 3 5 7<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">F major 7<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">Fmaj7<\/td>\n<\/tr>\n<tr>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">5<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">G B D F<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">1 3 5 b7<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">G dominant 7<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">G7<\/td>\n<\/tr>\n<tr>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">6<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">A C E G<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">1 b3 5 b7<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">A minor 7<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">Am7 or Amin7 or A-7<\/td>\n<\/tr>\n<tr>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">7<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">B D F A<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">1 b3\u00a0b5 b7<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">B half diminished 7<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">Bm7b5 or Bmin7b5<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>&nbsp;<\/p>\n<p>Now that we know how seventh chords are constructed, we&#8217;ll focus our attention on tensions in the next section.<\/p>\n<h2>Maj9 Chord Construction<\/h2>\n<blockquote><p>Tensions (aka extensions) are notes that are part of a chord, but are not chord tones (1 3 5 7).<\/p><\/blockquote>\n<p>The first extension we&#8217;ll have a look at is the <strong>9<\/strong><\/p>\n<p>Here&#8217;s the C major scale again:<\/p>\n<table class=\"tableizer-table\" style=\"margin-top: 30px;\">\n<tbody>\n<tr class=\"tableizer-firstrow\">\n<th style=\"border-top: 0; width: 250px; text-align: center; color: red;\">C Major Scale<\/th>\n<td style=\"background-color: black; color: white;\">C<\/td>\n<td style=\"background-color: black; color: white;\">D<\/td>\n<td style=\"background-color: black; color: white;\">E<\/td>\n<td style=\"background-color: black; color: white;\">F<\/td>\n<td style=\"background-color: black; color: white;\">G<\/td>\n<td style=\"background-color: black; color: white;\">A<\/td>\n<td style=\"background-color: black; color: white;\">B<\/td>\n<\/tr>\n<tr class=\"tableizer-firstrow\">\n<th style=\"border-bottom: 0; width: 150px; text-align: left;\"><\/th>\n<td>1<\/td>\n<td>2<\/td>\n<td>3<\/td>\n<td>4<\/td>\n<td>5<\/td>\n<td>6<\/td>\n<td>7<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>&nbsp;<\/p>\n<p>There are 3 notes left in the major scale that are <b>not chord tones<\/b>: 2, 4 and 6<\/p>\n<p>If we add these tones to the chord, they become <b>tensions<\/b>. Most of the time we play tensions an <b>octave higher<\/b> than chord tones because otherwise they get in the way of the chord tones (the chord would sound &#8220;muddy&#8221;). That&#8217;s also the way tensions are notated:<\/p>\n<ul>\n<li>2 becomes <strong>9<\/strong>: 2 + 7 (the amount of notes in an octave) = 9<\/li>\n<li>4 becomes <strong>11<\/strong><\/li>\n<li>6 becomes <strong>13<\/strong><\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<p>So if we add the 2 to Cmaj7 we get <strong>Cmaj9<\/strong>:<\/p>\n<table class=\"tableizer-table\" style=\"margin-top: 30px; width: 300px;\">\n<tbody>\n<tr>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">C<\/td>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">E<\/td>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">G<\/td>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">B<\/td>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">D<\/td>\n<\/tr>\n<tr>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">1<\/td>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">3<\/td>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">5<\/td>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">7<\/td>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">9<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<h2>Special Cases &#8211; 4ths and 6ths<\/h2>\n<p>The two other notes that are left in the scale (4 and 6), are special cases in <b>combination with major chords<\/b>:<\/p>\n<ul>\n<li>First of all, there is something we call <b>avoid notes<\/b>: notes that are a half tone above a chord tone. Avoid notes sound dissonant, that&#8217;s why they are generally avoided.