About chords Any key contains in principle all possible chords, luckily though, in reality there is a limit to the number of chords in every key. First, we have the three basic chords in any key which are based upon the root, the 5th and the 4th, in the key of C major that would be C, G, and F (The G is almost always in the form of a 7th chord, G7, but it's not necessary) These three chords attain a specific function in a song as soon as the key is set. The root chord (the C) serves as a foundation and does not in itself have any tendency to transform into one of the other basic chords but must be pushed , either by the melody line or by changing e.g intoa 7th chord. The 4th chord (the F) introduces an added tension, which can be described as the song gaining momentum and is often perceived as adding some height regardless of whether the melody line actually goes up or down. Also the 4th chord is apt to resolve itself back into the root chord, either directly or by passing the 5th chord. The 5th chord (G or G7) can be described as introducing a feeling of expectancy and it can almost feel as if the song is taking a break before wanting to go back to the root chord. The tendency to go back to the root chord is strong in itself, but becomes even stronger by the added 7th. The same reasoning can be applied to minor keys, but the tendencies are weaker (and adding a 7th to a minor chord doesn't really introduce a will to resolve into another chord as in the case of major chords) But there are more than three chords, are there not? Sadly enough one will have to answer yes! Now, the three basic chords in each key happen to be in the first positions (or rather centered around the first position) of a series of chords which can be extracted from the circle of fifth's (clockwise) or of 4th's (counterclockwise) Bb F C G D A E B F# C# G# D# Bb F C....... You see the notes start repeating themselves in the same pattern and can be connected like a circle, hence the name If we choose a key, say C major, it's seems right to say that the sequence starts with C and if we arrange the chords according to the circle of 5th's, including the 4th chord of the basic three, then we get something like this: F C G D A E B 4th root 5th We may rather safely assume that chords based upon notes more than 5 steps clockwise in the C O 5th's are quite unikely so we may arrive at the conclusion that we can use the major chords F, C, G, D, A, E and B in the key of C. The base here is the root note in each chord as per the CO5th's so we can also use the minor chords based upon each chord even if the three basic chords (F, C, G) are less likely to appear in their minor form. Adding a 7 keeps the major or minor feel of the chord and can also be added, so this is what we end up with: (Fm) (Cm) (Gm) Dm Am Em Bm Dm7 Am7 Em7 Bm7 F C G D A E B F7 C7 G7 D7 A7 E7 B7 .... .... .... .................... 4th root 5th Complimentary chords So by placing the root chord of the key in the CO5th's all the other possible chords are defined! But there are other chord types, you say! Of course, but the majority of all songs can be played with the chords generated this way! AND, I almost forgot: You remember that I said that the 5th chord has a tendency to resolve itself into the root chord (and that tendency being even stronger when adding a 7 in the case of major chords) ,the chord nearest counterclockwise in the circle of 5th's? This goes for the complimentary chords too, meaning that if you in the key of C find yourself on an E chord or Bm, they are likely to resolce themselves into A or Am type chords in the case of E and into Em or E type chords in the case of Bm. This also in many cases initiates a chord progression which works itself all the way down to the root chord, passing every step counterclockwise in the circle of 5th's. Chord types Tension creating chords 7th's creates tension which creates or strenghtens the urge to resolve into the chord next to it counterclockwise in the CO5th's + (+5) and +7 creates tension which wants to resolve into the chord next to it counterclockwise in the CO5th's (even stronger than 7th's but with another "flavour" which makes them NOT interchangeable) dim chords resolves nicely into the chord next to it clockwise in the CO5th's if based upon the root of that chord Example: C Gdim G (more often written C C#dim G, but it's easier to think of it as G stretching out with the tentacles of a Gdim to help the C over....) sus (sus4) creates a VERY STRONG TENSION to resolve into its own root Dsus4 into D and the same goes for 7sus4 chords Mood creating chords maj 7 9th's mMaj7 m6 6 -9 -5 (-) etc Melody following chords (can also be used to create a "melody" within the rhytm pattern Same as mood creating but more often used as passing chords with short duration, one or two beats. Another thing: The chord types which exceeds the capabilities of the guitar, typically 11 chords and 13 chords which contain seven notes can often be reproduced bu omitting one of the basic (root, 3rd or fth) thereby keeping the feel and often the bass or another instrument makes up for the missing note (as if anybody would notice...). Keep in mind that 11ths and 13ths essentially are 7 and 9 chords with added 6th and 4th(sus) and make sure that the 4th is in another octave than the 3rd (typically a higher octave) as the clash between two notes one semitone apart usually is perceived as a dissonance (then again there are situations when it sounds good) Most of these latter chord types can be related to one of the complimentary chords in a given key such as having several notes in common but a different root. By studying my Chordbuilder(c) and working your way through adding, substituting, or subtracting notes from the standard positions for major chords, you are likely to make your chord charts obsolete in a short time. This is my way of expressing how I feel about chord in a simple way, the "official" theory of harmonies is infinitely more complex, but this works for me and hopefully for you! Copyright 1992 Göran Tångring