Chord Classification
In this light, we will shift a bit into chord classification, which is just a different way of saying quantities.
Chord classification is all about thinking of chords by the number of notes they contain.
1» MONADS: a single note. The chromatic scale comes to mind, which contains 12 monads.
2» DYADS: a two-note combination. Others choose to reference them as intervals. My favorite 5 dyads are = Power chords, di-tones, tri-tones, major 7th interval, & flat 7th interval.
Next is Triads which we already covered
4» Then we have tetrads, which are four note chords. 7th chords are essentially tetrads: Major 7, minor 7, dominant 7, diminished 7, augmented 7.
5» PENTADS: chords using 5 notes are called pentads. In fact, there's such a thing as tri-tonic and tetra-tonic scales too, but let's save that for another lesson. 9th chords are pentads.
6» HEXADS & HEPTADS: last of the classification are hexads and heptads, which are names given to 6 & 7 toned chords, which are 11th and 13th chords.
Chord classification is all about thinking of chords by the number of notes they contain.
1» MONADS: a single note. The chromatic scale comes to mind, which contains 12 monads.
2» DYADS: a two-note combination. Others choose to reference them as intervals. My favorite 5 dyads are = Power chords, di-tones, tri-tones, major 7th interval, & flat 7th interval.
Next is Triads which we already covered
4» Then we have tetrads, which are four note chords. 7th chords are essentially tetrads: Major 7, minor 7, dominant 7, diminished 7, augmented 7.
5» PENTADS: chords using 5 notes are called pentads. In fact, there's such a thing as tri-tonic and tetra-tonic scales too, but let's save that for another lesson. 9th chords are pentads.
6» HEXADS & HEPTADS: last of the classification are hexads and heptads, which are names given to 6 & 7 toned chords, which are 11th and 13th chords.
This picture, an excerpt from my book, relates the chord quality to its existing quantities. Not all qualities exist in the various quantities. There are other qualities as well like minor-major, half diminished, augmented major, and various altered chords, but like I said, all are derived from the marriage between the fantastic four.
Most people just classify chords by name and chord quality (major vs. minor, augmented vs. diminished).
I want to show you another world.
Here’s how to think of chords by the number of notes they contain. This will be short and to the point.
Most people just classify chords by name and chord quality (major vs. minor, augmented vs. diminished).
I want to show you another world.
Here’s how to think of chords by the number of notes they contain. This will be short and to the point.
MONADS
A “monad” is a single note. The “chromatic scale” comes to mind, which is basically composed of twelve monads.
A “monad” is a single note. The “chromatic scale” comes to mind, which is basically composed of twelve monads.
DYADS
A dyad is a 2-note combination. Others choose to just reference them as “intervals.”
People still debate over whether it should officially be called a “chord” or if it’s just an interval. (Those who want to keep it just as an “interval” believe that chords start at three or more notes). But who cares what you think of them as — they can enhance your playing! :-)
So here are my top 5 favorite dyads:
1) Power chords
They are intervals that span a fifth. An example of a power chord is from “C” to “G.” You can use them to power up most chords because if you think about it, they all possess that perfect fifth interval (except for diminished and augmented chords).
When playing extended chords like sevenths, ninths, elevenths, and thirteenths, some people use power chords on their left, therefore, freeing up their right hand to focus on the upper tones in the chord.
A dyad is a 2-note combination. Others choose to just reference them as “intervals.”
People still debate over whether it should officially be called a “chord” or if it’s just an interval. (Those who want to keep it just as an “interval” believe that chords start at three or more notes). But who cares what you think of them as — they can enhance your playing! :-)
So here are my top 5 favorite dyads:
1) Power chords
They are intervals that span a fifth. An example of a power chord is from “C” to “G.” You can use them to power up most chords because if you think about it, they all possess that perfect fifth interval (except for diminished and augmented chords).
When playing extended chords like sevenths, ninths, elevenths, and thirteenths, some people use power chords on their left, therefore, freeing up their right hand to focus on the upper tones in the chord.
2) Tri-tone
I call them the little cousin of the power chord. If you know your power chords and can lower your fifth tone a half step, then you know your tri-tones!
That’s all they are! They are an interval of a flatted fifth. So instead of playing “C” to “G,” you play “C” to “Gb.”
I call them the little cousin of the power chord. If you know your power chords and can lower your fifth tone a half step, then you know your tri-tones!
That’s all they are! They are an interval of a flatted fifth. So instead of playing “C” to “G,” you play “C” to “Gb.”
These are also found in dominant 7 chords. For example, a C dominant 7 chord has these notes:
C + E + G + Bb.
C + E + G + Bb.
Do you notice the tri-tone from “E” to “Bb?” (Don’t worry! Over time, you’ll start recognizing them quickly).
Try experimenting with certain tri-tones on your left hand and various dominant, major, and even minor chords on your right hand. You’ll be amazed at what you come up with.
3) Di-tone
I like the use of “di-tone” because it relates it to the tri-tone, which has a similar function. Basically, di-tones have 2 whole steps between them. “C” to “E” is an example of a di-tone.
Try experimenting with certain tri-tones on your left hand and various dominant, major, and even minor chords on your right hand. You’ll be amazed at what you come up with.
3) Di-tone
I like the use of “di-tone” because it relates it to the tri-tone, which has a similar function. Basically, di-tones have 2 whole steps between them. “C” to “E” is an example of a di-tone.
“Tri-tones” are their bigger sisters (they have 3 whole steps between them).
