Added note chords
Added note chords are similar to
extended chords except that they lack the
7th (chord member). We saw earlier how it was possible to omit certain notes from extended chords. such as the
11th, 9th and
5th - but never the
7th. Omitting the
7th converts it from an
extended chord to an
added note chord.
For example,
G 9 = G B D F A:
G add 9 = G B D A (also known as G add 2)
Types of added note chords
Type:
Sixth
Scale notes:
1 3 5 6
Example:
C6 = C E G A
Typical shape:
8 7 5 5 5 5 ( C E G C E A)
Comment: This is one of the few chords from which (if we have to omit any note) the
5th isn't normally omitted. Omitting the
5th (
G) from the chord
C6 would leave the notes
C E A, which is just another spelling of
A minor (
A C E). The full
C6 chord happens to have exactly the same notes as
A minor 7 (
A C E G). Those two chords share the same sound and shapes. The musical context usually determines which is the more correct name in any situation.
(If the 7th chord member is present, sixth chords become the extended chord type,
thirteenth)
Type:
Minor sixth
Scale notes:
1 b3 5 6
Example:
C min 6 = C Eb G A
Typical shape:
8 10 10 8 10 8 (C G C Eb A C)
Type:
Sixth added ninth
Scale notes:
1 3 5 6 9
Example:
C6/9 = C E G A D
Typical shape:
X 3 2 2 3 3 (C E A D G)
Type:
Minor sixth added ninth
Scale notes:
1 b3 5 6 9
Example:
C min 6/9 = C Eb G A D
Typical shape:
X 3 1 2 3 X
Comment: The fifth is omitted from this shape
Type:
Added ninth
Scale notes:
1 3 5 9
Example:
C add 9 = C E G D
Typical shape:
X 3 2 0 3 0 (C E G D E)
Type:
Minor added ninth
Scale notes:
1 b3 5 9
Example:
C min add 9 = C Eb G D
Typical shape:
8 10 10 8 8 10
Type
Added eleventh
Scale notes:
1 3 5 11
Example:
C add 11 = C E G F
Typical shape:
X 3 2 0 1 1 (X C E G C F)
Type:
Minor added eleventh
Scale notes:
1 b3 5 11
Example:
C min add11 = C Eb G F
Typical shape:
X X 10 10 8 11 (X X C F G Eb)
Suspended Chords
Suspended chords in modern usage, are special chords in which the
3rd of a major or minor chord has been displaced by either of its neighbours the
2nd or the
4th. The effect is one of '
suspension' and anticipation of the missing (usually
major)
3rd making an appearance. Most of the time, that is still the case - a
sus chord is almost always followed (resolved) by the major or (less often) the minor chord built on the same root. In jazz however,
sus chords are often not resolved.
Type:
Suspended fourth
Scale notes:
1 4 5
Example:
C sus4 = C F G
Typical shape:
X 3 5 5 6 3 (X C G C F G)
Type:
Suspended second
Scale notes:
1 2 5
Example:
C sus2 = C D G
Typical shape:
X 3 5 5 3 3 (X C G C D G)
Type:
Seventh suspended fourth
Scale notes:
1 4 5 b7
Example:
C7sus 4 = C F G Bb
Typical shape:
X 3 5 3 6 3 (X C G Bb F G)
Comment: Some sources maintain that
Sus 2 chords are not genuine chords but simply
sus 4 chords spelled differently. For example the chord
F sus 2 (
F G C) contains the same notes as
C sus 4 (
C F G).
Slash chords
Slash chords are chords in which a bass note is specified following a slash. For example the chord,
G/F. means "
play the chord G major and add the note F in the bass". Slash chords are found in sequences in which a moving bass line is required, such as the sequence:
C --- C/B --- Am --- Am/G
They can also be found in sequences in which a repeating static bass note (pedal point) is required under a changing chord progression, e.g.:
Am --- F/A --- D/A
Power chords
A Power chord is the name given to the interval of a
perfect fifth (or
perfect fourth), especially when played on electric guitars with overdriven amplification.
During the 1950s, the ever-increasing levels of amplication and overdrive were found to have an adverse effect on the sound of chords. Unlike single notes, chords sounded unclear at high distortion levels. Even simple major and minor chords could sound harsh and discordant. The solution was to omit the
3rd from major and minor chords leaving the two-note interval consisting of the scale notes
1 - 5. As this interval (a perfect fifth) is very pure and consonant, it sounds good even at high levels of power and distortion. These
'power chords' as they became known, are now used extensively throughout rock music. Although they consist of two different notes, either (or both) of those notes may be doubled an octave higher (or lower) as shown in the examples below:
Type:
Power chord (fifth chord)
Scale notes
1, 5
Example:
C5 = C G
Typical shape
X 3 5 5 X X (X C G C X X)
Type:
Power chord (fourth chord)
Scale notes:
1, 4
Example C4 =
C F
Typical shape:
X 3 3 5 X X (X C F C X X )
Inverted power chords.
If a '
fifth' power chord, such as
C5 is inverted, it becomes identical to a '
fourth' power chord built on a different root.
For example:
C5 contains the notes of the perfect fifth interval
C G. If we invert it, its notes are
G C.
G4 contains the notes of the perfect fourth interval
G C. If we invert it it becomes
C G.
Technically, both names (
C5 or
G4) are correct, but calling it
C5 is far more common.