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Page 19 continued Dominant seventh chord shapes Major Seventh Chords This chord is formed by adding the note one semitone (half- ...

Page 20 tempos it can be heard in Latin-influenced material. There is a string of five major seventh chords in the bridge of Azt ...

Page 21 Minor Seventh Chords Adding the note that is one tone (full step) below the root of a minor chord produces a minor seven ...

Page 22 Suspended Fourth Chords Having dealt with the sevenths, we move to several chord types that inhabit a strange musical '' ...

Page 23 The sus2 combines nicely with the sus4, as a finger is added, taken off, etc. John Lennon used this on 'Happy Christmas ...

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Page 25 The fifth chord will toughen up a progression. You can sing a minor or major melody over the same fifth chord – it makes ...

Page 26 Major sixth chord shapes Minor Sixth Chords The minor sixth has two forms. This is because there are several different m ...

Page 27 a fleeting one just before the chorus of 'Run To You' by Bryan Adams. Minor Sharp Sixth Chords The other type of minor s ...

Page 28 minor sharp sixth than the minor sixth. It is not a common chord, though around the time of the 'White Album' Lennon bec ...

Page 29 followed by the same sequence starting from Em. Notice that an augmented chord is made up of two intervals of two tones ...

Page 30 Section 3— Chord Sequences Part 1 ABBREVIATIONSRoman numerals I VII indicate chordrelationships within a key. m maj mino ...

Page 31 The chords of C major are formed from the seven notes of the scale: D F A (2 4 6), E G B (3 5 7), F A C (4 6 1), G B D ( ...

Page 32 There are seven notes in a major scale. Each one is given a Roman numeral: I, II, III, IV, V, VI, VII. In C major this m ...

Page 33 Table of chords and keys, columns 1-12 (I-IV min) be transcribed more easily if you first identify the key and then work ...

Page 34 Let's look at this table in more detail. Columns 1-6 show the six most important chords in songwriting. We're not concer ...

Page 35 The latter occurs twice in the verse of 'Help'. The bIII is a significant blues chord; the bVI is heard in blues and pop ...

Columns 10-12 make another group. These are what I call 'reverse polarity' versions of chords II, III and IV, where what was a m ...

Page 36 I II IV V I III IV V CDm F G CEm F G Now try the 'reverse polarity' trick: III maj IV V I III maj IV V C D FGC E FG The ...

Page 37 sophisticated sound. Rock bands have never been keen on this change, judging it too "soft". Radiohead, however, have inc ...