#1975 guitar chord dictionary how to#

Progressions don t sound like that, why not and how do I figure out how they relate? nswers: 1. an there be 7th chords in the minor scales? 4. The melodic and harmonic minor chord scales don t sound right. There are so many chords how can I remember all of these? 2. # minor dim 1-b3-5 1-b # b3-b5 1-b3-b5 + # o # o g# - b - d #m # + d - f# -a# f# - a# - c# o g# - b - d # o a# - db - e m b+ eb - g - o b + # o #m # + # o # o d# - f# - a m m b+ ab - c - e o b e - g - m + e - g - # oħ OMMNTS: t this point probably a few questions arise. minor MJOR MJOR # diminished 1-b3-5 1-b3-b5 1-3-#5 1-b b3-b5 + # o # g# - b - d # o + d - f# -a# f# - a# - c# o a# - db - e m o b b+ eb - g - m b eb - g - e - g - + # m - d - f # o # o + # o d# - f# - a m o b b+ ab - c - e m b - c e - g - m o b + m b eb - g - # oĦ TRIS THT N UILT ON H NOT O TH MLOI MINOR SL i ii III IV V #vi o #VII o minor minor MJOR aug. ny of those places will work.Ģ TRIS THT N UILT ON H NOT O TH MJOR SL I ii iii IV V vi vii o MJOR minor minor MJOR MJOR minor diminished b3-5 1-b b3-5 1-b3-b5 #m #m # o g# - b - d #m #m d# - gb - a# f# - a# - c#m g# - b - d# o a# - db - e #m # o #m #m g# - b - d#m # o d# - gb - a m e - g - # oģ 7 HORS THT N UILT ON H NOT O TH MJOR SL I7 ii7 iii7 IV7 V7 vi7 vii7 o MJOR 7 minor 7 minor 7 MJOR 7 dominant 7 minor 7 1/2 dim b3-5-b7 1-b3-5-b b7 1-b3-5-b7 1-b3-b5-b7 aj7 7 #m7 aj7 7 #m7 # o7 - g# - a # - b - c# - d f# - g# - b - d -f aj7 - a#m7 # - b #m7 d# -gb -a# -db aj7 - d#7 f# - a# - c# - e #m7 g# - b - d# - gb # o7 a# - db - e - g maj7 c c 7 - d maj7 f f 7 a g# aj7 - c# 7 - d #m7 f# - maj7 - f# 7 - g 7 - a # o7 - a# aj7 - d#m7 f# - #m7 g# - b - d# - gb aj7 - g# 7 - a #m7 # - b # o7 d# - gb - a - c maj7 f - m7 - f 7 a - maj7 - ab c 7 e - g -c# maj7 - f# 7 a a maj7 c c 7 - d # o7 - d#Ĥ TRIS THT N UILT ON H NOT O TH RLTIV MINOR SL i II o III iv v VI VII minor diminished MJOR minor minor MJOR MJOR 1-b3-5 1-b3-b b3-5 1-b eb - g - # o #m # m o b b eb - g - m m b eb - g - d - f e - g - m - d - f # o m o b b ab - c - eb m m b - c b eb - g - m o b - d - f m b eb - g -ĥ TRIS THT N UILT ON H NOT O TH HRMONI MINOR SL i II o III iv V VI #VII o minor diminished MJOR aug. In Theory 1, I show you all the places on the fretboard where you can play these chords. This is simply 1 way to play the chords in the progression. major, minor, diminished, dominant, whatever = line 2: the intervals that make up the chord for that scale tone = line 1: name of the chord in the progression or key, all of these chords will work in this key (which is chord I) = line 2: the chord notes that make up that chord in the progression, equivalent of the intervals above in red = line 3: chord example. = line 1: scale tones or intervals (in Roman Numerals) of the scale that the chords are being built upon 1st, 2nd, 3rd, 4th, 5th, 6th, 7th intervals = line 2: the significance of this tone, the position it holds in the key, we ll talk about this later when we start looking at different progressions within the key = line 1: flavor of the chord.

#1975 guitar chord dictionary how to#

So let s go over how to read these things so you can learn all they have to offer you. very progression chart in this Unit will follow the same format. These chords follow the same pattern as the triad chart but we add some 7ths and flatted 7ths to the chords. 7th chords add more personality, per se, to the mix. This essentially is the same thing as the triad chord chart but many people use 7th chords to add interest or depth to the chords in their progressions. et it? The second chart you will look at in Major Scale Progression section is the 7th chord progression chart. If it is a minor triad chord, simply flatten the 3rd. So a major triad would be - because is the tonic, is the major 3rd and the is the perfect 5th of the major scale.

The fist chart you look at will be triad major chords, which are basically chords made up of the notes of the major scale. Some of them are minor chords, some of them are major chords, some of them are diminished chords. Well, you can build chords on each of these notes. Remember there are 7 notes in the major scale, made up of different intervals. So we ll start with the old standby, the MJOR SL and how it affects chord progressions. There are so many chords, the combinations of them are virtually unending. To vastly understate it, this is a complicated, or at least tedious, task. Now it s time to put all these chords into action by exploring their relationship to each other. 1 hord Progressions Primer TH MJOR SL N PRORSSION THORY If you looked at Theory 1, you ve seen how to chords are constructed.