<b>The 4<\/b> of the C major scale (f) is a half step above the e (the 3rd of Cmaj7). So the 4 (f) is an avoid note for Cmaj7 and is not often used on this chord.<\/li>\n<li><b>The 6<\/b> is also a special case in combination with major chords. Most of the times when we add a 6 to a major chord, the 7 is omitted and there is no octave added to the 6. This is because the 6 and 7 get in each other&#8217;s way.<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<p>So if we add the 6 to C major chord we get a <strong>C6<\/strong>:<\/p>\n<table class=\"tableizer-table\" style=\"margin-top: 30px; width: 300px;\">\n<tbody>\n<tr>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">C<\/td>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">E<\/td>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">G<\/td>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">A<\/td>\n<\/tr>\n<tr>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">1<\/td>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">3<\/td>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">5<\/td>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">6<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>&nbsp;<\/p>\n<p>The same goes for <b>6<\/b> in combination with <b>minor chords<\/b>: the b7 is omitted.<\/p>\n<p>If we add the 6 to Dm7 we get <strong>Dm6.\u00a0<\/strong>Note that the 6 is no longer A like in the C6 example above because the root of the chord changed to D.\u00a0 The 6 is now B (D E F G A <b>B<\/b> C).<\/p>\n<table class=\"tableizer-table\" style=\"margin-top: 30px; width: 300px;\">\n<tbody>\n<tr>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">D<\/td>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">F<\/td>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">A<\/td>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">B<\/td>\n<\/tr>\n<tr>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">1<\/td>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">b3<\/td>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">5<\/td>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">6<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>&nbsp;<\/p>\n<p>The 4 is <b>not an avoid note<\/b> in combination with minor chords because it is two half tones above the b3 and not one half tone.<\/p>\n<p>When you add the 4 to Dm7, you get a <strong>Dm11<\/strong> chord:<\/p>\n<table class=\"tableizer-table\" style=\"margin-top: 30px; width: 300px;\">\n<tbody>\n<tr>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">D<\/td>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">F<\/td>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">A<\/td>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">C<\/td>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">G<\/td>\n<\/tr>\n<tr>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">1<\/td>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">b3<\/td>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">5<\/td>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">b7<\/td>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">11<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><em>(Note: theoretically, the 9 should be included as well in a minor 11 chord)<\/em><\/p>\n<p>&nbsp;<\/p>\n<p>The <b>4<\/b> is also a special case in combination with <b>dominant chords<\/b>. When a 4 is added to a dominant chord, the 3 is omitted. Chords like these are called <b>sus4 chords<\/b> and often function as a delay for a dominant chord.<\/p>\n<p>Sus4 chords often include a 9. Here&#8217;s the <strong>G9sus4 chord<\/strong>:<\/p>\n<table class=\"tableizer-table\" style=\"margin-top: 30px; width: 300px;\">\n<tbody>\n<tr>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">G<\/td>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">C<\/td>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">D<\/td>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">F<\/td>\n<td style=\"background-color: #000000; color: #ffffff; width: 50px; text-align: center;\">A<\/td>\n<\/tr>\n<tr>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">1<\/td>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">4<\/td>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">5<\/td>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">b7<\/td>\n<td style=\"color: #000000; text-align: center; border-top: 0;\">9<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>&nbsp;<\/p>\n<p>There&#8217;s also something called <strong>altered tensions<\/strong> (b9, #9, b5, b13). These tensions come from the harmonic minor scale or from the altered scale and will be covered later in another lesson. The same for goes for #11, which comes from the Lydian dominant scale.