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Part 3: Chord type

*note – Chord shapes are described in this lesson using the six digit method, in which six digits (left to right) represent the six strings (6 to 1) and the value of each digit represents the fret held, 0 represents an open string and X indicates an unplayed string. For example, the common four-string D major chord is shown as XX0232.

When it comes to trying to recognise isolated chords by ear, there are two things to look out for. One is the actual notes of the chords. If we can hear the pitch of the individual notes, we can easily reconstruct the chord using those notes. Unfortunately, that’s more difficult than listening to the pitch of single notes. The notes seem to get in each other’s way and it takes a lot of practice to mentally separate the notes enough to identify them. It’s like listening to two people talking at the same time – you don’t really catch much of either conversation unless you’re able to focus on one and block out the other.
That aspect of identifying chords by matching the pitch of their notes is dealt with in part 4. The other aspect to be aware of is the fact that when the notes of a chord combine, they produce a unique harmonic effect. It’s a sound associated with only that chord type. Recognising the chord type by ear is half the battle. All that remains after that is to find the pitch of the chord’s root.

Identifying chords by type

All chord types have a unique harmonic sound because of their individual notes combining with each other. Although all chords have different notes, it’s the spacing (interval) between the notes that gives the chord its characteristic sound. That means that, although all major chords, for example, have different notes, the intervals between the notes are identical (apart from octave differences). That in turn means that all major chords will have the same quality of sound, or harmonic effect, regardless of pitch.

THE MAJOR CHORD
For example, if you compare the sound of the chords, E major (02210) and F major (133211) they will sound different in overall pitch because their notes are different. However, the intervals between their notes are identical, so the harmonic effect of both chords will also be identical. Both chords will produce the unique sound of the major chord.

That sound is often described as bright, strong, positive, triumphant, etc
Often, you can be sure that certain songs must start on a major chord just by their title or mood, e.g.,
Happy birthday
Ode to Joy
All you need is love

Major chords can also sound sad, however, if played slowly.

Chord voicing
The voicing, of a chord refers to the how the individual notes are arranged. On guitar the arrangement is seen in the shape of the chord. If we compare two different shapes of the same chord, such as G major (320003 - GBDGBG)) and (355433 - GDGBDG) we’ll again hear a difference in the sound, but it's only a pitch difference between certain of the notes, simply because we’ve arranged them in a different order. The harmonic effect will be exactly the same in both cases, and also identical to the previous two examples E major and F major, i.e., the sound of the major chord.

Practice
Even though every chord type has a unique harmonic effect, some of them are only subtly different from others, and the huge variety of different pitches and arrangements (shapes) of chords can often obscure the character of the chord type. Practising listening to the harmonic effect of a wide variety of chords is necessary to be able to recognise the chord type by its harmonic effect.

Play some major chords on your guitar and listen to their harmonic effect.

THE MINOR CHORD
Now play some minor chords and try to hear what minors have that majors don’t – and vice versa.. The sound of the minor chord, especially in comparison to the major chord is considered dark, beautiful, sad, wistful, reflective, etc.

Here are some good examples of songs that start with a minor chord:
While my guitar gently weeps
The house of the rising sun
Comfortably numb
The Thrill is gone.

Major - minor contrast
Listen to the contrast when both chord types are heard in succession. Play the following chords in succession, repeatedly.
E major (02210) and E minor (022000)
Listen for a change of mood. Major to minor will appear to be darkening, or sinking – minor to major will sound brightening or rising. The difference is clear, yet the only difference in structure between major and minor chords is that the minor contains a note one semitone (half step) lower than the equivalent note of the major chord.

Self tests

Major and minor chords in pairs
Listen to the following eight pairs of major and minor chords. Notice the contrast between each chord and try to recognise by the change in mood (darkening/sinking or brightening/ rising) whether each pair is major-minor or minor-major.
Major and minor pairs

Single major and minor chords
These are isolated chords in various arrangements. This time, ignore any previous chord. Just listen to the quality of the sound as you hear it. If you’re not sure try to imagine singing a simple song with a strong major melody such as Frere Jacques. If the chord is minor, Frere Jacques won't sound right when heard against the chord.
Identify chord type as major or minor


Answers:

Major and minor pairs
1. Major - Minor
2. Minor - Major
3. Major - Minor
4. Minor - Major
5. Minor - Major
6. Major - minor
7. Major - Minor
8. Minor - Major

Identify chord type as major or minor
1. Major
2. Minor
3. Major
4. Major
5. Minor
6. Minor
7. Minor
8. Major
9. Minor
10. Major

How did you do?

