Band Coach ~ Keys, Scales, Chords: Name that chord

Basic Triads

Example 1

E G C

Rearranging the notes so that we have stacked 3rds we get

C E G

So the chord is named

(the major is implicit in the naming)

Example 2

C E A

Rearranging the notes so that we have stacked 3rds we get

A C E

So the chord is named

A minor

Example 3

C E A^b

Rearranging the notes so that we have stacked 3rds we get

A^b C E

So the chord is named

A^b Augmented or A^b^(#5)

This chord can also be named

C Augmented or C^(#5)

or E Augmented or E^(#5)

Example 4

B D G^#

Rearranging the notes so that we have stacked 3rds we get

G^# B D

So the chord is named

G^# diminished or G^#m^b5

(diminished is the name for the triad or three note chord)

Suspended Chords

A suspended chord is a triad that has one of the notes missing, usually the third. It is usually replaced with the 4th or the 2nd above the root of the chord

Example 5

F G C

Rearranging the notes so that we have stacked 3rds we get

C (e) G (b) (d) F

There is no 3rd in this chord which leads to conclusion that it should be considered as a suspended chord of some type.

We lower the Perfect 11th down the octave to get a Perfect 4th. We can conclude that the chord is of the form Sus 4.

So the chord is named

CSus⁴

Example 6

D G C

Rearranging the notes so that we have stacked 3rds we get

C (e) G (b) D

There is no 3rd in this chord which leads to conclusion that it should be considered as a suspended chord of some type.

We lower the Major 9th down the octave to get a Major 2nd. We can conclude that the chord is of the form Sus 2.

So the chord is named

CSus²

The chord could also be rearranged to make a Sus⁴ chord based on G

GCD

Extended Chords

An extended chord is any chord that contains notes making more than a triad

6ths

Example 7

E G A C

Rearranging the notes so that we have stacked 3rds we get

C E G A

Basic tonality is

C Major

A is a major 13th above C so

Bringing the A down the octave so that we have a Major 6th

So the chord is named

C⁶

The quality of the triad is implicit in the naming. The quality of the 6th is implicit in this naming.

Example 8

E^b G A C

Rearranging the notes so that we have stacked 3rds we get

C E^b G A

Basic tonality is minor, so

C Minor

A is a major 13th above C so

Bringing the A down the octave so that we have a Major 6th

So the chord is named

Cmin⁶

Example 9

E^b G A^b C

Rearranging the notes so that we have stacked 3rds we get

C E^b G A^b

Basic tonality is

C Minor

A is a minor 13th above C so

Bringing the A down the octave so that we have a minor 6th

So the chord is named

Cmin-min⁶ or Cmin^b6

We might also consider this chord as a Major 7th chord (A^bMaj⁷) in inversion; context and function will determine how to name the specific use.

7ths

Example 10

B C E G

Rearranging the notes so that we have stacked 3rds we get

C E G B

Basic tonality is Major

B is a major 7th above C

So the chord is named

Cmaj⁷

we must explicitly name the quality of the 7th

Example 11

B^b C E G

Rearranging the notes so that we have stacked 3rds we get

C E G B^b

Basic tonality is Major

Bb is a minor 7th above C

So the chord is named

C⁷

the major is implicit in the naming and the minor 7th is also implicit in the naming - this is the form of the dominant 7th chord

Example 12

B^b C E^b G

Rearranging the notes so that we have stacked 3rds we get

C E^b G B^b

Basic tonality is minor

C min

Bb is a minor 7th above C

So the chord is named

Cmin⁷

we name the quality of the triad. the quality of the 7th is implicit in the naming

Example 13

B C E^b G

Rearranging the notes so that we have stacked 3rds we get

C E^b G B

Basic tonality is minor

Cmin

B is a major 7th above C

So the chord is named

Cmin-Maj⁷

we must explicitly name both qualities of the chord. in jazz circles this is named as CminJ7