<\/p>\n<h2>Diatonic Tensions<\/h2>\n<p>Here&#8217;s a list of all chord types we&#8217;ve seen so far and their tensions:<\/p>\n<table class=\"tableizer-table\" style=\"margin-top: 30px;\">\n<tbody>\n<tr>\n<td style=\"background-color: #000000; color: red; width: 150px; text-align: left; padding-left: 15px;\">Chord Type<\/td>\n<td style=\"background-color: #000000; color: red; width: 100px; text-align: left; padding-left: 15px;\">Extension<\/td>\n<td style=\"background-color: #000000; color: red; width: 100px; text-align: left; padding-left: 15px;\">Symbol<\/td>\n<td style=\"background-color: #000000; color: #ffffff; width: 250px; text-align: left; padding-left: 15px;\"><\/td>\n<\/tr>\n<tr>\n<td style=\"color: #ffffff; text-align: left; border-top: 0; padding-left: 15px; background-color: #000000;\" rowspan=\"3\">Major<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">9 (=2)<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">Cmaj9<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\"><\/td>\n<\/tr>\n<tr>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">4<\/p>\n<p>#11 (=#4)<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">\/<\/p>\n<p>Cmaj7#11<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\"><em>avoid note<\/em><\/p>\n<p><em>#11 comes from the lydian scale<\/em><\/td>\n<\/tr>\n<tr>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">6<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">C6<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\"><em>7 is omitted<\/em><\/td>\n<\/tr>\n<tr>\n<td style=\"color: #ffffff; text-align: left; border-top: 0; padding-left: 15px; background-color: #000000;\" rowspan=\"3\">Minor<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">9 (=2)<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">Cm9<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\"><\/td>\n<\/tr>\n<tr>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">11 (=4)<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">Cm11<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\"><\/td>\n<\/tr>\n<tr>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">6<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">Cm6<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\"><em>b7 is omitted<\/em><\/td>\n<\/tr>\n<tr>\n<td style=\"color: #ffffff; text-align: left; border-top: 0; padding-left: 15px; background-color: #000000;\" rowspan=\"6\">Dominant<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">9 (=2)<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">C9<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\"><\/td>\n<\/tr>\n<tr>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">b9 (=b2)<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">C7b9<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\"><em>b9 comes from the altered scale or the 5th mode of the harmonic minor scale<\/em><\/td>\n<\/tr>\n<tr>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">#9 (=#2)<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">C7#9<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\"><em>#9 comes from the altered scale<\/em><\/td>\n<\/tr>\n<tr>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">4<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">C7sus4<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\"><\/td>\n<\/tr>\n<tr>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">13 (=6)<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">C13<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\"><\/td>\n<\/tr>\n<tr>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">b13 (=b6)<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\">C7b13<\/td>\n<td style=\"color: #000000; text-align: left; border-top: 0; padding-left: 15px;\"><em>b13 comes from the altered scale or the 5th mode of the harmonic minor scale<\/em><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><a id=\"formulas\"><\/a><\/p>\n<h2>Chord Formulas<\/h2>\n<p>Here&#8217;s a summary of the\u00a0<strong>chord formulas<\/strong>\u00a0we covered until now + some additional chord types.