&
TAB
44
www
C
52 5
www
D m
0 30
www
E m
2 52
www
F
30 3
www
G
52 5
www
A m
0 30
www
B dim
2 51
www
C
30 3
&www
G
0 40
www
A m
2 52
www
#
B m
40 4
www
C
52 5
www
#
D
0 40
www
E m
2 52
www#
F#dim
40 3
www
G
52 5
&wwww
CMaj7
52 5
2
wwww
D m7
0 30 3
wwww
E m7
2 52 5
wwww
F Maj7
30 3
0
wwww
G 7
52 5
1
wwww
A m7
0 30 3
wwww
B m7(b5)
2 51 5
wwww
C Maj7
30 3 7
& wwww
#
G Maj7
0 40 4
wwww
A m7
2 52 5
wwww
#
B m7
40 4
0
wwww
C Maj7
52 5
2
wwww
#
D 7
0 40 3
wwww
E m7
2 52 5
wwww#
F# m7(b5)
40 3
0
wwww
#G Maj7
52 5
2
www.mandoberlin.com - 2013
Diatonic Major ChordsBrian Oberlin
Most Western music is based on the harmony that a major or minor scale produces. In order to generate chords from a scale,take each scale degree and stack every other scale degree afterwards. These are called thirds. The results are "diatonic chords" builtfrom a scale, hence, diatonic major or minor chords. One must stack at least three notes (called a triad) in order to make a chord. When one stacks yet another third on top of a triad, the result is a 7th chord (four note chord). This theory is the foundation of Westernmusic harmony and can be heard in Baroque, Romantic, bluegrass, swing, jazz, folk, hip-hop, rap, blues, rock, country, reggae, etc.... On the following charts, the uppercase Roman numeral indicates a major chord while the lowercase numeral indicates a minor chord.
Chordsin C Major
Chordsin G Major
Chordsin C Major
Chordsin G Major
Triads:
7th Chords:
I ii iii IV V vi vii I
I ii iii IV V vi vii I
µ
º7 7 7 7J J J
& www
b
C m
51 5
www
b
D dim
0 3 6
www
bb
Eb
1 51
www
b
F m
3 63
www
n
G
52 5
www
bb
Ab
63 6
wwwn
B dim
2 51
www
b
C m
3 63
&www
b
G m
0 30
www
b
A dim
2 51
www
nb
Bb
30 3
www
b
C m
51 5
www
#
D
0 40
www
bb
Eb
1 51
www#
F#dim
40 3
www
b
G m
51 5
&wwww
bb
C m7
51 5
1
wwww
b
D m7(b5)
0 3 63
wwww
bb
EbMaj7
1 51 5
wwww
bb
F m7
3 63 6
wwww
n
G 7
52 5
1
wwww
bb
AbMaj7
63 6
3
wwwwn
b
B dim7
2 51 4
wwww
b
b
C m7
3 63 6
& wwww
nb
G m7
0 30 3
wwww
b
A m7(b5)
2 51 5
wwww
nb
BbMaj7
30 3
0
wwww
b
b
C m7
51 5
1
wwww
#
D 7
0 40 3
wwww
b
b
EbMaj7
1 51 5
wwww#
b
F#dim7
40 3 6
wwww
b
G m7
51 5
1
www.mandoberlin.com - 2013
Diatonic Minor ChordsBrian Oberlin
There are several schools of thought on minor scale harmony. It can be cautiously generalized that most music in a minorkey harmonizes its chords from the natural or pure minor scale (1, 2, b3, 4, 5, b6, b7) while borrowing melody and/or improvisational notes from various minor scales. For this chord theory, which is expressed in the charts below, there are exceptions that must take place in order for the minor music to sound "correct" or "thoroughly minor." The V and the vii chords borrow their harmonies from the harmonic minor scale. (1, 2, b3, 4, 5, b6, 7) This deviation from the harmonized pure minor scale must be done in order to achievea V chord (as opposed to v) that resolves to the i, and to alleviate a mirror image of the harmonized major scale. A classic example of almost perfect minor scale harmony is the song Autumn Leaves. Its progression in the first 8 measures ( iv, VII, III, VI, ii, V, i) follows the 7th chord chart below with one exception, the VII chord. In fact, the VII chord in Autumn Leaves is borrowed from the pure minor scale harmony. Keep in mind that the charts below express the most common chords in a minor key.
Triads:
7th Chords:
Chordsin C minor
Chordsin G minor
Chordsin C minor
Chordsin G minor
i ii III iv V VI vii i
i ii III iv V VI vii i
µ µ
7 7 7º J J 7∂