What are Piano Chords? (And why is it helpful to know them?)

--

These notes are played to spell out the harmonic qualities of a scale that is in

use for the duration of a chord. So, to fully understand chords, we first need to

review our scales.

Scales are used as the basis for our chords. The C-major scale is

made up of all the white keys, so it’s the easiest place to start. Let’s examine

how the C-major scale is formed; this way we can understand how all major

scales are formed.

Now let’s examine the scale steps of this major scale. Since the

smallest gap between two keys on a keyboard is a “half-step,” and a jump the

size of two half-steps is known as a “whole-

step,” we can analyze each step of the scale

as a half or a whole. In this diagram, I’ve

labeled whole steps as “W” and half steps as

“H.”

This pattern of “WWHWWWH” forms

every major scale. Take D-major, for

example:

Chords are any set of three or more notes played at the same time.

Minor scales can be made with the pattern “WHWWHWW,” but they

can also be made out of major

scales in two different ways.

One way is by playing the major

scale exactly the same but

starting on the sixth step; for example, playing a C-major scale starting on “A.”

This makes an A-minor scale, and since they share the same scale, A-

minor is known as the “relative minor” of C-major (just as C-major is the

relative major of A-minor).

Another possible way to

form a minor scale from a major

scale is by lowering the 3rd

, 6th,

and 7th of a major scale by a half step. If we start with a C-major scale, this

process leaves us with a C-minor scale, and since they share the same

name, they are known as “parallel” major and minor keys from each other.

Notice how after putting flats on the E, A, and B in the C-major scale, we get

the “WHWWHWW” required for a minor scale. This can also be tested against

the A-minor above.

Now that we have fully reviewed major and minor scales, let’s use them

to make chords.

For example, in a C major chord, we play the 1st (C), 3

rd (E), and 5

th (G)

of the C major scale:

Another way to construct triads is

to use two “third” intervals stacked on top

of each other. For the C-major chord

above, the interval from C to E is a third,

and the interval from E to G is also a

third.

Most triads of any kind, such as major or minor, are played with the

thumb, middle finger, and pinky finger. In more technical terms, they are

fingered “135.” For left hand chords, use the same fingers, but backwards

A three-note chord is known as a “triad.” This triad is made up of the

1st

, 3rd

, and 5th

of a scale. It’s also made by stacking two 3rd

intervals

on top of each other.

(“531”). Here’s a standard fingering for a C major chord in both the right and

left hand:

Knowing your chords is a very helpful skill to any piano player. Once

you’ve gotten familiar with all your chords and the shapes your hands need to

make to play them, seeing them pop up in sheet music becomes isn’t as

scary. Instead of feeling you need to decode every single note in a given

chord, you recognize the shapes of the chord notes and your hands follow the

shapes through muscle memory.

On top of that, knowing your chords can even make reading sheet

music note-for-note obsolete, especially for jazz pianists. For example, in the

C major chord above, a jazz piano part would say “C” on top of a measure

instead of spelling out the entire chord. For a jazz piano player who knows

their chords, sheet music is much easier to read:

The chords marked “Dm

7” and “G

7” will be discussed later in “Color

Chords.” Color chords involve more notes than are in triads, but first we must

learn all of our triads. These different triads include major, minor, augmented,

and diminished, and these new types will be explained in later chapters as

well.

Major Piano Chords --

Major triads can be constructed by in two ways. You can take the root

(first note of the scale), 3rd

, and 5th of the entire major scale, or you can stack

two thirds on top of each other. We call this chord a “Major Triad” because it

is the 1st, 3

rd, and 5

th of the major scale, but also because the first interval is a

major 3rd

.

Using the same C-major triad we started with, the diagrams below

indicate that major triads have a major 3rd

on bottom and a minor third on top.

MAJOR THIRD MINOR THIRD

Optionally, a major chord can also be formed by taking this major triad

and doubling the root on top, making the chord to the right:

Notice the root of this C major chord is both at the top and the bottom

of the chord. This is another optional way to

play any chord, and requires four fingers, most

A Major 3rd

interval is made when two notes are 4 half steps apart,

and a minor 3rd

is made when two notes are 3 half steps apart.

often the thumb, index, middle, and pinky fingers.

