Major chords are those made up of 3 fundamental notes, which are:
• The tonic (leading note): is the one that gives the name to the chord.
• The third: it is called by a modal, which defines if the chord is greater or lesser.
• La Quinta: that is called subdominant.
Minor chords, like the major chords, is made up of 3 fundamental notes that are the tonic, the third and the fifth. Unlike the major chords, this type of chord carries the third note decreased by a half-step
Chords 7, are the same as the major chords, which are made up of 3 fundamental notes that are the tonic, the third and the fifth. Unlike the major chords, this type of chord carries an extra note added, which would be the 7th. It is this, which gives it the name of 7th chord. This note is achieved by diminishing a tone to the tonic.
The method to find these chords is very simple. And of which we will show 3 examples, which would be: major, minor and 7th chords.
• Define the leading note or tonic (We will take Do (C) as an example).
• Now we count up 4 halftones or 2 tones (From Do (C) to Mi (E), and so we reach our third major.) Let's not forget that the tonic note, which is where we are standing, is the zero point. tones or semitones), are those that mark the numbers to count and not the notes themselves.
Now that we have our third major (which is exactly the second note of the chord), we just need to find the last note that would be La Quinta.
• For that we count 3 semitones up from the third or 7 semitones from the tonic; and so we come to the fifth note.
Following the example, we would count from the note Mi (E), the 3 corresponding semitones to the note Sol (G).
That way we would obtain our C major chord (C), which is formed with the notes Do-Mi-Sol (C-E-G), which would be the tonic, the third major and the fifth, respectively.
• Define the leading note or tonic (We will take Fa (F) as an example).
• Now we count up 3 semitones (From Fa (F) to Sustained Sun (G #)), and so we reach our third minor. Let's not forget that the tonic note that is where we are standing is the zero point. The distances (tones or semitones), are those that mark the numbers to count and not the notes in themselves.
Now that we have our third, we just need to find the last note that would be La Quinta.
• For that we count 4 semitones up from the third and so we reach the fifth note.
Continuing with the example, we would count from the note Sol sustained (G #), the 4 corresponding semitones to the note Do (C).
In this way we would obtain our minor Fa (Fm) chord, which is formed with the notes Fa-Sol held-Do (F-G # -C), which would be the tonic, the third minor and the fifth, respectively.
• Define the leading note or tonic (We will take Re (D) as an example).
• Now we count upwards 4 semitones (From Re (D) to F sharp (F #)), and thus we reach our third major. Let's not forget that the tonic note that is where we are standing is the zero point. The distances (tones or semitones), are those that mark the numbers to count and not the notes in themselves.
Now that we have our third, we just need to find the last note that would be La Quinta.
• For that we count 3 semitones up from the third and so we reach the fifth note.
Continuing with the example, we would count from the note F held (F #), the 3 corresponding semitones to the note La (A).
• Now we only need our 7th, which we will find counting down 2 semitones from our tonic.
Continuing with the example, we count from the note Re (D), 2 semitones down to the note Do (C).
In this way we would obtain our Re 7ma chord (D7), which is formed with the Re-Fa sustained-La-Do (DF # -AC) notes, which would be the tonic, the third major, the fifth and the 7th, respectively .
