They always invert to another perfect interval. Perfect intervals got their names because they sound perfect due to their frequency relation, an octave also can always be divided into a fourth and a fifth. If you flatten perfect intervals (unison, fourth, fifth and octave) by one semitone, the result isn’t called minor but diminished. Why is it called diminished fifth, not minor fifth? Both terms mean lowering an interval. If we use the minor third with the remaining keys we get the C minor chord, which can be written as 1-3b-5 (or 1-b3-5, b stands for down a semitone, b is called flat): C minor (Cm) C diminished chordĪnother variation is to use the minor third together with a diminished fifth, resulting in a C diminished chord, 1-3b-5b: So there’s more than one third: a perfect third (the one we’ve used) and a minor third, the black key (Eb) below the E key. Problem is – we have notes between – the black keys. So the scale note intervals are root – third – fifth. But they are not used to name it – see above. For all triad chords the semitone intervals are either 3 or 4. The semitone intervals for this chord are root + 4 + 3. We start with the root note C, add a third to get E and another third to get G, resulting in 1-3-5 if we describe it using intervals: Audio (MIDI): C major (C) Next step: we build the C major chord using these keys. Strange thing is: the root note itself is 1, not 0, in opposite to the normal way of counting something. So let’s take a look at it and name the intervals: unison: 1 Why? The keys are already build upon the C major scale: all white keys belong to it. To understand the chords better it’s useful to take a look at our band member’s instrument – the piano (or keyboard). Even if you play the Blues using a pentatonic scale.
So all interval names and therefore chord names are derived from this scale. And the most common scale in Western music (music of the “Western hemisphere”, not Country music) is the diatonic major scale, because it is based on mathematical relations between the frequencies ( read more). Now what’s a third? Why don’t we use a chromatic scale to avoid things like major and minor thirds? Why not just a third is three semitones, period? That’s because all these intervals are relative to the scale. These intervals determine the sound of a chord. These intervals are usually of about the same size: they are made of major and minor thirds. Then we have an interval to the second note and another interval to the third note. As the name says, it consists of three (tri = 3) different notes. The basic chord where all others chords are derived from is the triad. The only exception is a power chord: root and fifth (sometimes also root and fourth) played together, not a real chord but usually accepted under this name by guitar players. Two notes only give an interval called dyad or double stop when played on a guitar. Wait – strictly speaking it should be three different notes played together. What’s a chord? Simply put, at least three notes played together. All chords as fretboard scheme and MIDI sound.And chords can help you not only to play the rhythm but also to help you with your solo playing!
Come on – a chords tutorial for Blues? For just three chords?
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