Example 14

B^b C E^b G^b

Rearranging the notes so that we have stacked 3rds we get

C E^b G^b B^b

So the chord is named

Basic tonality is diminished

C dim or Cmin^b5

Bb is a minor 7th above C

So the chord is named

Cmin^7b5

We name the quality of the triad. The quality of the 7th is implicit in the naming. We name the flattened fifth, ^(b5), rather than naming this Cdim-min⁷. It could also be named

C half-dim⁷ or C^ø7

Example 15

B^bb C E^b G^b

Rearranging the notes so that we have stacked 3rds we get

C E^b G^b B^bb

So the chord is named

Basic tonality is diminished

C dim or C^o

Bbb is a diminished 7th above C

So the chord is named

Cdim⁷ or C^o7

we name the quality of the triad. the quality of the dim 7th is implicit in the naming

Example 16

B C E G^#

Rearranging the notes so that we have stacked 3rds we get

C E G^# B

Basic tonality is Augmented

C Aug or C^(#5) or C⁺

B is a major 7th above C

So the chord is named

Cmaj^7#5

we must explicitly name the quality of the 7th

Example 17

B^b C E G^b

Rearranging the notes so that we have stacked 3rds we get

C E G^b B^b

So the chord is named

Basic tonality is major^b5

C^(b5)

Bb is a minor 7th above C

So the chord is named

C^7b5

we name the quality of the triad. the quality of the 7th is implicit in the naming. we name the altered 5th.

Example 18

B C E G^b

Rearranging the notes so that we have stacked 3rds we get

C E G^b B

Basic tonality is major^b5

C^(b5)

B is a major 7th above C

So the chord is named

Cmaj^7b5

the quality of the triad is implicit in the naming. we must explicitly name the quality of the 7th. we name the altered 5th

Example 19

B^b C E G^#

Rearranging the notes so that we have stacked 3rds we get

C E G^# B^b

So the chord is named

Basic tonality is augmented

C Aug or C^(#5) or C⁺

Bb is a minor 7th above C

So the chord is named

CAug⁷ or C^7#5 or C⁷⁺

we name the quality of the triad. the quality of the 7th is implicit in the naming. We name the altered 5th.

Example 20

B^b C E^b G^#

Rearranging the notes so that we have stacked 3rds we get

C E^b G^# B^b

So the chord is named

Basic tonality is minor^#5

C min^#5

Bb is a minor 7th above C

So the chord is named

Cmin^7#5

we name the quality of the triad. the quality of the 7th is implicit in the naming. We name the altered 5th

Example 21

B C E^b G^b

Rearranging the notes so that we have stacked 3rds we get

C E^b G^{b B}

So the chord is named

Basic tonality is minor^b5

C min^b5

B is a major 7th above C

So the chord is named

Cmin-maj^7b5

we name the quality of the triad. we name the quality of the 7th. We name the altered 5th

Example 22

B C E^b G^#

Rearranging the notes so that we have stacked 3rds we get

C E^b G^# B

Basic tonality is minor^#5

C min^#5

B is a major 7th above C

So the chord is named

Cmin-maj^7#5

we name the quality of the triad. we name the quality of the 7th. We name the altered 5th

9ths and beyond

Example 23

D E G C

is the chord.

Rearrange the notes so that they make a continuous run through the scale skipping every other note:

C (d) E (f) G (a) (b) (c) D - the 7th is missing

So the sequence of notes used for naming is

C E G D

The first three notes give us the basic tonality of the chord,

C Major

There is no 7th in this chord.

The next note is a major 9th above C, so the chord becomes

C Add⁹

(there is no 7th in this chord).

Example 24

D E G A C

is the chord.

Rearrange the notes so that they make a continuous run through the scale skipping every other note:

C (d) E (f) G (a) (b) (c) D (e) (f) (g) A

So the sequence of notes used for naming is

C E G D A

The first three notes give us the basic tonality of the chord, major

The next note is a major 9th above C, so the chord becomes

The next note is a major 13th above C

There is no 7th or 11th in this chord.