So, just as a reminder:

These are all the possible major triads, for both left and right hands (or, bass

and treble clef). They can be transposed up or down octaves as well.

Ways to Make

Major Triads

1st, 3rd, and 5th of

Major Scale

Major 3rd on

bottom, Minor 3rd

on top

Either of the other two

methods with an inversion (3rd or 5th in the bass)

Some of these triads can go by other names, such as “Db” being the

same thing as “C#.” When a note can have two names like this, the

two notes are known as “Enharmonic Tones.”

Here are a few examples of alternate or “enharmonic” major triads:

Major chords invoke a generally “pleasant”

feeling. The can be peaceful when quieter or

ecstatic when loud. Johann Pachelbel’s famous

“Canon in D” is not only in a major key, but starts

with two major chords. Other examples include

the theme from Ludwig Van Beethoven’s 9th

Symphony (also commonly called “Ode to Joy”).

Keep an eye out in later chapters for Canon in D,

as we will be seeing it again.

Minor Piano Chords --

The stacked thirds have a minor third on

bottom, with a major third on top. Let’s use this D

minor triad as a model:

MINOR THIRD MAJOR THIRD

Another way to form a minor triad is by using a

major triad as your starting point. Let’s use C major

again, posted one more time to the right:

From here, all we need to do is lower the 3rd

a

half-step. We’re left with a triad composed of C, E-

flat and G, shown to the right. Below, we can see

how this new triad forms a minor third on the bottom

and a major third on top, making a minor triad.

Minor triads are also formed with the root, 3rd

, and 5th

of a scale and

with stacked thirds. The key difference is that the root, 3rd

, and 5th

are

taken from a minor scale.

Here is the minor triad in all twelve keys. As you can see, it’s notated

by adding a lower-case “m” after each chord name. Other ways it can be

notated are with the letters “min” as in “Cmin” or with a minus, as in “C-,” like

the grade. The minus system is generally only used in jazz notation while they

other two versions are pretty universally accepted.

Once again, there are “enharmonic” alternatives to some of chords in

keys with lots of accidentals. Here are some more enharmonic minor triads:

Finally, to review:

Minor scales have a darker quality, and can be range from somber to

aggressive, almost “angry.”

Some famous examples of songs in a

minor key (which mean that there will be

many minor chords) include Beethoven’s 5th

Symphony, as well as his “Moonlight

Sonata.”

HE’S BACK!

Ways to Make

Minor Triads

1st, 3rd, and 5th of

Minor Scale

Minor 3rd on

bottom, Major 3rd

on top

Either of the other two

methods with an inversion (3rd or

5th in the bass)

Chord Inversions

--

Every chord we’ve covered this far is in what’s known as “root position.”

Root position means that the root is at the bottom note of the chord, but this

doesn’t always have to be the case.

In the “Common Practice Period” of Classical music, these chord

inversions are notated with numbers below the chords called “figured bass.”

These numbers denote the intervals between the bass note and the other

notes in the chord. As you can see in the picture above, a C-major chord in

first inversion

has an E in the

bass, leaving the

interval between

this E and the C

on top as a sixth. So, first inversion’s figured bass number is “6.” Second

inversion forms an interval of a sixth from the bass to the top, but also there is

a fourth interval from the bass to the root of the chord (C). Therefore, second

inversion has the numerical figured bass of “64.”

In jazz and contemporary music, inversions are written in a much

simpler style. Simply

put the name of the

chord as it would

be, but write it as a

When chords have a different note in the bass than the root, it’s an

“inverted chord.” When the third is on the bottom, it is known as “first

inversion,” while a fifth in the bass is called “second inversion.”

fraction, or with a “slash” underneath the name of the chord. Under the slash,

or as your “denominator,” put the note intended to be put in the bass. For

instance, a C major chord in first inversion would be read as “C-over E,” while

second inversion would be read as “C-over-G.” Use the diagram above for a

reference.

Now we have learned how to invert chords, but we still haven’t covered

every type of triad. After major and minor, we need to understand

“Augmented” and “Diminished.”

Chord inversions are just made by putting a note other than the root

in the bass. All we need to do to achieve an inversion is drop (or

raise) notes in the triad by an octave.

