Lesson no. 4

Chord theory part 2

Last week we discussed how to build major key triads using the "ROOT-THIRD-FIFTH" intervals. This week, let's expand on this a little.

We learned last week that the scale of any key does not consist of the twelve tones, but of an octave of eight notes, and that in different keys there are different sharps and flats. Which notes are sharp or flat in any key is determined by counting the intervals from the root note using the method:
whole-step/whole-step/half-step/whole-step/whole-step/whole-step/half-step. In other words, in the key of C:
C-D-E-F-A-B-C
In the key of D:
D-E-F#-G-A-B-C#-D
In the key of E:
E-F#-G#-A-B-C#-D#-E
In the key of F:
F-G-A-A#-C-D-E-F
In the key of G:
G-A-B-C-D-E-F#-G
In the key of A:
A-B-C#-D-E-F#-G#-A
And in the key of B:
B-C#-D#-E-F#-G#-A#-B

Note that this also works in the sharp (or flat) keys. Thus, in the key of C#:
C#-D#-F-F#-G#-A#-C-C#
In the key of D#:
D#-F-G-G#-A#-C-D-D#
In the key of F#:
F#-G#-A#-B-C#-D#-F-F#
In the key of G#:
G#-A#-C-C#-D#-F-G-G#
In the key of A#:
A#-C-D-D#-F-G-A-A#

You'll note here that in all the sharp (or flat) keys the root note is also played natural, as well as sharp. The reasons for this is something that we may get into at a later time, but for now let's just note the fact and go on. We are primarily interested here in a pragmatic, working knowledge of what to play rather than the theoretical reasons for the apparent inanities of it all. "Sufficient unto the day is the evil thereof," Jesus said.

How does this relate to chord theory?

Well, last week (as noted above) we learned how to make root chords in the major keys by triads. We'll get into the theory (or at least the practice) of making more types of chords in more keys in the future. For now, let's just see how to make a simple progression. A common progression of chords is the I-IV-V progression, ie the root chord and the root chords of the fourth and fifth intervals up. Now, as we learned last week, we make a triad by counting the INTERVALS from the root. Counting the intervals from the root key note is the same when making a chord progression. Let's say that our key is E, therefore we have to count the intervals up from E. That would make the IV chord an A and the V chord a B.

So we now know that our root chord is E, our fourth chord is A and our fifth chord is B. How do we make these chords? By counting the intervals of each chord's scale from the chord's root note. The E chord would consist of the notes E-G#-B; the A chord would consist of the notes A-C#-E; and the B chord would consist of the notes B-D#-F#. This gives us the I-IV-V chord progression.

Now, with the guitar being an instrument with six strings, we tend to modify this by repeating notes, so that in reality a "regular" or first position E chord is (low to high) E-B-E-G#-B-E; the A is A-E-A-C#-E; and the B is F#-B-D#-F#(adding an F# and a B on the lowest two strings if a barre chord form). But it doesn't matter, even if you only use the basic three notes you have the entire chord, no matter where on the fretboard you play them. This is what happens when you see guitarists playing chords all over the neck of the guitar, they are simply putting the basic notes of the chords into place wherever they happen to be. An A chord played with six strings sounds different than one played with only three, and sounds different played in the first position than some fancy way of making an A wherever you feel like up the neck, but it is the same chord. You can make the chord wherever you want, to capture the specific sound you desire. The thing to remember is you only have to have three notes to have these major triads, and anywhere on the guitar you can play them equals that particular chord.

So that's all there is to it?

Well, that's all there is to that part of it. Like every interesting thing in life, there is always more. For instance, if we now want to play a song we might be able to find one or write one in this progression. But the basic way chords work in western musical theory is in the Major-Minor-Seventh trio we talked about in our first lesson, remember? So if we want to play a song in this E-A-B chord progression we need a little something else. The typical I-IV-V progression in a major key actually uses a seventh chord form of the V, in this case a B7 chord. This chord from low to high notes would be B-D#-A-B-F#, which would be adding an A note. The A is, of course, the seventh interval from the root note of the B scale.

Why is this done to make the basic chord progression? Good question, but rather than give in to the impulse to ramble on, I will simply say for now that the standard chord progression for a major key is called the Tonic-Dominant-Subdominant progression, and that is the I-IV-V we discussed above. But the V is almost always "seventhed" so to speak, for reasons we will not get into right now ('cause my head already hurts from all this, whether yours does yet or not). I'll just say that we'll get into this more deeply in the near future. For now, just note that if you have learned the E-A-B7 progression we've been discussing, you just learned how to play "Folsom Prison Blues", a famous Johnny Cash song, and one of the best basic songs for you to learn. Because by barring the E-A-B7 progression up and down the neck, thus changing keys, you will learn how to play about 90% of what you will ever hear in "pop" music. That is because an E barred on the next fret up is an F, a fret above it is an F#, one above is a G, and so on and so forth up the neck. Remember our first lesson, "Why is the guitar tuned that way?" That is why.

So tune in next week, when we discuss how to make seventh chords. 'Bye!