If you found any difficulty with the first test, you definitely need to stay at this level for a while and practise playing lots of major and minor chords on the guitar while listening to them intently.

If you were successful with most, or all, of the samples in the second test, well done. If you found difficulty with the second test, don't worry. It's not really a fair test because the chords aren't strictly being heard in isolation. The previous chord heard can cloud your judgement because chords in progression have yet another distinctive quality which may be confusing you. Those tonal effects, as they're known will be dealt with later under the more advanced topic of chord progressions. For now, treat it as more of a practice session.

SEVENTH CHORDS

Seventh chords are the most common chord types after majors and minors, and they are all dissonant chords, i.e., they contain notes that clash. The level of dissonance can vary from subtle to jarringly obvious depending on the type of seventh chord in question, where it appears in a piece of music and also, to a lesser extent, on the actual arrangement of the notes within the chord, (i.e which notes are doubled or which is lowest, etc.) The note responsible for the dissonance is of course, the seventh of the chord. When it’s the highest note of the chord, the dissonance is usually more prominent than when it’s inside the chord.

Although there are several varieties of seventh chord, we'll focus on the most common types of seventh chord as they have distinctive harmonic effects:

The seventh (constructed from scale notes:1 3 5 b7)
This is by far the most common and most important type of seventh chord. This chord is also frequently called a dominant seventh. However, we'll try to avoid using that term until the final section dealing with chord progressions, where the term will be used with a more specific meaning. A distinguishing feature of this chord is that it sounds incomplete and often needs to resolve to a more stable chord.

The other seventh chord types that we'll look at are the The major seventh (I 3 5 7), The minor seventh (1 b3 5 b7) and The diminished seventh (1 b3 b5 bb7) .

Here are the above types of seventh built on the same root, played in succession:
A major7th, A7th, A minor 7th, A diminished 7th

Listen to the difference in sound and try to notice any distinguishing feature of their harmonic effect that may be helpful in recognising them in future.

Self-tests
Listen to the following paired sequences of three of the seventh chord types that are most likely to be confused (we'll leave out the highly distinctive diminished seventh until the next section as it's unlikely to be confused with the other types)

Try to identify which of two possibilities is being played:
Major or seventh

Seventh or major seventh

Minor or minor seventh

Answers

Major or seventh
Major, 7th, 7th, major, major, 7th
Major, 7th, 7th, 7th, major, seventh.

Seventh or major seventh
Maj7th, 7th, maj7th, 7th, maj7th, 7th,
maj7th, 7th, 7th, maj7th, 7th maj7th

Minor or minor seventh
Minor, min7th, minor, min7th, min7th, min,
min7th, minor, min7th, minor, min7th, min7th

How did you do?
If you found the tests quite easy, you are ready to move on to the other method of identifying chords - by the pitch of the notes contained within the chord.

If you found the tests (or certain sections) difficult, such as the minor and minor sevenths test, you can spend some more time listening to the differences between the different types of seventh. Notice how the chord containing a seventh has more of an unfinished feel. 7ths and minor 7ths sound more bluesy, and major 7ths sound more jazzy.

Other chord types
This section has been concerned with identifying the most important and most frequently encountered chord types by their unique harmonic effect, i.e., majors, minors and sevenths. Other chord types also have a unique harmonic effect (though often not so distinctive) and you should pay attention to the quality of the sound whenever you play any chord type. When you hear the chord in a song you'll have a much better chance of recognising it, as you'll begin to listen to chords in a more conscious way.

Coming next >>> Identifying chords by pitch matching

This will involve learning to hear and find the individual notes of a chord on the guitar. This method enables you to reconstruct chords on the guitar even if you can't figure out the proper name of the chord.