Augmented / Diminished Chords --

“Augmented” and “Diminished” triads are much less common than

major and minor triads, but still useful. The

augmented triad is similar to the major triad in that

it starts with a major third interval. However, the

augmented triad also has a major interval on top.

So, the two ways to form an augmented chord are by stacking two major

thirds on top of each other, or by taking a major triad and raising the 5th by a

half-step. Notice the minor difference between major and augmented above,

and the stacking major thirds below that make an augmented triad:

MAJOR THIRD MAJOR THIRD

Diminished chords have a similar relationship to minor as this major-

augmented similarity. Diminished triads can be

formed by taking a minor triad and lowering the 5th

a half-step, or by stacking two minor thirds on top

of each other. To the right is an example of a C-

minor chord being turned into a C-diminished chord by lowering the 5th a half

step. Below is a demonstration of the same diminished chord being

composed of stacked minor thirds.

MINOR THIRD MINOR THIRD

Just like all triads, augmented and diminished triads can be written

multiple ways, especially in jazz situations (Common Practice Period versions

vary less). A C-augmented chord can be written as “Caug” or “C+” like the

school grade, while a C-diminished chord can be written “Cdim” or “Co” with

the circle signifying diminished.

Here is a list of all diminished and augmented chords in root position.

Enharmonic alternatives are put in the same measure as half notes.

There are two more ways to form each of these triads. While raising the

5th a half step can make a major triad augmented, raising the root can make it

diminished (CEG becomes C#EG). Conversely, while lowering the 5th of a

minor triad makes it diminished, lowering the root makes it augmented (CEbG

becomes CbEbG).

. One famous example

of an augmented chord is as

the second chord in the main

progression of “Take The A-

Train” written by Billy

Strayhorn (the words sung

over the augmented chord are “Take the A-Train”). It is also used frequently in

Franz Liszt’s “Faust Symphony.” Some more popular songs with diminished

chords include Oasis’s “Don’t Look Back in Anger” (under the lyrics “Take that

look from off your face” during the pre-chorus). Diminished chords are also all

over Igor Stravinsky’s infamous 1913 piece “Rite of Spring.”

Now we need to add four-note chords to our repertoire, since we have

covered the entire world of triads. These four-note chords can use the root

doubled on top (as seen on page 4) or they can utilize notes outside the triad

for a more colorful sound.

Both of these chords (diminished and

augmented) are unstable, and used as

a source of tension, to be resolved as

a minor or major chord.

7th

Chords / Color Chords

--

“7th chords” add the outside-the-triad color missing in our previous

chords. Every type of triad can become a 7th chord. As the name implies, it’s

done by adding the 7th of the scale. Another way to think of it is adding the 7

th

interval from the root. The different types of scale used for finding this 7th, as

well as the types of triads we can start with affect what type of 7th chord we

end up with. Here are the more common 7th chords.

MAJOR 7th

Major 7th chords are formed by the root, 3

rd, 5

th, and 7

th of a major

scale. When in root position, the intervals between

the notes are a major 3rd

, minor 3rd

, and a major

3rd

. In the case of a C-major-7th

chord,

contemporary notation can be done as “Cmaj7,”

“CM7” (with the upper-case use of the letter M) or

as “C ∆7.” Most often, it is notated as Cmaj

7 to avoid confusion. In Common

Practice Period chord symbols, the “7” is dropped below the staff into figured

bass (or becomes whatever number the inversion requires, as is explained

later).

MINOR 7th

Minor 7th chords are formed by the root, 3

rd,

5th, and 7

th of a minor scale. In root position, the

intervals between the notes are a minor 3rd

, major 3rd

, and a minor 3rd

. In the

case of a C-minor-7th chord, notation can be done as “Cmin

7,” “C-

7,” or “Cm

7.”

Most often, it is done as Cm7.

DOMINANT 7th

Dominant 7th chords are formed by taking a major triad and adding the

minor 7th on top, leaving us with root position intervals between notes of a

major 3rd

, minor 3rd

, and minor 3rd

. This type of chord is commonly used in

jazz and blues progressions, and is notated with just a “7,” as in this chord of

“C7.” Any chord that has a minor (or “dominant”) 7

th

but does not fit into one of the other categories

mentioned is considered a dominant 7th. For

example, an “augmented 7th” chord features an

augmented triad with a dominant 7th.