<\/p>\n<table class=\"tableizer-table\" style=\"margin-top: 30px;\">\n<tbody>\n<tr>\n<td style=\"background-color: #000000; color: red; width: 50px; text-align: left; padding-left: 15px;\">Chord Type<\/td>\n<td style=\"background-color: #000000; color: red; width: 100px; text-align: left; padding-left: 15px;\">Chord Formula<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 200px; text-align: left; padding-left: 15px;\">Major Triad<\/td>\n<td style=\"width: 200px; text-align: left; padding-left: 15px;\">1 3 5<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 200px; text-align: left; padding-left: 15px;\">Minor Triad<\/td>\n<td style=\"width: 200px; text-align: left; padding-left: 15px;\">1 b3 5<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 200px; text-align: left; padding-left: 15px;\">Diminished Triad<\/td>\n<td style=\"width: 200px; text-align: left; padding-left: 15px;\">1 b3 b5<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 200px; text-align: left; padding-left: 15px;\">Augmented Triad<\/td>\n<td style=\"width: 200px; text-align: left; padding-left: 15px;\">1 3 #5<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 200px; text-align: left; padding-left: 15px;\">Major 7<\/td>\n<td style=\"width: 200px; text-align: left; padding-left: 15px;\">1 3 5 7<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 200px; text-align: left; padding-left: 15px;\">Minor 7<\/td>\n<td style=\"width: 200px; text-align: left; padding-left: 15px;\">1 b3 5 b7<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 200px; text-align: left; padding-left: 15px;\">Dominant 7<\/td>\n<td style=\"width: 200px; text-align: left; padding-left: 15px;\">1 3 5 b7<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 200px; text-align: left; padding-left: 15px;\">Half Diminished 7<\/td>\n<td style=\"width: 200px; text-align: left; padding-left: 15px;\">1 b3 b5 b7<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 200px; text-align: left; padding-left: 15px;\">Diminished 7<\/td>\n<td style=\"width: 200px; text-align: left; padding-left: 15px;\">1 b3 b5 bb7<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 200px; text-align: left; padding-left: 15px;\">Augmented 7<\/td>\n<td style=\"width: 200px; text-align: left; padding-left: 15px;\">1 3 #5 b7<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 200px; text-align: left; padding-left: 15px;\">Suspended 4<\/td>\n<td style=\"width: 200px; text-align: left; padding-left: 15px;\">1 4 5 b7<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 200px; text-align: left; padding-left: 15px;\">Minor\/Major 7<\/td>\n<td style=\"width: 200px; text-align: left; padding-left: 15px;\">1 b3 5 7<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>&nbsp;<\/p>\n<h2>A Practical Method For Chord Construction<\/h2>\n<p>Earlier in this lesson you learned a first method to construct chords. Now you&#8217;ll learn a faster and more practical method.<\/p>\n<p>The first step is memorizing the chords and chord tones of the <b>C major scale<\/b> and their <b>chord formulas<\/b>:<\/p>\n<table class=\"tableizer-table\" style=\"margin-top: 30px;\">\n<tbody>\n<tr>\n<td style=\"background-color: #000000; border-bottom: 0; color: #ffffff; width: 150px; text-align: left;\">Cmaj7<\/td>\n<td style=\"text-align: left; color: #000000; width: 150px;\">C E G B<\/td>\n<td style=\"text-align: left; color: #000000; width: 150px;\">1 3 5 7<\/td>\n<\/tr>\n<tr>\n<td style=\"background-color: #000000; border-bottom: 0; color: #ffffff; text-align: left;\">Dm7<\/td>\n<td style=\"text-align: left; color: #000000;\">D F A C<\/td>\n<td style=\"text-align: left; color: #000000;\">1 b3 5 b7<\/td>\n<\/tr>\n<tr>\n<td style=\"background-color: #000000; border-bottom: 0; color: #ffffff; text-align: left;\">Em7<\/td>\n<td style=\"text-align: left; color: #000000;\">E G B D<\/td>\n<td style=\"text-align: left; color: #000000;\">1 b3 5 b7<\/td>\n<\/tr>\n<tr>\n<td style=\"background-color: #000000; border-bottom: 0; color: #ffffff; text-align: left;\">Fmaj7<\/td>\n<td style=\"text-align: left; color: #000000;\">F A C E<\/td>\n<td style=\"text-align: left; color: #000000;\">1 3 5 7<\/td>\n<\/tr>\n<tr>\n<td style=\"background-color: #000000; border-bottom: 0; color: #ffffff; text-align: left;\">G7<\/td>\n<td style=\"text-align: left; color: #000000;\">G B D F<\/td>\n<td style=\"text-align: left; color: #000000;\">1 3 5 b7<\/td>\n<\/tr>\n<tr>\n<td style=\"background-color: #000000; border-bottom: 0; color: #ffffff; text-align: left;\">Am7<\/td>\n<td style=\"text-align: left; color: #000000;\">A C E G<\/td>\n<td style=\"text-align: left; color: #000000;\">1 b3 5 b7<\/td>\n<\/tr>\n<tr>\n<td style=\"background-color: #000000; border-bottom: 0; color: #ffffff; text-align: left;\">Bm7b5<\/td>\n<td style=\"text-align: left; color: #000000;\">B D F A<\/td>\n<td style=\"text-align: left; color: #000000;\">1 b3 b5 b7<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>&nbsp;<\/p>\n<p>You must be able to picture the chord types, chord tones and formulas of C major without thinking.