How To Find Keyboard Chord Notes For Any Chord In Seconds

You can learn how to find keyboard chord notes for any chord in seconds using a few simple formulas. No matter what key you're playing in, or what the chord symbol, these simple chord templates will be all you need to build any chord from scratch, quickly and easily.

First, we need a couple of definitions: half steps and whole steps.

A half step is the smallest distance between any two keys on the piano. It can be between two white keys, or between a white key and a black key (but not between two black keys). If you pick any key on the piano, the note 1/2 step above (to the right of) that key is the key immediately to the right of the current key.

For example, if you play a C (the white key to the immediate left of any of the groups of two black keys), 1/2 step above C is C#, the 1st of the 2 black keys in the 2-black-key group. The note 1/2 step below C is B - it's the white key immediately to the left of C.

A whole step is simply two half steps. So, the note a whole step above C is the first white key to the right of C, which is D.

With those definitions out of the way, here's how to build any major chord:

1. Play the root of the chord - for example, play a C note.

2. Play the note 4 half steps (2 whole steps) above that note - in this example, that would be E, the note two white keys to the right of C.

3. Play the note 3 half steps (1 and 1/2 whole steps) above that last note - in this example, that would be G, the note 2 white keys to the right of E.

When you play those 3 notes together, you will be playing a major chord, also know as a major triad (3 notes).

This works for any beginning note. For example, if we start with Ab, the black key in the middle of a group of 3 black keys, the next note up would be 4 half steps above that, which is C. The third note is 3 half steps above C, which is Eb. So, Ab major is Ab - C - Eb.

To build a minor chord starting on any note, simple "switch" the top two intervals. In other words, start with any note - for example C. Next, play the note 3 half steps above that root, which is Eb in this example. Finally, play the note 4 half steps above the last one, which is G in this example. C minor is played as C - Eb - G.

Once again, we can use this structure starting on any note. For example, starting on F, we have F - Ab - C to make an Fm chord.

To build a diminished chord, start with the root note, then play the note 3 half steps above the root, then another note 3 half steps above that one. So, Cdim (C diminished) would be C - Eb - Gb.

Finally, to build an augmented chord, start with the root, then play the note 4 (1/2-steps) above the root, then the note 4 (1/2-steps) above that one. So, C+ (C augmented) would be C - E - G#.

There are other chord modifications and extensions, but these are the formulas for the foundation chords, so you won't need to look up the basic chords any longer.

The Steely Dan Mu Major Chord (And Beyond) for Guitarists, Part One

In doing some musical web-surfing I've stumbled upon several articles regarding the Steely Dan Mu Major chord. Being a big fan of the Dan, and a jazz guitarist, it's certainly a harmony I'm familiar with, yet I find it fascinating that a cluster of notes commonly found in jazz years before Can't Buy A Thrill should garner such interest, particularly from guitar players. Perhaps it's because rock guitarists need to re-think their approach to voicing these chords.

Let's look at the characteristics of rock guitar chord voicings. Be they common bar chord forms, power chords, major and minor triads on sets of 3 or 4 strings or 1st position voicings using open strings, rock guitar chord voicings almost always contain a root and 5th, with one or both often being doubled [or even tripled]. Even 7th or 9th chord voicings include the root and, sometimes, the 5th.

Essentially, the Steely Dan Mu Major chord, as found in their earlier work [up to and including Katy Lied], is a major triad with the major 2nd added and voiced closely with the 3rd. The inclusion of this major 2nd interval poses fingering problems for guitar players. If we think in terms of reducing these to 3 note voicings, however, the mu major not only becomes playable [with a finger stretch], but opens us up to many other harmonies.

Let's take, for example, a simple G major triad, voiced G B D from low to high, on strings 4, 3 and 2. By stretching the 4th finger to A on the 7th fret [replacing G] we have a mu major root position voicing minus the G root. This voicing can also be played on strings 3, 2 and 1 [10th position].

It is possible to voice these mu major triads in first and second inversion. In first inversion, on strings 4, 3 and 2 [B D G], replace B with A, D with B and retain the G. In 2nd inversion, same strings [D G B] replace the G with A. Root position is the voicing we typically find in the music of Becker and Fagan, however.

These 3 note voicings are extremely versatile. As we're now relying on the bass player to sound the root of the chord, our voicings can serve different functions. For example, our root position G mu major chord functions as the Imaj chord in the key of G when our bass player plays G. However, with E in the bass, it can sound like Em11 [E A B D]. In fact, this chord can assume different functions with almost any bass note in the key of G, and with some non-diatonic bass notes as well.

We can extend the Steely Dan Mu Major Chord concept to minor triads as well. In part 2, we'll examine the evolution of this concept in Steely Dan's later work, and explore other ways of voicing these and other jazz-influenced chords used in the music of Walter Becker and Donald Fagan.

If you like the sound of the Steely Dan Mu Major chord, and are interested in hearing music with jazz-influenced chord changes, Peter and the Wolves are offering a free single for download, entitled Love/Hate Thing. It's pop music with jazz influence. Check it out at http://www.peterandthewolves.ca/.

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