DIMINISHED 7th

:

Diminished 7th chords fall into two categories. First there is half-

diminished 7th, which uses a diminished triad and a dominant 7

th on top.

Secondly, there are fully-diminished chords that feature a “diminished 7th,”

which is a dominant 7th lowered another half-step. In a C-fully-diminished-7

th

chord, we need to turn the B-flat on top into a B-double-flat. This leaves us

with the interval between every note of the chord as a minor 3rd

.

HALF-DIMINISHED FULLY-DIMINISHED

In the fully-diminished 7th chord above, notice that we are left with a “B-

double-flat.” While in music theory we need to call it a “B-double-flat” to

maintain that each note is a 3rd

apart, we can also recognize it as an

enharmonic equivalent of A, just as G-flat is an enharmonic equivalent of F-

sharp.

7th chords can be inverted just like triads, but get their own set of

figured bass numbers. Since there are four notes in these chords, they can be

in root position, first inversion, second inversion, or third inversion. Just as

before, first inversion puts the 3rd

of the chord in the bass, and second

inversion puts the 5th in the bass. Now we can make 3

rd inversion by putting

the 7th in the bass. Let’s use our dominant C

7 chord to demonstrate, now with

our new figured bass.

Just like with the triad inversions, these numbers represent the

intervals within the chord. For root position, the “7” represents the 7th between

the bass/root and the 7th on top. For the inversions, the numbers represent

two intervals: the one between the bass and the root, and the one between

the bass and the 7th. Since there are more numbers to remember for the

figured bass of 7th chord inversions, try

thinking of it as a phone number. The red “7”

equals figured bass for root position, “65” is for

first inversion (3rd

in the bass), “43” is for second inversion (5th in the bass),

and “42” is for third inversion (7th in the bass).

As we’ve seen above, there are a few key differences between the

notation of chords in jazz theory and in “Common Practice Period” classical

music. Let’s take a minute to clear them up.

The 9th, 11

th or 13

th of a chord can be added on top for more additional

flair Take the following 9th chords below. They are called 9

th chords, but really

are 7th chords that happen to have a 9

th on top, and are labeled as the type of

7th contained in the chord. Even if the 9

th is modified, we still label the chord

as what type of 7th is in the chord, but explain how the 9

th is modified (the

modified 9th chords

come after the

double barline).

These practices can

also be done with 11th or 13

th chords. While these chords are often used in

jazz, it’s important to first make sure we understand all of our triads and four-

note-chords first, as well as Chord Progressions.

COMMON PRACTICE PERIOD:

7th

Chords: Written as just “C” or “Cm” or “Cdim”, depending on the

chord. Figured bass explains that it is a 7th chord with any of the numbers

7, 65, 43, or 42.

Inversions: Figured bass explains whether a chord is inverted or

not, using 7, 65, 43, or 42 in 7th chords and 6 or 64 in chords without a 7

th.

JAZZ / POP / CONTEMPORARY:

7th

chords: 7th chords are simply labeled with a “7” next to them, as

well as the chord type (see: 7th chord section).

Inversions: Chord is spelled normally but written similar to a

fraction, with the “denominator” being the bass note (see: inversions).

Lastly, these 7th

chords can have additional color notes on the top,

although we still classify these “color chords” as 7th

chords.

Chord Progressions --

Now that we know plenty of chords, it’s time to put them to use

practically. Namely, it’s time to make chord progressions.

A “chord progression” is a series of chords that support a melody in

moving a song forward. Chord progressions generally of propel the song

away from the root chord, also known as the tonic, and ultimately resolve

back to it. Most chord progressions use diatonic chords.

Let’s say a

song is in a major

key; since the root

chord, or tonic, is

major, other diatonic chords will not be. Once again, let’s use the C-major

scale as a model to figure

out these diatonic chords.

Since we’re in the key of

C-major, a C-major triad

will be our tonic, or “One-

Chord,” stylized as “I.” These terms work in both contemporary and common

practice situations.