Essentially, anywhere you play a tri-tone, try its little brother and you’ll get a different feel.
In fact, you can combine them:
C + E + Bb.
Essentially, anywhere you play a tri-tone, try its little brother and you’ll get a different feel.
In fact, you can combine them:
C + E + Bb.
Notice the di-tone between “C” and “E” and the tri-tone between “E” and “Bb”.
Looks like a dominant 7 chord to me too!
But there are little nuances like this that make all the difference. Like this chord…
C aug 7 (#9)
Looks like a dominant 7 chord to me too!
But there are little nuances like this that make all the difference. Like this chord…
C aug 7 (#9)
You can easily voice this chord a million different ways but notice the use of the di-tone at the bottom — then the tri-tone interval between the “E” and “Bb” — and even the use of a quartal chord up top.
4) Major 7th interval
Sometimes, you don’t want a power chord on your left. Like when you’re playing some type of extended major chord (major 9th, major 11th, etc), maybe you just want to play “C” and the higher “B” on your left hand and the rest of your chord on the right hand. The idea is to try it any time an extended major chord is necessary.
4) Major 7th interval
Sometimes, you don’t want a power chord on your left. Like when you’re playing some type of extended major chord (major 9th, major 11th, etc), maybe you just want to play “C” and the higher “B” on your left hand and the rest of your chord on the right hand. The idea is to try it any time an extended major chord is necessary.
5)b7 interval
The last dyad you should get used to is the b7 interval. It’s basically the same as the major 7th interval, except you lower the 7th a half step. So instead of “C + B,” you’ll play “C + Bb.”
The last dyad you should get used to is the b7 interval. It’s basically the same as the major 7th interval, except you lower the 7th a half step. So instead of “C + B,” you’ll play “C + Bb.”
You’d use this one just like the tri-tone and di-tone. It has the same function.
Notice on the chord above that “C to Bb” is the outer shell that results from putting a di-tone “C + E” together with a tri-tone “E + Bb.”
Similar to the major 7th interval, you would simply play a b7 interval when you want to use less notes and keep the sound open.
TRIADS
Music theorists still argue over whether a chord officially starts with 2 or 3 tones played at the same time.
It seems like 3 is more accepted. From our own definition, ‘a combination of notes played together that have both attributes of quality and quantity’, only the class of triads and above have a quality.
For the sake of knowledge, I have given you the name of a two note combination [dyads] above.
Anytime you have a collection of three notes played together,you’re playing a triad. Most basic chords fall under this category.
Major triad (e.g. – C major: C + E + G)
Notice on the chord above that “C to Bb” is the outer shell that results from putting a di-tone “C + E” together with a tri-tone “E + Bb.”
Similar to the major 7th interval, you would simply play a b7 interval when you want to use less notes and keep the sound open.
TRIADS
Music theorists still argue over whether a chord officially starts with 2 or 3 tones played at the same time.
It seems like 3 is more accepted. From our own definition, ‘a combination of notes played together that have both attributes of quality and quantity’, only the class of triads and above have a quality.
For the sake of knowledge, I have given you the name of a two note combination [dyads] above.
Anytime you have a collection of three notes played together,you’re playing a triad. Most basic chords fall under this category.
Major triad (e.g. – C major: C + E + G)
Minor triad (e.g. – C minor: C + Eb + G)
Diminished triad (e.g. – C diminished: C + Eb + Gb)
Augmented triad (e.g. – C augmented: C + E + G#)
So any time you hear, “give me a _______ triad,” that’s only asking for a 3-toned chord. Don’t give the composer or music director more than that! After all, in some arrangements, less is better.
TETRADS
Then next, there is what we call “tetrads.” These are chords using four notes. Seventh chords are essentially tetrads. Some examples are:
Major seventh (e.g. – C major 7: C + E + G + B)
TETRADS
Then next, there is what we call “tetrads.” These are chords using four notes. Seventh chords are essentially tetrads. Some examples are:
Major seventh (e.g. – C major 7: C + E + G + B)
Minor seventh (e.g. – C minor 7: C + Eb + G + Bb)
Diminished seventh (e.g. – C diminished 7: C + Eb + Gb + Bbb or A)
Augmented seventh (e.g. – C augmented 7: C + E + G# + Bb or A#)
Dominant seventh (e.g. – C dominant 7: C + E + G + Bb)
Half-diminished seventh (e.g. – C half-diminished 7: C + Eb + Gb + Bb)
PENTADS
Chords using five notes are called “pentads.” (In fact, there’s such a thing as tritonic and tetratonic scales too! But let’s save that for another lesson). Ninths are a form of pentads.
For example, C major 9 is C + E + G + B + D. Five notes!
Chords using five notes are called “pentads.” (In fact, there’s such a thing as tritonic and tetratonic scales too! But let’s save that for another lesson). Ninths are a form of pentads.
For example, C major 9 is C + E + G + B + D. Five notes!
HEXADS AND HEPTADS
And lastly, “hexads” and “heptads” are the names given to 6 and 7-toned chords, respectively. An example of a hexad is an eleventh chord, like the C major 11, which is C + E + G + B + D + F.
And lastly, “hexads” and “heptads” are the names given to 6 and 7-toned chords, respectively. An example of a hexad is an eleventh chord, like the C major 11, which is C + E + G + B + D + F.
An example of a heptad is a thirteenth chord, like the C major 13, which is C + E + G + B + D + F + A.