文档介绍：VI. Chords: Construction/Execution/Basic Harmony
Note: I definitely went a little overboard with this chapter and went into some topics with more depth than is
necessary at this point in the text. If you are a novice player, one who is just now learning the grips and the
intervallic formulas for the various types of chords, then I suggest that you skip the sub section dealing with
inversions (VI. A. 3. - Inversions) as well as the sub sections dealing with open position major chords (VI. A.
4. - Open Position Major Chord Forms and VI. A. 5. - Open Position - Other Triadic Chord Forms) for now
and concentrate on sections VI. A. 1. - 2. dealing with triad formulas and movable triad grips and then jump
ahead to sections VI. B. through to the end dealing with 7th chords. Once you know the formulas for all the
7th chords you should skip ahead to the chapter about Shell Voicings. Then go back and look at the other stuff.
It is much more important for you now to be learning how to construct and to play the mon types of
chords than it is to learn every inversion of every triad, etc. Learning the chords will allow you learn some real
tunes and to play with people. The only way you can really learn about this music is by playing real tunes with
real people.
A. Triads
1. Construction:
[Again, it is not my intention to have this book serve as a detailed primer on the subject of harmony. That is a
subject best left to a dedicated text.]
Definition:
Chord: Three or more distinct pitches sounded together.
FYI: Two pitches sounded together creates what is known merely as an “interval”, a “diad” or a “double stop”.
By far, most chords used in Western tonal music are of the “tertian” variety. . They are built in intervals
of major and/or minor thirds. A chord consisting of 3 notes is called a triad.
There are 4 basic triad types: the Major triad, the Minor triad, the Diminished triad and the Augmented
triad. As a matter of fact, depending on which mu