Bringing the A down the octave, we get a Major 6th

This chord is named

C^6/9

the quality of the triad is implicit in this naming. The absence of the 7th is implicit in this naming.

Example 25

Notes are

D E F A C

Rearranging into stacked 3rds

D F A C E

Basic tonality is minor

D minor

C is a minor 7th above D so

D min⁷

E is a major 9th above D so

D min⁹

(the 7th is implicit in this naming)

Example 26

Notes are

B C D E G

Rearranging into stacked 3rds

C E G B D

Basic tonality is major, so

B is a major 7th above C so

C Maj⁷

D is a major 9th above C so

C Maj⁹

(the 7th must be named because it is not a dominant 7th chord)

Example 27

Notes are

D F G A B

Rearranging into stacked 3rds

G B D F A

Basic tonality is major, so

F is a minor 7th above G so

G⁷

A is a major 9th above G so

G⁹

(the 7th is implicit in this naming)

Altered tones

Example 28

Naming altered tones (chromatic notes) is done by using the chromatic symbol affecting the tone and the tone as it appears in stacked 3rds e.g.

Notes are

D^b E G^b B^b C

Rearranging into stacked 3rds

C E G^b B^b D^b

Basic tonality is major^b5

C^b5

Bb is a minor 7th above C so

C^7b5

Db is a minor 9th above C so

C^7b9b5

(each tone is separately named - there is no true convention as to whether the 5th is the last altered tone named, but it seems to be the predominant method in use)

Example 29

We can also recast these notes as

C^# E F^# A^# B^#

Rearranging into stacked 3rds

F^# A^# C^# E B^#

Basic tonality is major

F^#

E is a minor 7th above F^# so

F^#7

B# is a Augmented 11th above F# so

F^#(7#11)

(each tone is separately named - because there is no 9th we name the 7th and #11 separately)

Summary of Rules

Basic triads
- Rearrange the notes so that we have stacked 3rds, preferably based on a note from the key scale
- Identify the triad:
  - major:1 3 5
  - minor:1 ^b3 5
  - augmented:1 3 ^#5
  - diminished:1 ^b3 ^b5
- If one of the above triads cannot be formed, try to arrange the chord so that it is
  - 1 5 11 or
  - 1 5 9
- If either of these forms can be be found, then we have a Suspensed chord. Bring the highest note down an octave to form the close form of the suspension
  - Sus4:1 5 11 becomes 1 4 5
  - Sus2:1 5 9 becomes 1 2 5
Extended Chords
- Rearrange the notes so that we have stacked 3rds, preferably based on a note from the key scale
- Identify the basic triad of the chord, the bottom 3 notes:
  - major:1 3 5
  - minor:1 ^b3 5
  - augmented:1 3 ^#5
  - diminished:1 ^b3 ^b5
  - minor^#5:1 ^b3 ^#5
  - major^b5:1 3 ^b5
- Identify the quality of the interval above the root of the triad
  - Sixths
    - Major 6th/13th: 1 3 5 6
      - The quality of the triad is implicit in the naming.
      - The quality of the 6th is implicit in the naming.
    - Minor 6th: 1 ^b3 5 6
      - The quality of the triad is explicit in the naming.
      - The quality of the 6th is implicit in the naming.
    - Minor ^b6: 1 ^b3 5 ^b6
      - The quality of the triad is explicit in the naming.
      - The quality of the 6th is explicit in the naming.
  - Sevenths
    - Major ⁷:1 3 5 7
      - The quality of the triad is implicit in the name.
      - We must explicitly name the quality of the 7th
    - Dominant ⁷:1 3 5 ^b7
      - The quality of the triad is implicit in the name.
      - The minor 7th is also implicit in the naming
    - Minor ⁷:1 ^b3 5 ^b7
      - We name the quality of the triad.
      - The quality of the 7th is implicit in the naming
    - Minor-Major ⁷:1 ^b3 5 7
      - We must explicitly name the triad.
      - We must explicitly name the major 7th
    - Minor ^7b5:1 3 ^b5 ^b7
      - We name the quality of the triad.
      - The quality of the 7th is implicit in the naming.
      - We must name the altered 5th.
    - Diminished ⁷:1 ^b3 ^b5 ^bb7
      - We name the quality of the triad.
      - The quality of the dim 7th is implicit in the naming
    - Maj^7#5:1 3 ^#5 7
      - We must explicitly name the quality of the 7th.
      - We must name the altered 5th.
    - Dominant ^7b5:1 3 ^b5 ^b7
      - We name the quality of the triad.
      - The quality of the 7th is implicit in the naming.
      - We must name the altered 5th.
    - Major ^7b5:1 3 ^b5 7
      - The quality of the triad is implicit in the naming.
      - We must explicitly name the quality of the 7th.
      - We must name the altered 5th.
    - Dominant ^7#5:1 3 ^#5 ^b7
      - We name the quality of the triad.
      - The quality of the 7th is implicit in the naming.
      - We must name the altered 5th.
    - Minor ^7#5:1 ^b3 ^#5 ^b7
      - We name the quality of the triad.
      - The quality of the 7th is implicit in the naming.
      - We must name the altered 5th.
    - Minor-Major ^7b5:1 ^b3 ^b5 7
      - We name the quality of the triad.
      - We name the quality of the 7th.
      - We must name the altered 5th.
    - minor-Major ^7#5:1 ^b3 ^#5 7
      - We name the quality of the triad.
      - We name the quality of the 7th.
      - We must name the altered 5th.
  - Ninths
    - Identify any other intervals above the triad or 6th or 7th
      - No 7th
        
