Scale-Tone 7th Chords -- INTRODUCTION

PREREQUISITE: You've got to know the MAJOR scales and the major & minor triad chords. If you need a quick refresher, you can download a Major Scale Reference Chart here and a Major & Minor Triad Chord Chart here.

It is highly suggested that you go through the 5-quality jazz 7th chords from the static 5-Quality 60 Chord System post first to learn how to build the basic 5-quality 7th chords. When one begins the study of the 5-quality jazz 7th chords from static position, (here) it's natural to view each chord as a separate entity. You will soon learn that they are not—they have as function... they are part of something larger then themselves.

The study of the 'Scale-Tone 7th Chords' will put the 5-Quality 60 Chord System post' into perspective. This is the basis, the foundation of modern jazz and pop harmony. When you understand this theory, you will look at sheet music from a totally different then before.

For example: These posts are the start of learning and understanding the relationship of one chord to another, and how chords function in chord progressions. When we know the function of a chords we can then determine which notes are appropriate to play with (fit over) a particular chord for improvisational purposes. And...how to create and further develop two-hand chord voicings. The term 'chord function' will become clear as we continue through this series of posts.

An important thought... Merely learning them as a dry theory exercise will not help you implement this knowledge in your playing—yet it's imperative that you gain a basic understanding of this theory. Unfortunately it can be a bland exercise... The good news is... that I will follow up with a much of information on its application. And, as always, on real tunes.

Also: I'm not trying to re-invent the wheel here. This information is readily available from may resources. This is a quick reference and introduction. My goal in future posts is to show you how they're used... how to apply!







Chords are built by adding notes a major or minor 3rd above the starting note (root) using only the notes/tones of the scale. Do not be concerned whether it's a minor or major third... just play a 'C' for example... skip the next note of the scale, 'D', and play (ad) the next note (E). Skip the next of the scale, 'F', and play (ad) 'G', You now have a 'C' major chord. C, E, & G.

Now, if you do the same, beginning on a different note of the C major scale, you will be building a chord on that tone. So, now we know that each note (tone) of the scale has a particular type (quality) of chord that corresponds (belongs or attached) to it.

These are known as Scale-Tones 7th Chords. The lowest note in the chord is the Root, or Tonic, and the chord will be named after it. The middle note is the 3rd. And the top note is the 5th.

Here are the Diatonic Scale-Tone Triad Chords. Each one starting from each note of the 'C' major scale.






We also label them with from I to VI. (see below).
This is VERY IMPORTANT for further studies.

Here's a small audio file demonstrating this in a couple of keys

And here is a reference chart with the rest of the major scales/keys.

NOW, LET'S BUMP IT UP TO MODERN POP AND JAZZ HARMONY
By adding one more note (a 3rd interval) above the triad, we create a 7th chord. Pop & Jazz Harmony is primarily concerned with 7th chords. All Scale-Tone 7th Chords consist of 4 notes. If we remove the 7th interval, (the top note) from the chord, we have only a simply triad chord which is rarely used in jazz voicings.

We form the Scale-Tone 7th Chords using ONLY the tones/notes of the major scale. And...we think of being in the key of root name of the scale we're using. So... if we're using, and building the Scale-Tone 7th Chords with/on the 'C' major scale, we will be thinking that we are in the key of 'C'.

THE FIRST SCALE-TONE CHORD WE LEARN IS A MAJOR 7th CHORD. Formed by starting with the first note of the major scale, (the Root) then continuing to play every other note going up on the scale for a total of 4 notes. These would be the 1st, 3rd, 5th & 7th intervals from the bottom to the top of the chord. And, it is addressed as the one (I) chord. Here's how the (I) chord is built.






All (I) chords are major. Therefore it is never necessary to address a (I) chord as,(I) major. It is assumed. When in a major key and we say (I) chord, it IS major. Now... keep this in mind... this is important.... I said all (I) chords are major. Not, all major chords are (I). You'll understand this as we move on.

THE SECOND SCALE-TONE CHORD WE LEARN IS A MINOR 7th CHORD. Formed by starting with the second note of the major scale, (D), continuing to add every other note.






THE THIRD SCALE-TONE CHORD WE LEARN IS A MINOR 7th CHORD. Formed by starting with the third note of the major scale, (E), continuing to add every other note.






THE FOURTH SCALE-TONE CHORD WE LEARN IS A MAJOR 7th CHORD. Formed by starting with the fourth note of the major scale, (F), continuing to add every other note.






THE FIFTH SCALE-TONE CHORD WE LEARN IS A DOMINANT 7th CHORD. Formed by starting with the fifth note of the major scale, (G), continuing to add every other note.






THE SIXTH SCALE-TONE CHORD IS A MINOR 7th CHORD. Formed by starting with the sixth note of the major scale, (A), continuing to add every other note.






THE SEVENTH SCALE-TONE CHORD WE LEARN IS A m7b5 CHORD. Formed by starting with the seventh note of the major scale, (B), continuing to add every other note.


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HERE'S THE SUMMARY CHART OF THE SCALE-TONE 7th CHORDS

So... the (I) & (IV) chords are major.
The (V) is Dom7th (dominant 7th)
The (II), (III), & (VI) are m7 (minor 7th)
And the (VII) is m7b5 (minor 7th with a flat 5th) - This is also referred to as a half-diminished.

Here's a PDF download copy of the above chart.
Here's a PDF download of all the rest of the Scale-Tone 7th chords keys for
reference and practice.

Now someone out there is saying..."hey, that's only 4 qualities of 7th chords, where's the diminished 7th? Remember: the Scale-Tone 7th chords ONLY USE the notes of the scale - none of these notes are altered. In order to play a diminished chord we would have to lower (alter) the 3rd (E) a half step to Eb. That would take us off the strict rule of using ONLY the tone/notes of the major scale. We will learn how diminished chords are used in conjunction with this harmony study in the near future.

Now, let's discuss how to practice these so we get these numbers into our head. If you're fairly new to this theory, one of the best ways to practice these and really get them into your head and hands is the 'SAY & PLAY' method. The SOUND FILE below will demonstrate exactly how to become familiar with this. I suggest your ultimate goal should be to be able to do this in all keys. Once you're pretty comfortable, you can do away with the 'say & play'.

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