Re: Chord Construction
- From: "Lumpy" <lumpy@xxxxxxxxxxxxxxxxxxxxxx>
- Date: Tue, 27 May 2008 16:48:53 -0700
So I use the major scale
with just these notes.
C D E F G A B C
E7 notes E,B,G# which I can eventually
figure out if I sit and count the notes.
I'm not at a point where I can
remember all the fretboard notes immediately.
I've been playing for a thousand years
and I'm not good at instantly naming
any fret/string by note name. But I know
when my finger is "here" the Maj 3rd is "there"
and the fifth is "up there". I don't build chords
by note names. The only note I name is the root.
The others are 3rds and 5ths (and 7ths etc) above that.
So with the E7 I'm counting
E as root. So it's 3.
Then B, so it's 7.
Then G# is confusing.
The G is 5 in the scale but the
chord uses G#.
That's because there is no naturally occurring
E7 chord in the key of C.
That's what makes Hey Joe difficult to analyze.
A bunch of the chords do not naturally occurr
in any key together.
I think you've also got the scale degrees a little
confused. That confusion is very natural because
we refer to degrees of the scale as I iii v etc
then we refer to notes in a chord as 1 3 5 etc too.
Think of the root of the CHORD as ONE, no matter
what degree of the scale it is. We need 1 3 5 to
form the chord. For the C chord the 1 = C. For
a G chord the 1 = G. For an Am chord the 1 = A.
Take your C Major scale again as defined by the
key of C
C D E F G A B (C)
ANY chord is built from every OTHER note
of the appropriate scale. ie a ROOT THREE FIVE
and it could extend to SEVEN or farther. But
look at triads for now (three note chords tri=3)
C E G = C C is the ONE, E is the THREE, G is the FIVE
D F A = Dm D is ONE, F is THREE, A is FIVE
E G B = Em 1-3-5 is E G B
Groovy so far? That's a lot of theory all twined
Chords with 7ths or 9ths or any other
extention follow the same "every other note" rule.
The I chord
C E G B = CM7
or CM9 or CM11 or CM13
The vi chord
A C E G = Am7
A C E G B = Am9
or Am11 or Am13
The V chord
G B D F = G7
G B D F A = G9
G B D F A C = G11
G B D F A C E = G13
etc. For any given key there are only
seven "legal" chords. Anything else is
a rule break.
Adding 7ths/9ths etc doesn't
change the chord it simply extends it. G,
G7, G9, G11 and G13 are all G chords. Note
that none of them are Gminor.
Your E7 chord exists "legally" in only one key.
That would be the key of A.
The naturally occurring E chord in the key of
C would have to be
Em, Em7, Em9, Em11 or Em13. No E Majors "allowed".
It gets seemingly complex. That's why I don't think
in terms of note names except for the root. It's not
so complex, I think, once you enjoy the concept that
there are only seven chords in any given key signature.
Anything else is a (usually deliberate) rule break.
You Played on Lawrence Welk?
Yes but no blue notes. Just blue hairs.
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