Chords are the building blocks of music and composition, and like many elements of music, chords aren’t as scary or complex as they may seem. There are many chord types, each with a distinct harmonic character, and the thought of learning them all can be a little daunting. But, with a few simple formulas, you’ll learn, understand, and play all chords in all keys in no time.
This article is all about chord types/quality, and you’ll learn about:
Basic triads
7th chords and chord extensions
- Major 7th chords
- Dominant 7th chords
- Minor 7th chords
- Diminished 7th chords
- Minor 7th flat 5 chords
- Further extensions
- Altered chords
Additional chords
The most common misconception is that every chord is a unique entity, and it’s nearly impossible to learn them all. By the end of this article, you’ll see that every chord in each type group shares a clear relationship, whether a C, G, Bb, F# or any other tonality.
Each chord type mentioned above follows a particular formula that makes it easier to play them in every key. For example, every major triad follows the same pattern, every minor triad follows the same pattern, and so on.
The idea is that you learn to build chords without needing a reminder or cheat sheet. So, I’ll cover major and minor triads in every key, but after those, I’ll only give examples in the key of C major. You can use the formulas you learn to practice chords in other keys.
We can forget inversions for now and stick to root voicings to keep it simple. Let’s get started.
Basic triads
Triads are three-note chords and typically the most basic chord structure. You can get through hundreds of songs playing nothing but basic triads.
Check out my article on major and minor chords for a deeper dive into the sound and function of major and minor triads.
Major chords
Major chords, and C, F, and G major, in particular, are where it all starts for most pianists. Major chords generally have a happy and bright sound and include the 1st, 3rd, and 5th degree (note) of the major scale.
Minor chords
Minor chords typically have a darker and sadder sound and include the 1st, 3rd, and 5th degree of the minor scale. Major and minor chords are very similar; to turn a major chord into a minor chord, just lower the 3rd degree by a semitone (half step). For example, C-E-G (C major) becomes C-Eb-G (C minor).
Diminished chords
Diminished chords can sound harsh or even unpleasant on their own. But, in the right context, diminished chords are a fantastic way to add tension. Diminished chords are very close to minor chords, but this time, we flatten the 5th as well as the 3rd. You can see that the diminished structure features two minor thirds stacked atop one another.
Augmented chords
Augmented chords are a variation of the major chord of sorts. It has a wider sound thanks to the augmented/raised 5th. Composers often move between the major and augmented chords to create interest without a significant change. Pop songwriters often use augmented chords to create a chromatic movement from the I to the vi chord.
For example, Cmaj to Caug to Am. In this example, the 5th moves from G to G# to A.
7th chords and chord extensions
When we go beyond basic triads, we can start to add more color to our chords. Chord extensions provide more nuanced control over the emotion and impact of a chord, whether subtle or harsh.
Major 7th chords
To turn a major chord into a major 7th chord, just add the 7th degree of the major scale. In the example below, you can see the 7th degree, also known as the leading tone, is the B note. Major 7th chords are lush and dreamy and work well in almost any genre.
Dominant 7th chords
Dominant 7th chords flatten the 7th degree of the major scale. Instead of the diatonic 7th degree (leading note), you use the flat 7th (a whole step below the root). Dominant 7ths (sometimes just called dominants) are typically used to create tension before resolving to the tonic chord (first chord of the key) or a target chord. Additionally, blues music is often played entirely with dominant 7th chords.
Minor 7th chords
To build a minor 7th chord, just add the flat 7th degree to a minor triad. It’s similar to the dominant 7th structure above, but this time, we have the flat third, giving the chord its minor quality. Minor 7th chords are fantastic; they are soulful, jazzy, funky, and cool.
Diminished 7th chords
As mentioned above, we can build diminished chords by stacking minor thirds. Diminished 7th chords continue that pattern by adding another minor third to the basic diminished triad. The 7th degree we’re adding this time is double-flat, which, in the example below, gives us Bbb. Although we call it B double-flat, it’s essentially an A note. To find the double-flat 7th in any key, go to the leading tone, drop a semitone for the flat 7th, and drop another semitone for the double-flat 7th.
Minor 7th flat 5 chords (half diminished)
The minor 7th flat 5 chord is precisely what it sounds like: it’s a minor 7th chord with a flat 5th degree. It sounds complex, but it’s no more difficult than anything we’ve covered already. But it creates a different kind of tension and sounds beautiful when used sparingly throughout a song.
