Sail the C-Seven: Chord Naming

When I have a client who wants to learn about music theory, I make sure we spend however many sessions it takes so that they understand the essentials of chord names, and don’t ever get caught using that dreaded term "Dominant 7th chord".

The most confusing part of chord naming is understanding the use of "7".There is no chord type called a 'dominant 7th'. It's just "7" or 7th". The term dominant 7, which derived from misuse of classical music terminology, refers to taking the V chord in a scale (the major based on the 5th degree of the scale) and making it a 7th chord. But let's back up to basics of chord naming and get there more clearly (all examples below refer to the key of C).

The names of chord are based on the distance (interval) between the root of the chord, and each of the other notes in the chord (i.e. the name of the chord tells you what notes are in the chord).

If the root of the chord is C, the next highest note is usually a third, or the note "E", the third note of the C scale. If the interval is a major 3 (2 steps, or 4 guitar frets, C-E), then the chord is major. We don’t have to say "major" in the chord name, as that is understood by default. If the interval is a minor 3rd (3 half-steps or 3 guitar frets, C-Eb), then the chord is a minor chord, and we use the word minor in the name of the chord – Thus, the word MINOR in a chord name always refers to the status of the 3rd. If the 3rd is moved one half-step (fret) in the other direction, the interval is now a perfect 4th (C-F), and the chord is called Suspended or sus4. The third is changed to the 4th. "Sus" in a chord name refers to changing the 3rd to the 4th.

The 5th in a chord is usually going to be a Perfect 5th or P5 (C-G) and if so, is not mentioned in the chord name. Like the major 3rd, it is the default (Thus a major chord - Root, Major 3rd, P5th) is just called by the letter name e,g,. "C". If we mess with the 5th, and move it down one fret, it is now a diminished 5th, and the chord name says (-5). If we push the 5th one fret higher, it is now an augmented 5th, and the chord name says "aug" or "+" . Thus, the chord C+ would mean C-E-G#, and the name C-5 would mean C-E-Gb.

Now, this brings us to the confusing 7. If we have a normal major chord, and add to it the note that is the normal 7th degree of the scale, the interval is a Major 7th and the chord is called maj7 or M7. CM7 = C-E-G-B. The major7th interval is always designated with "maj" or "M" If you reduce the M7th interval by one fret (e.g. from B to Bb) it is now a minor 7th interval. BUT, the word "minor" in a chord name is reserved to refer to the 3rd So we can't use the word "minor" to refer to adding a minor 7th interval to a chord. So what do we do? WE USE JUST THE NUMBER 7. Thus a 7 or 7th chord is root-Major 3rd-Perfect 5th-Minor 7th, or C-E-G-Bb. It has nothing to do with whether the chord is a dominant chord (built on the 5th degree of the scale) or not.

In the key of C, "G" is the 5th, so a G7 is the 7th of the dominant chord, but just as easily, F is the 4th, so an F7 chord in the key of C is the 7th of the Sub-Dominant, but no one ever says "F Sub-Dominant 7". D is the 2nd and a D7 is the 7th of the Super-Tonic but no one ever says D SuperTonic 7. It makes no sense, and is just a perpetuated misunderstanding of classical music terminology. (1 = Tonic, 2= Supertonic, 3=Mediant 4=Subdominant 5=Dominant, 6=Submediant, 7=Leading tone, 8=Octave)

Now what happens if you have a minor 3rd in a chord AND a minor 7th (C-Eb-G-Bb)? By the rules above, the minor 3rd is noted by the word 'minor', and the minor 7 by just the number 7, so you have Cm7. What if you have a minor 3rd and a major 7

(C-Eb-G-B) ? It is a Cm(M7). That name tells you every note in the chord. Similarly if you messed with the 5th, and had C-Eb-Gb-B you'd have Cm-5(M7).

You've probably seen the chord name "dim" or diminished. This means that EVERY interval in the chord is reduced one half-step. Thus a C7 (C-E-G-Bb) becomes

C-Eb-Gb-A (technically, the "A" is Bbb) and is called Cdim. In classical music, a diminished chord would not typically include the diminished 7th. Just the Root, m3rd, and dim 5th.

Other points to remember: Just a number after a chord name means that the chord includes every third interval from the root to that number, i.e "9" means Root, 3rd, 5th, 7th, 9th. An 11th chord means Root, 3rd, 5th, 7th, 9th, 11th. Depending on whether each of those intervals is raised or lowered, you would adjust the chord name accordingly.

C-Eb-G-Bb-D is root, m3, P5, m7, and maj9, and the chord name is Cm9. The "m" means the 3rd, and the 9 means both the 7th (NOTE that the "7th means the minor 7th, Bb instead of B), and the major 9. If instead you had C-E-G-B-D, it is now Cmaj9, as the "maj" indicates a major 7 interval, instead of a minor 7.

Last point: We commonly see chord names such as Cadd9. This means exactly what it says. It's a major chord (C-E-G) to which we ADD the major 9, which is D. (D is 9 because it is nine scale degrees above the root i.e., the octave C-to –C is 8 (C on the A-string to C on the B-string) plus one step to D is 9, which is why we stick our little finger on the 3rd fret of the B string while fingering a regular C to make Cadd9. Same concept on the keyboard.

There are many more chord names and variations, but the principles are all the same. The name of a chord, based on the distances from the root to each not in the chord, should tell you all the notes in that chord. – And there is NO SUCH CHORD TYPE AS A DOMINANT 7!