        Add ⁹:1 3 5 9
        
        The quality of the triad is implicit in the naming.
        
        There is no 7th in this chord, so
        
        We must name the 9th as an Added 9th
      - 6th only
        
        ^6/9:1 3 5 6 9
        
        The quality of the triad is implicit in the naming.
        
        The absence of the 7th is implicit in the naming.
      - 7th
        
        Minor ⁹: 1 ^b3 5 ^b7 9
        
        The triad is explicit in the naming.
        
        The 7th is implicit in the naming.
        
        The 9th is implicit in the naming
        
        Major ⁹: 1 3 5 7 9
        
        The triad is implicit in the naming.
        
        The quality of the 7th is explicit in the naming.
        
        The 9th is implicit in the naming
        
        Dominant ⁹: 1 3 5 ^b7 9
        
        The triad is implicit in the naming.
        
        The 7th is implicit in the naming.
        
        The 9th is implicit in the naming
Altered Tones
- Rearrange the notes so that we have stacked 3rds, preferably based on a note from the key scale
- Identify the basic triad of the chord, the bottom 3 notes:
  - major:1 3 5
  - minor:1 ^b3 5
  - augmented:1 3 ^#5
  - diminished:1 ^b3 ^b5
  - minor^#5:1 ^b3 ^#5
  - major^b5:1 3 ^b5
- Identify the quality of all other intervals above the root of the triad
  - 7th present
    - Dominant ^7b9b5:1 3 ^b5 ^b7 ^b9
      - The triad is implicit in the naming.
      - The quality of the 7th is implicit in the naming.
      - We name the altered 9th.
      - We name the altered 5th.
    - Dominant ^7#11:1 3 5 ^b7 ^#11
      - The triad is implicit in the naming.
      - The absence of the 9th requires explicit inclusion of the 7th.
      - The quality of the 7th is implicit in the naming.
      - We name the altered 11th.
  - 7th not present
    - no examples yet
  The numbers 2, 3, 6, 7, 9, 10, 13, 14 are used to identify major intervals above a common root, 1.
  
  The numbers 1, 4, 5, 8, 11, 12, 15 are used to identify perfect intervals above a common root, 1.
  
  When a ^b appears in front of a number it has been lowered by one semi-tone or fret or key.
  
  When a ^# appears in front of a note it has been raised by one semi-tone.
  
  ^bb lowers by a tone, ^## or ^x raises by a tone and so on.