<\/p>\n<p>The rest of this method is best explained with some examples&#8230;<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Chord Building Examples<\/strong><\/p>\n<p>Now that you know the chords of C major, it&#8217;s easy to find chords of other keys.<\/p>\n<p>&nbsp;<\/p>\n<p><u>Example 1<\/u>: to find the chord tones of <strong>Cm7<\/strong>:<\/p>\n<ol>\n<li>You know the chord tones of Cmaj7: C E G B<\/li>\n<li>You know the chord formula of Cmaj7: 1 3 5 7<\/li>\n<li>You know the chord formula of minor 7: 1 b3 5 b7<\/li>\n<li>Adapt the chord tones of Cmaj7 to the formula of minor 7: bring the 3 and the 7 a half step down.<\/li>\n<li>Conclusion: the chord tones of Cm7 are: C Eb G Bb<\/li>\n<\/ol>\n<p>&nbsp;<\/p>\n<p><u>Example 2<\/u>: the chord tones of <strong>Ddim7<\/strong>:<\/p>\n<ol>\n<li>You know the chord tones of Dm7: D F A C<\/li>\n<li>You know the formula of Dm7: 1 b3 5 b7<\/li>\n<li>You know the formula of diminished 7: 1 b3 b5 bb7<\/li>\n<li>Adapt the chord tones of Dm7 to the formula of diminished 7: bring<br \/>\nthe 5 and the 7 a half step down<\/li>\n<li>Conclusion: the chord tones of Ddim7 are: D F Ab B<\/li>\n<\/ol>\n<p>&nbsp;<\/p>\n<p><u>Example 3<\/u>: the chord tones of <strong>F#7<\/strong>:<\/p>\n<ol>\n<li>You know the chord tones of Fmaj7: F A C E<\/li>\n<li>To find the chord tones of F#maj7 you just have to raise each chord tone a half step: F# A# C# E#<\/li>\n<li>You know the formula of major 7: 1 3 5 7<\/li>\n<li>You know the formula of dominant 7: 1 3 5 b7<\/li>\n<li>Adapt the chord tones of F#maj7 to the formula of dominant 7: bring the 7 a half step down<\/li>\n<li>Conclusion: the chord tones of F#7 are: F# A# C# E<\/li>\n<\/ol>\n<p>&nbsp;<\/p>\n<p>Now you know how to find the notes of a chord, but how do you <strong>translate this to the guitar?<\/strong><\/p>\n<h2>Translating Chord Theory to the Guitar<\/h2>\n<p>The first thing you need to know is that <strong>not every chord tone is equally<br \/>\nimportant<\/strong>:<\/p>\n<ul>\n<li><b>3<\/b> and <b>7<\/b> are the <b>important<\/b> notes of a chord because they determine the chord type. They are also important for voice leading.<\/li>\n<li>The <b>1<\/b> is the <b>least important<\/b> note, because it is usually played by the <b>bass player<\/b>.<\/li>\n<li>The <b>5<\/b> is <b>not so important<\/b> either and can be disturbing sometimes.<\/li>\n<li><b>Tensions<\/b> add <b>color<\/b> and <b>interest<\/b> to a chord, so it&#8217;s preferable to use tensions instead of 1 and 5.<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<p>The second thing you need to know is that <b>1 half step <\/b> equals <b>one fret<\/b> on the <b>guitar<\/b>.<\/p>\n<p>Here&#8217;s an example with chord diagrams, we&#8217;ll start with a <strong>C<\/strong>: C E G (1 3 5)<\/p>\n<p>Let&#8217;s have a look at the chord diagram:<\/p>\n<p>&nbsp;<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.jazzguitar.be\/images\/chords\/C2.gif\" alt=\"Guitar Chord Chart: C\" width=\"294\" height=\"216\" \/><\/p>\n<p>X15135:\u00a0\u00a0C<\/p>\n<p>&nbsp;<\/p>\n<p>From bottom to top (from low E string to high E string) we have:<\/p>\n<ul>\n<li>X: the low E-string is not played<\/li>\n<li>1: the 1 or root of the chord is played on the A-string<\/li>\n<li>5: the 5th of the chord is played on the D-string<\/li>\n<li>1: again the root, but now on the G-string<\/li>\n<li>3: the third is played on the B-string<\/li>\n<li>5: the 5th is played again, but this time on the high E-string<\/li>\n<\/ul>\n<p>You see that it is OK to duplicate chord tones, like the 1 and the 5 in our example.<\/p>\n<p>This chord doesn&#8217;t sound very jazzy though, so let&#8217;s spice it up a bit and make it a <strong>Cmaj7<\/strong> (1 3 5 7) by replacing the 1 on the G-string with the 7:<\/p>\n<p>&nbsp;<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.jazzguitar.be\/images\/chords\/basicCmaj7b2.gif\" alt=\"Guitar Chord Chart: Cmaj7\" width=\"295\" height=\"214\" \/><\/p>\n<p>X15735:\u00a0\u00a0Cmaj7<\/p>\n<p>&nbsp;<\/p>\n<p>Instead of duplicating the root on the G-string, we exchanged it for the 7 of the chord.