When we make a

triad starting on D of

notes in the C-major

scale, though, we

end up with a minor triad, as we saw earlier and we can see above. So, using

the C-major scale as a model again, here are all the diatonic chords for a

major scale. Above the staff are the chord names as notated in contemporary

music, while below the staff is a Roman numeral analysis used in common

practice period style music theory. If these chords were inverted, figured bass

“Diatonic” chords, simply put, are chords

that fit within the scale of a song.

would be attached to the Roman numerals. Lower case Roman numerals

indicate minor chords, upper case numerals indicate major chords, and the

circle after the “vii” chord indicates a diminished triad.

The only exceptions are non-diatonic chords, which are used much

less often (at least in the common practice period). In the common practice

period, chord progressions almost always follow in this order, often skipping

chords in the progression or starting over but rarely

going backwards:

Now that we have diatonic chords down for major keys, let’s figure out

diatonic chords for minor keys. In keeping with the simplicity of no sharps or

flats, let’s figure out the diatonic chords of A-minor, the relative minor of C-

major.

Just as with major, the “i” chord will always be minor in any minor key, ii

will always be diminished, III will be major in any minor key, and so on. Once

again, in common practice period music, most chord progressions will be

Note that a “I” chord, in any major key, will be major. Any “ii” chord in

a major key will be minor, and so on. These are diatonic chords.

diatonic in minor, but there is one

chord that often gets an exception.

The “v” chord will often become a

major “V” chord by raising the 3rd

because it makes a more powerful

way to lead back into the i chord. The

major V chord makes what is known as a “leading tone” that leads into the

tonic chord. The G-sharp in this V-chord is the leading tone, a half-step below

the tonic note and makes for a common resolution back to the tonic.

Just like major keys, minor keys also have a typical chord progression

that is followed in common practice period music. Notice that it can contain

either a major “V” or a minor “v” at the end, and that even though it is not

diatonic, the major “V” is used in this progression because it is so common.

Also notice that there is a circle next to the “ii” chord, because it is a

diminished triad:

Here are some examples of more contemporary chord progressions.

Notice that there are some definite similarities between some of these

progressions and the common practice ones. Also, remember that any chord

progression can be played in any key. For ease and simplicity, all chord

progressions are left in C with no rhythms (just whole notes) and are in root

position.

The first progression is known as a “Twelve-Bar Blues.” As the name

implies, it is twelve bars long and has a bluesy feel, very commonly used in

jazz situations. Every chord is dominant in a twelve-bar blues.

As with many progressions, there are possible substitutions that can be

added for flavor. An extra V7 chord can be added at the end to produce a

“turn-around,” or harmonic change leading back to the root.

This next progression is a common pop progression. Notice that it fits

the I-iii-vi-ii-V-I progression from the common practice period (with the IV

chord acting as a

replacement for the ii

chord.

Another variation

of this progression is “I-V-vi-IV.” These chord progressions are used so often

in pop songs that comedians have made humorous routines out of 10-minute

medleys of these songs, covering every subgenre of pop music. One final

common variation starts on the minor vi chord: vi-IV-I-V. Since it starts on the

minor vi, it technically is actually a minor progression with these numbers: i-

VI-III-VII. Here are some popular songs that fit these progressions:

I-vi-IV-V

The Police – Every Breath You Take

The Beatles – Octopus’s Garden

Ben E. King – Stand By Me.

I-V-vi-IV

Journey – Don’t Stop Believin’

Bob Marley – No Woman, No Cry

U2 – With or Without You

i-VI-III-VII

Timabaland feat. OneRepublic – Apologize

The Cranberries – Zombie

Joan Osborne – (What If God Was) One of Us

These chord progressions are quite possibly all based on (and are at

least very similar to) Johann Pachelbel’s “Canon in D.” Here is the chord

progression for that song, transposed to D (where the song is written).

Most pop chord progressions utilize the IV chord and V chord often,

whether they are in major or minor. In fact, the classic hit “Louie Louie” uses

only the chords I, IV and V. This time I’ve put it in the key of G, which is

another commonly used key, especially by guitarists.

Learning these frequently-used progressions, as well as the common

practice period progressions on page 18 and 19 in as many keys as possible

gives any piano player a huge leg up in the world of piano performance. Once

these chord shapes and progressions become second nature, reading

something like this becomes not only manageable, but even easier than

reading full sheet music.

So get to it! Practice those chords and progressions in all twelve keys

and you’ll be able to play anything!