![]() G6 add9/11: #1 sounds amazing, 4 is pretty good, and #3 is really hard to hold. G add9/11: 1 is difficult to hold, 2 sounds great, and 4 is pretty good. G6 add9: I prefer all the odd ones: 1, 3, 5, & 7. #2 also sounds great but it is a little hard to hold. As for the major chords – it’s G, they sound great – but #’s 4 & 6 sound really good. ![]() G major & G5: Thought I would throw in 2 open G5 chords. Here is a chord diagram of the symbols I use in my chord blocks:Ĭ major chord types: major triad, 6, 6 add9, add9/11, 6 add9/11Ĭ6 add9 chord tones: C-E-G-A-D, equals Am11 & D9susĬ add9/11 chord tones: C-E-G-D-F, equals G13susĬ6 add9/11 chord tones: C-E-G-A-D-F, equals C and Dm polychord and Fmaj9/13 Also, I already did an article on C add9 chords which I referenced above so I will not include those chord shapes in this article. ![]() I’m not covering the chord types with an 11 for F since it has an augmented 11th in the key of C major. Let me know if you disagree with any of the tendencies. Follow any chord with any other chord as you see best. Keep the resolution tendency in mind if you are unsure of the next chord in a song you are writing. Often the relative minor of the resolution chord mentioned above works as well, though I have not tested that out for every chord type.īut the tendency is only if you are looking for consonance. I tested every chord type in a way to indicate the ending of a song to see which chord(s) offered the best resolution. The resolve tendency is the scale degree or chord that the chord type seems to come to rest on. The chord shapes for 6, add9 and Cadd9 chords are in my previous articles:Ĭ add9 guitar chord Notes on my term “resolve tendency” Note: This chord is a polychord of a major triad and a minor triad a whole step apart, either the I and ii or V and vi, for example, C & Dm or G and Am in the key of C major. Resolve tendency: resolves best to its major triad version (I maj) and slightly to it’s perfect fourth, C6 add9/11 > C or F Resolve tendency: resolves to itself (I maj) best and it’s perfect fourth and fifth, e.g. C6 add9 > GĬhord intervals: root note, major 3rd, perfect fifth, major 2nd\9th, perfect 4th\11th = R-M3-P5-M9-P4/11 = 1-3-5-9-11Ĭhord equivalent: 13 suspended on the perfect 5th (C add9/11 = G13sus)Īlternate names: Some people may call it a sus add9 but that would be incorrect since the 3rd is present Resolve tendency: resolves to its perfect 5th, e.g. C add9 > GĬhord intervals: root note, major 3rd, perfect fifth, major 6th, major 2nd\9th = R-M3-P5-M6-M9 = 1-3-5-6-9Ĭhord equivalent: minor 11th on the 6th, 9 suspended on the 2nd/9th (C6 add9 = Am11 = D9sus) C6 > GĬhord intervals: root note, major 3rd, perfect fifth, major 2nd\9th = R-M3-P5-M9 = 1-3-5-9Īlternate names: none that are correct – “add9” pretty much does it C > FĬhord intervals: root note, major 3rd, perfect fifth, major 6th = R-M3-P5-M6 = 1-3-5-6Ĭhord equivalent: minor 7th on the vi (C6 = Am7) Resolve tendency: acts as a V chord and resolves to its perfect fourth, e.g. Read my Music Intervals article if you are unfamiliar with the terms or symbols below.Ĭhord intervals: root note, major 3rd, perfect fifth = R-M3-P5 = 1-3-5 Here are the chords types I cover: major triad, 6, add9, 6 add9, add9/11, and 6 add9/11. I have 89 chords in total (19 closed, 70 open). This article is only on major triads from C major and the add tones (6, 9, 11) for the major triads. There are many chord types that can be built from the major scale. 6 add9, add9/11, and 6 add9/11.ĭon’t worry if you have never heard of some of those chord types because I have plenty of easy closed and open chords that sound great and that you will want to use in your songwriting. The add chords I’m including are 6, add9. This article covers all the chords for C, F & G major triads and various add chords. I have 199 closed chords and 377 open chords from the key of C major. You would be amazed at how many chords from the key of C major there are.
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