<\/p>\n<p>Now let&#8217;s add some color, let&#8217;s make it a <strong>Cmaj9<\/strong> chord (1 3 5 7 9):<\/p>\n<p>&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.jazzguitar.be\/images\/chords\/Cmaj9d2.gif\" alt=\"Guitar Chord Chart: Cmaj9\" width=\"295\" height=\"209\" \/><\/p>\n<p>X1379X:\u00a0\u00a0Cmaj9<\/p>\n<p>&nbsp;<\/p>\n<p>We exchanged the 5th on the D-string for the 3rd and we changed the 3rd on the B-string to a 9.<\/p>\n<p>This Cmaj9 would be a nice chord if you&#8217;re playing Bossa Nova, solo guitar or in duo setting, but if you play with a bass player and you don&#8217;t want to get in his way, it&#8217;s better to <strong>omit the root<\/strong> and to play on the higher strings only:<\/p>\n<p>&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.jazzguitar.be\/images\/chords\/Cmaj9e2.gif\" alt=\"Guitar Chord Chart: Cmaj9\/E\" width=\"296\" height=\"218\" \/><\/p>\n<p>XX3795:\u00a0\u00a0Cmaj9\/E<\/p>\n<h2>Chord Inversions<\/h2>\n<p>Instead of playing the root of the chord, we play the 5th on the high E-string in the previous example. A chord like this is called a <b>chord inversion<\/b><\/p>\n<blockquote><p>A chord inversion is a chord that doesn&#8217;t have its root as its bass note.<\/p><\/blockquote>\n<p>There are three types of chord inversions:<\/p>\n<ul>\n<li><b>First inversion<\/b>: the 3rd in the bass.<\/li>\n<li><b>Second inversion<\/b>: the 5th in the bass.<\/li>\n<li><b>Third inversion<\/b>: the 7th in the bass.<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<p>In our previous example we have a Cmaj9 chord with the 3rd (E) in the bass, notated like this: <strong>Cmaj9\/E<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p>What do you need to do if you want to make this chord <b>dominant<\/b>? Simple, just look at the chord formulas: the 7 has to go a half step down (major is 1 3 5 7, dominant is 1 3 5 b7).<\/p>\n<p>Have a look at the chord diagram, the b on the g-string has to become a b flat. The result is the first inversion of C9: <strong>C9\/E<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.jazzguitar.be\/images\/chords\/C9E2.gif\" alt=\"Guitar Chord Chart: C9\/E\" width=\"296\" height=\"214\" \/><\/p>\n<p>XX3b795:\u00a0\u00a0C9\/E<\/p>\n<p>&nbsp;<\/p>\n<p>And if we want to make this chord <b>minor<\/b>? Starting from the dominant chord we have to lower the 3rd a half step (dominant is 1 3 5 b7, minor is 1 b3 5 b7). On the guitar, this means we have to lower the e note on the d-string half a step to an e flat. The result is the first inversion of Cm9: <strong>Cm9\/E<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.jazzguitar.be\/images\/chords\/Cm9E2.gif\" alt=\"Guitar Chord Chart: Cm9\/E\" width=\"299\" height=\"216\" \/><\/p>\n<p>XXb3b795:\u00a0\u00a0Cm9\/Eb<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>In this music theory lesson, you will learn how to construct jazz guitar chords from scratch.<\/p>\n<p>Understanding this essential theory will make finding chords on the fretboard much easier and it will take the guesswork out of playing jazz chords.<\/p>\n<p>Besides learning this essential piece of theory, you will also learn how to apply the theory to the guitar. After all, that&#8217;s what you are here for!<\/p>\n","protected":false},"author":1,"featured_media":5357,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"default","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"categories":[73,16],"tags":[],"class_list":["post-5323","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-music-theory","category-jazz-guitar-chords"],"_links":{"self":[{"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/posts\/5323","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/comments?post=5323"}],"version-history":[{"count":0,"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/posts\/5323\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/media\/5357"}],"wp:attachment":[{"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/media?parent=5323"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/categories?post=5323"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/tags?post=5323"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}