For more chord, scale, and rhythm theory, go to my book website, http://www.songcrafterscoloringbook.com

...Bill Pere

http://www.billpere.com

http://www.lunchensemble.com

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http://www.songcrafterscoloringbook.com

"One of the Top 50 Guiding Lights of the Music Industry" - Music Connection Magazine"

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What's It All About? (Even if Your Name Isn't Alfie)

What’s It All About?

(Even if Your Name Isn’t Alfie)

""The only books that influence us are those for which we are ready, and which have gone a little further down our particular path than we have gone ourselves." –

E. M. Forster, English novelist

"Life is an ongoing process of choosing between safety – (out of fear and need for defense), and risk – (for the sake of progress and growth). Make the growth choice a dozen times a day." -- Abraham Maslow

Songcrafters' Coloring Book – both the book and this blog -- is about choices -- your choices. The choices you make as a songwriter which cause your songs to get the reaction you hope for, or the one you don't expect; The choices which determine whether your song sells a thousand copies, a million copies, or never goes beyond your studio shelf.

By looking at the individual components of songs, those choices become clear to you and let you know what to expect when you decide on one option or another. This not about songwriting "rules", as there really are none. Looking at songwriting as an interrelated series of informed choices is the primary paradigm of "Songcrafters' Coloring Book".

Everything in songwriting is a choice with artistic, commercial, emotional, spiritual, or monetary consequences. When creating, performing or marketing songs, we often don't know what all those choices are, let alone the results that flow from each one. Common sense tells us that when we don’t know what our options are and the consequences of choosing a particular one, it is impossible to make an informed decision, or the best decision to meet your objectives. When we understand what our choices are and their associated outcomes, we gain control over that incredible process we know as songwriting.

I developed the concepts presented here over many years, beginning in the 1980’s, initially presenting them in published articles and songwriter forums. The response was overwhelmingly positive, even though using many of these techniques requires significant effort and commitment. It became clear during that time that it was also necessary to include an overarching model of "Why and When" along with the "How", so that a person seeking to use these techniques to further their craft would have all the information needed to make fully informed choices and understand why it is worth the effort. Thus, there are two primary types of topics discussed here: the Why’s and the How’s.

It is important to know Why the techniques given here are important and When they can be used to best advantage. Along with that, there are some core ideas and paradigms (overarching concepts) which underpin all the later "How-to" discussion. The How-to topics look at how you apply a particular technique to achieve a particular result.

The information presented in "Songcrafters' Coloring Book" comes from many sources. There are of course many printed and quoted references. In addition, as Director of Special Projects for the Connecticut Songwriters Association since 1980, and President since 2004, I’ve had the great fortune to work with many top songwriters and industry icons, learning from them first hand, interviewing them, and developing personal and professional relationships over the years. These folks are listed at my website, www.billpere.com. The knowledge and insights they’ve given me have been invaluable, and I am greatly indebted to them for their willingness to have shared their time and expertise.

I have also had the privilege through conferences, presentations and classes, to directly interact with more than 10,000 aspiring songwriters across the U.S., and to critique thousands of songs. Through my own performances, my 15 released recordings, and my several websites, I’ve been able to interact with thousands of audiences of loyal fans, new listeners, and hecklers across several countries. As a result, this book looks at songwriting from an array of different perspectives, and brings them together in a brand new way.

Why is Any of This Relevant?

Over the last decades, the music business has changed dramatically. Musical styles, technology, distribution methods, recording equipment, and consumer tastes all continuously evolve. However, the essential things that make a great song have remained constant. Yet, they have never been clearly defined. A song which becomes a standard endures across different styles, artistic interpretations, and the passage of time. Here, we seek to define the key ingredients which make that happen.

There are several excellent books and websites out there which present a potent arsenal of songwriting tools and techniques. "Songcrafters' Coloring Book" does that as well. But there are few places you can turn where you can find a presentation of exactly when and why to apply those tools, and the pros and cons of doing so. Here, we seek to provide that in depth.

Some of this material may influence the way you write songs, but it does not change the elements of what makes a song great. The songwriting approach presented here can give you more control over those elements and improve your ability to make them work together to produce that magic we call a standard, a hit, or just a great song.

Why undertake a new way to approach songwriting? Because there is one other significant change that has occurred. Today, anyone can wake up in the morning, pour their feelings out on paper, sit down in their high-quality easily-affordable home studio, and make a recording, which for less than the cost of a haircut, can then appear on i-Tunes and every other major worldwide music distribution outlet in a few weeks.

Consequently, there is now more music flowing direct-to-consumers than at any time in history. Your competition has increased dramatically, in sheer volume and in production quality, but not particularly in the quality of the songwriting. Thus, more than ever, the quality of the songs is what’s going to lift you and keep you above that ever-growing baseline of clutter. Not the production, or the performance – the songs. Great music and great lyrics.

Most songwriters are going to continue writing songs the same way – a mixture of feelings, instinct and maybe a few general guidelines. Occasionally, great songs will emerge. However, the writers who take the time to work on new ways of making their creative output consistently stand above the rest will become the ones who are recognized as the next generation of great songwriters.

If you are read the book or subscribe to this blog, I thank you for allowing me to be your guide on this journey to give you more control of your own creative output.

For more, visit http://www.songcrafterscoloringbook.com

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