Every example in Part 5

Chords: How They Are Built and Why They Work

The C major chord (C4 E4 G4) held, then broken; the C minor chord (C4 Eb4 G4) held, then broken

5.2

C, Csus2, Csus4, C

C4 E4 G4, then C4 D4 G4, then C4 F4 G4, then C4 E4 G4

5.3

The four triads and two suspended chords on C

The six chords of Figure 5.6 in turn: C, Cm, Caug, Cdim, Csus2, Csus4.

5.4

C, Cmaj7, C7 moving to F

C4 E4 G4; C4 E4 G4 B4; C4 E4 G4 Bb4, then C4 F4 A4

5.5

The seven four-note chords on C

The seven chords of Figure 5.8 in turn: Cmaj7, C7, Cm7, Cm7♭5, Cdim7, C6, Cm6.

5.6

The chords of C major

C, Dm, Em, F, G, Am, Bdim on the white keys from C4, then C5 E5 G5

5.7

The chords of A minor

Am, Bdim, C, Dm, Em, F, G from A3, then A4 C5 E5

5.8

C major in three positions

C4 E4 G4, then E4 G4 C5, then G4 C5 E5

5.9

The twelve-bar blues in E, voice-led

The twelve-bar blues in E, one chord a bar, voice-led as in Figure 5.19, with B7 in the last bar before E.

5.10

Two progressions in C

C - F - G - C, then C - Am - F - G - C

5.11

The Perfect cadence: G to C, G7 to C

G to C, then G7 to C, as in Figure 5.20, the bass rising from G to C.

5.12

Four common progressions in C

I-IV-V-I, I-V-vi-IV, I-vi-IV-V, ii-V-I, each chord a half note, a rest between them

5.13

A progression in D Phrygian

The D Phrygian progression of Figure 5.21, Dm | E♭ | Dm | E♭ | Cm | E♭ | Dm | Dm, over a D in the bass.

5.14

Arpeggios: C major and A minor

C4 E4 G4 E4 C4, A3 C4 E4 C4 A3, then each chord held

5.15

The Andalusian cadence and the E7 arpeggio

Am - G - F - E7, then E4 G#4 B4 D5 over E7, and Am; then Am - G - F - E7 - Am under the target notes C5 B4 A4 G#4 A4

5.16

Cmaj7, then Cmaj9

C4 E4 G4 B4, then C4 E4 G4 B4 D5

5.17

From C to Cmaj13

C; Cmaj7; Cmaj9; Cmaj9#11 (F#5); Cmaj13 as C4 E4 G4 B4 D5 A5 (the 11th left out)

5.18

E7, then E7#9

E3 G#3 B3 D4, then E3 G#3 B3 D4 F##4 (sounds as G4)

5.19

An altered G7 resolving to C

G3 B3 F4 Ab4 Eb5 to C3 C4 E4 G4 E5, twice