We can also call it a half-diminished 7th because, if you look at the structure, it’s a diminished triad with a flat 7th on top rather than a double-flat 7th.
Further extensions
Chord extensions are where it gets really exciting!
You might have seen chord symbols like C9, Ab13, or Dmaj11 and thought they must be complicated, but it ain’t necessarily so (excuse the Gershwin reference!).
All we’re doing is adding one or more notes to the chords we’ve already covered above.
Extensions are notes that occur beyond an octave from the root. If we take a C major scale, we can count each step/note from 1 to 7, and then we’re back to C (octave). If we keep counting, the octave becomes 8, meaning the following D is 9, and so on (as shown in the diagram below).
The important steps are the 9th, 11th, and 13th.
Chord extensions are how we create more detailed and interesting harmony.
Altered chords
Altered chords are often the scariest because the concept can sometimes be vague. An altered chord is a dominant 7th chord with a flat/sharp 5th and/or a flat/sharp 9th.
So, that’s any combination of a flat or sharp 5th and/or a flat or sharp 9th. The reason we only talk about the 5th and 9th degrees is because the 11th and 13th are redundant for this purpose.
A flat 11th is the same as a diatonic 3rd, and a sharp 11th is the same as a flat 5th.
A flat 13 is the same as a sharp 5th, and a sharp 13th is the same as a flat 7th.
When we have notes that are the same (enharmonic), we typically stick with the easiest to write: the 5th and 9th.
In jazz, you might see a chord written as C7alt, which doesn’t tell you what to do with the 5th and 9th degrees. In that case, it’s up to you to decide how you want to steer harmony in the most appropriate way.
There are some common altered chords, like the Jimi Hendrix favorite 7th#5 chord.
Additional chord types
These chord types might not come to mind as often as basic triads and 7th chords, but they can each provide defining moments in a song when used in the right place.
Suspended chords
Suspended chords (sus chords) are triads where we suspend the 3rd degree and replace it with another note.
With sus2 chords, we replace the 3rd with the second degree of the scale. Similarly, with sus4 chords, we replace the 3rd with the 4th degree of the scale. These simple adjustments can transform a basic triad into an absolute heart melter.
Add chords
When it comes to upper extensions, add chords are perhaps the simplest to understand.
Cadd9 means you add the 9th to the basic C major triad; that’s it. The difference between a Cmaj9 and Cadd9 chord is that the Cmaj9 includes the major 7th, but the Cadd9 doesn’t.
Slash chords
The concept of slash chords is easily and often misunderstood, but it’s really not difficult.
When you see a chord symbol like C/G, you should play a C major chord over a G note; play the chord with your right hand and the G note with your left.
A common mistake is to misread the symbol, playing C on your left hand and G on your right. You just have to remember that the chord comes first; in this case, it’s C over G.
6th chords
Sixth chords are incredibly beautiful and incredibly underused. You might hear major and minor 6th chords in jazz music more than in other genres, but they are great substitutes for major and minor 7th chords.
A major 6th chord includes the 1st, 3rd, 5th, and 6th degrees of the major scale.
A minor 6th chord includes the 1st, 3rd, 5th, and 6th degrees of the minor scale.
You might be wondering why both the C6 and Cm6 chords share the same 6th degree (A) when the 6th degree of the natural minor scale is Ab. The answer is that we build the minor 6th from the ascending melodic minor scale or the Dorian mode.
Quartals
Quartals are chords built by stacking fourths. Some musicians have different names for these chords, but I learned them as quartals, and it’s a fitting description.
These chords aren’t definitively major or minor because they omit the 3rd degree. But fourths typically lean more toward a minor sound, and quartals work particularly well with minor pentatonic scales. You hear them all over jazz music, especially sub-genres like jazz fusion. Pianists like McCoy Tyner and Chick Corea were masters of the modal quartal sound.
Conclusion
Understanding how to build chords and getting them comfortably under your fingers is just the first step, but it’s a significant step. Practice these chords in every key; get used to the sound of each type and its relationship to the others.
Once you can play them all and hopefully identify them by their sound, you’re ready to explore different voicings and turn your practice into sweet music.
