&

TAB

44

www

C

52 5

www

D m

0 30

www

E m

2 52

www

F

30 3

www

G

52 5

www

A m

0 30

www

B dim

2 51

www

C

30 3

&www

G

0 40

www

A m

2 52

www

#

B m

40 4

www

C

52 5

www

#

D

0 40

www

E m

2 52

www#

F#dim

40 3

www

G

52 5

&wwww

CMaj7

52 5

2

wwww

D m7

0 30 3

wwww

E m7

2 52 5

wwww

F Maj7

30 3

0

wwww

G 7

52 5

1

wwww

A m7

0 30 3

wwww

B m7(b5)

2 51 5

wwww

C Maj7

30 3 7

& wwww

#

G Maj7

0 40 4

wwww

A m7

2 52 5

wwww

#

B m7

40 4

0

wwww

C Maj7

52 5

2

wwww

#

D 7

0 40 3

wwww

E m7

2 52 5

wwww#

F# m7(b5)

40 3

0

wwww

#G Maj7

52 5

2

www.mandoberlin.com - 2013

Diatonic Major ChordsBrian Oberlin

Most Western music is based on the harmony that a major or minor scale produces. In order to generate chords from a scale,take each scale degree and stack every other scale degree afterwards. These are called thirds. The results are "diatonic chords" builtfrom a scale, hence, diatonic major or minor chords. One must stack at least three notes (called a triad) in order to make a chord. When one stacks yet another third on top of a triad, the result is a 7th chord (four note chord). This theory is the foundation of Westernmusic harmony and can be heard in Baroque, Romantic, bluegrass, swing, jazz, folk, hip-hop, rap, blues, rock, country, reggae, etc.... On the following charts, the uppercase Roman numeral indicates a major chord while the lowercase numeral indicates a minor chord.

Chordsin C Major

Chordsin G Major

Chordsin C Major

Chordsin G Major

Triads:

7th Chords:

I ii iii IV V vi vii I

I ii iii IV V vi vii I

µ

º7 7 7 7J J J

& www

b

C m

51 5

www

b

D dim

0 3 6

www

bb

Eb

1 51

www

b

F m

3 63

www

n

G

52 5

www

bb

Ab

63 6

wwwn

B dim

2 51

www

b

C m

3 63

&www

b

G m

0 30

www

b

A dim

2 51

www

nb

Bb

30 3

www

b

C m

51 5

www

#

D

0 40

www

bb

Eb

1 51

www#

F#dim

40 3

www

b

G m

51 5

&wwww

bb

C m7

51 5

1

wwww

b

D m7(b5)

0 3 63

wwww

bb

EbMaj7

1 51 5

wwww

bb

F m7

3 63 6

wwww

n

G 7

52 5

1

wwww

bb

AbMaj7

63 6

3

wwwwn

b

B dim7

2 51 4

wwww

b

b

C m7

3 63 6

& wwww

nb

G m7

0 30 3

wwww

b

A m7(b5)

2 51 5

wwww

nb

BbMaj7

30 3

0

wwww

b

b

C m7

51 5

1

wwww

#

D 7

0 40 3

wwww

b

b

EbMaj7

1 51 5

wwww#

b

F#dim7

40 3 6

wwww

b

G m7

51 5

1

www.mandoberlin.com - 2013

Diatonic Minor ChordsBrian Oberlin

There are several schools of thought on minor scale harmony. It can be cautiously generalized that most music in a minorkey harmonizes its chords from the natural or pure minor scale (1, 2, b3, 4, 5, b6, b7) while borrowing melody and/or improvisational notes from various minor scales. For this chord theory, which is expressed in the charts below, there are exceptions that must take place in order for the minor music to sound "correct" or "thoroughly minor." The V and the vii chords borrow their harmonies from the harmonic minor scale. (1, 2, b3, 4, 5, b6, 7) This deviation from the harmonized pure minor scale must be done in order to achievea V chord (as opposed to v) that resolves to the i, and to alleviate a mirror image of the harmonized major scale. A classic example of almost perfect minor scale harmony is the song Autumn Leaves. Its progression in the first 8 measures ( iv, VII, III, VI, ii, V, i) follows the 7th chord chart below with one exception, the VII chord. In fact, the VII chord in Autumn Leaves is borrowed from the pure minor scale harmony. Keep in mind that the charts below express the most common chords in a minor key.

Triads:

7th Chords:

Chordsin C minor

Chordsin G minor

Chordsin C minor

Chordsin G minor

i ii III iv V VI vii i

i ii III iv V VI vii i

µ µ

7 7 7º J J 7∂