How do you call these chords?

Question

I know what a major chord and a minor chord is. For instance, in C major, C E G, comprises it. While C Eb G is its parallel minor chord. While A minor, A C E, is its relative minor chord. But what is also C Eb Gb (and A)? And also C E Ab? Please help me explain to me in simple terms please. What are other of those chords that I also need to know.

You answer is of great help to me. THANKS.

Answer 1

The C, Eb, Gb is a C diminished triad (Cdim).



The C, Eb, Gb, Bbb(A) would be the C diminished 7th chord. If you keep the A then it would be the first inversion of the A diminished 7th chord (A, C, Eb, Gb).



The C, E, Ab would be the first inversion of the Ab augmented triad. Root position of the same chord would be Ab, C, E.



Major, minor, diminished, and augmented chords (triads, 7ths, 9ths, 11ths, etc) can be built on all the chromatic scale steps. A good theory text such as Piston's "Harmony" would explain these or check this site:



http://www.dolmetsch.com/theoryintro.htm



Enjoy.



Musician, composer, teacher.

Answer 2

A chord with C, Eb,Gb & A is a true diminished chord..

A diminished chord is a series of minor 3rds. Most people would call it a B double flat since it is is a minor 3rd. up from the Gb.Not to be confused with a 1/2 diminished chord which is the 7th. chord in a major scale.

Example... In C major the B chord would go B, D, F,A. This is called a 1/2 diminished chord. or a Bmin7b5. This is called 1/2 diminished because the 7th is a whole step away from the root.

There are only 3 diminished chords since you could start them on any of the notes and they would still be the same 4 notes. Ex. C,Eb,Gb, A is the same as A,C,Eb,Gb. This chord could be called an A Dim. an Eb Dim, Gb Dim. and C Dim.

C,E,Ab is a augmented chord.

An augmented chord is a series of major 3rds

Answer 3

The first chord about which you ask (C Eb Gb A) presents enharmonic issues (notes which are spelled differently yet make the same sound); in order for this to exist in European harmony, this would occur off the seventh scale tone in Db harmonic minor, which doesn't exist since there is no Fb major to which it may be relative. If enharmonically converted, there is a C# harmonic minor which is relative to E major; thus the chord would be spelled B# D# F# A and would be called a B# diminished seventh chord; note that B# is the raised seventh characteristic of C# harmonic minor and the notes ascend in thirds (conventional chord structure; in your original spelling, the interval from G to A regardless of any accidentals is a second).

The second chord also presents an enharmonic issue: E to Ab cannot be a third, but a fourth, so the note should be renamed G# so the interval is a third. The resulting triad is C E G# and is best named C augmented (some may abbreviate this as either C(#5) or C+).

When considered with your original declarations, the four triad types are major, minor, diminished, and augmented. Some may make a case for suspensions, but at least from the classical perspective the suspension is more of an event that resolves to the major triad: for example, C E# G to C E G. If you are learning this from a jazz perspective, then you may see unresolved suspensions as part of the harmonic language (the Herbie Hancock composition "Maiden Voyage" would be an excellent example using such chordal content).

I'm sorry I could not avoid using theory terms; I recommend keeping a music dictionary on hand to help you understand them.

Answer 4

There are actually four types of chords, (major, minor, diminished, and augmented) excluding the diminished sevenths and the dominant sevenths, which I will tell you what they are later.

C Eb Gb is a diminished chord. A diminished chord is a triad, consisting a minor third, and a diminished fifth above the root. Another example would be G Bb Db

C E Ab is a augmented chord. A augmented chord is a triad, consisting a minor third, and a diminished fifth above the root. Another example would be G B Eb

Dominant sevenths are basically a major triad with a minor seventh above the root. The name comes from the fact that it occurs naturally in the seventh chord built on the dominant (fifth) scale degree of a given major key. Example: the dominant seventh of C major would be G B D F. Another example would be: the dominant seventh of D major would be A C# E G

Another type of chord you need to know is diminished sevenths. They are made of three superimposed minor 3rds (e.g. B D F Ab), which is two tritones a minor third apart (e.g. C F# Eb A). In other words, the diminished seventh of a minor scale (it only appears in songs of a minor key, likewise, the dominant seventh appears in songs of a major key) is built on the 7th (leading-tone, which is sharpened in harmonic minor scales) of the minor scale, another way to remember this is to think that its on semi tone down from the root of the minor scale. Its structure is a minor third, diminished fifth, and a diminished seventh above the root. Another example would be D F Ab B, which is the diminished seventh of Eb minor.



In music, many composers like to use inversions of a chord (switching around the order of a chord), so when you are playing music, you will come across chords frequently. In modern music, many chords are jazz chords, which I have not learned yet but its not really important for you to know that.



Wow, that was ALOT of typing. Hope this helped!

Tony

Answer 5

C Eb and Gb is a diminished fifth.

If you add A, it is a diminished seventh.



There is no chord consisting of C E and Ab.

If you see such a thing, the Ab is a non-harmonic tone, and I betcha the Ab resolves to a G.



I know one way to learn the chords,

but it will require a small arts and crafts project.

You need:



several sheets of cardboard or poster board

a pencil

a felt marker

a compass

a ruler

a protractor

a copper pin fastener

a pair of scissors.



1. With the compass, draw a circle on one sheet of cardboard or posterboard.

2. With the protractor and pencil, divide that circle into 12 slices of 30 degrees each.

3. With the scissors, cut the circle out.

4. With the felt marker, label those slices on the edge as C, G, d, A, E, B, F#, C#, Ab, Eb, Bb, F.



You have now finished making the Circle of Fifths.



5. Cut out another circle the same size as the Circle of Fifths.

Cut out peepholes for C, G, and E.

Draw an arrow pointing to the C.

With the felt marker, label this as "major."



6. Flip the major wheel over and try laying it on the Circle of Fifths.

You should be able to adjust it so that you see C, G, and Eb.

On this side also, draw an arrow pointing to the C.

Label this side "minor."



7. Make another wheel like the major wheel, only this time, cut another peephole for the Bb.

Again, draw an arrow pointing to the C.

Label this one "seventh."



8. For "diminished seventh," cut out peepholes for C, Eb, F#, and A, but don't draw any arrows.

This same chord can go all four ways.



9. For "augmented," the peepholes are at C, E, G#.

This chord can go all three ways.



To find a major chord, put the major wheel on top of the Circle of Fiths, fasten in the center with the copper pin, and rotate.

Whatever the arrow is pointing to is the name of the major chord.



The same procedure serves for all the other chords.



For major sevenths (or major-major), the peepholes are at C, E, G, and B.

For minor sevenths (or minor-minor), the peepholes are at C, Eb, G, and Bb.

For dominant sevenths (or major-minor), the peepholes are at C, E, G, and Bb.

For French sixths, the peepholes are at Ab, C, D, and F#.

For Italian sixths, the peepholes are at Ab, C, and F#.

For German sixths, you can use the wheel for sevenths.

For half diminished sevenths (or the Tristan chord), the peepholes are B, F, D, and A.