{"id":1405,"date":"2018-02-17T04:00:58","date_gmt":"2018-02-17T10:00:58","guid":{"rendered":"https:\/\/simplymandolin.com\/?p=1405"},"modified":"2022-03-30T12:15:08","modified_gmt":"2022-03-30T18:15:08","slug":"minor-chords","status":"publish","type":"post","link":"https:\/\/simplymandolin.com\/flekd\/minor-chords\/","title":{"rendered":"The Minor Triad (1-b3-5)"},"content":{"rendered":"\n
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Music Notation – C minor chord<\/figcaption><\/figure><\/div>\n\n\n\n

Mandolin Minor Chords<\/h2>\n\n\n\n

Minor chords can be built from the major scale<\/a> using the 1st (root), the flatted 3rd (b3) and the 5th<\/strong>. That\u2019s our formula for a minor triad: 1 \u2013 b3 \u2013 5.<\/p>\n\n\n\n

The minor triad is the same as the major triad<\/a> only the 3rd is lowered by a semitone (half tone).<\/p>\n\n\n\n

To get a minor, flat the 3rd<\/strong>. Its that easy!<\/p>\n\n\n\n

As a result, any major chords that you might already have in your arsenal, can be made into a minor chord, simply by lowering the 3rd by a semitone (1 fret).<\/p>\n<\/div><\/div><\/div>\n<\/div><\/div><\/div>\n\n\n\n

Major chords to a minor chords<\/h3>\n\n\n\n

Let\u2019s start by taking a look at the A major scale again.<\/p>\n\n\n\n

\"Diagram
Image 1 \u2013 The \u201cA Major Scale\u201d (shown in black)<\/figcaption><\/figure><\/div>\n\n\n\n

The 1st is A, the 3rd is C#, and the 5th is E: 1st, 3rd, 5th = A-C#-E<\/strong><\/p>\n\n\n\n

For a minor triad we have to flat the 3rd<\/strong>. The 3rd is a C#. If we flat that C# (lower it by one semitone), we get a C note. So, the 1st, flatted 3rd and 5th gives us: A-C-E
So our Am triad is A \u2013 C \u2013 E<\/strong>.<\/p>\n\n\n\n

Below is the root position Amaj chord we built in the last section. The 3rd of that major chord is a C#, and it\u2019s at the fourth fret of the second string. If we move it down to the third fret, then we\u2019ve lowered that note by a semitone to a \u201cC\u201d. We end up with an \u201cA minor\u201d chord (Am). To make a major into a minor chord, you just flat the 3rd<\/strong>.<\/p>\n\n\n\n

\"Image
Image 2 – Flat the 3rd to get a minor.<\/figcaption><\/figure><\/div>\n\n\n\n

This is, of course, a moveable minor chord shape (see “Moveable Mandolin Chords<\/a>“).<\/p>\n\n\n\n

Try another<\/h3>\n\n\n\n

Here\u2019s the D major scale:<\/p>\n\n\n\n

\"Image
Image 3 – The D-major scale.<\/figcaption><\/figure><\/div>\n\n\n\n

The 1st is D, the 3rd is an F# and the 5th is A.<\/p>\n\n\n\n

To build minor chords, we flat the third (1 \u2013 b3 \u2013 5). Therefore, we flat the F# and end up with an \u201dF\u201d.<\/p>\n\n\n\n

Our Dm triad is D \u2013 F \u2013 A<\/strong>.<\/p>\n\n\n\n

Below is a diagram of an open string Dmaj chord<\/a> that I\u2019m sure everyone is familiar with. The 3rd of a Dmaj triad is \u201cF#\u201d, and it\u2019s at the second fret of the first string. If we flat that 3rd<\/strong> by moving it down one fret, we end up with an \u201cF\u201d, and we now have a Dm chord.<\/p>\n\n\n\n

\"Image
Image 4 – Flat the 3rd to get a Dm.<\/figcaption><\/figure><\/div>\n\n\n\n

 <\/h3>\n\n\n\n

Minor construction<\/h3>\n\n\n\n

Of course, it\u2019s also fun to just build the chord around a note. Let\u2019s say we\u2019ve done our \u201cclose your eyes and put your finger on the neck\u201d<\/strong> exercise. When we open our eyes, our finger is on the third string (D string) at the eighth fret. That\u2019s a Bb.<\/p>\n\n\n\n

Let\u2019s look at the Bb major scale:<\/p>\n\n\n\n

\"Diagram
Image 5 – Bb Major scale<\/figcaption><\/figure><\/div>\n\n\n\n

Bb \u2013 C \u2013 D \u2013 Eb \u2013 F \u2013 G \u2013 A \u2013 Bb<\/strong><\/p>\n\n\n\n

The 1st (root) is \u201cBb\u201d. The 3rd is D and the 5th is \u201cF\u201d. To build a minor chord we want to flat the third. Therefore, we end up with a \u201dDb\u201d.<\/p>\n\n\n\n

So our Bbm triad will be Bb \u2013 Db \u2013 F<\/strong>.<\/p>\n\n\n\n

We know our root is on the eighth fret of the 3rd string<\/strong> (solid red), so let\u2019s look at all the triad notes close to that.<\/p>\n\n\n\n

\"Image
Image 6 – Triad notes close to our root.<\/figcaption><\/figure><\/div>\n\n\n\n

I\u2019ll put my ring finger on our root note because I see a Db at the sixth fret of the 4th string (G string), and I\u2019m going to cover that with my index finger. On the second string there\u2019s an \u201cF\u201d at the eighth fret right beside our root note. I\u2019ll put my pinky there.<\/p>\n\n\n\n

Any options?<\/h3>\n\n\n\n

Now, if I want, I can mute the 1st set of strings with the fleshy part of my index finger<\/strong> and play the 3-note chord. However, on the first string I see another root note (Bb) at the sixth fret and a Db at the ninth. The easiest fingering for me from here would be to double up on the root note<\/strong> by fretting the first string at the sixth fret (with my middle finger).<\/p>\n\n\n\n

We end up with the following Bbm chord (another moveable minor chord).<\/p>\n\n\n\n

\"Diagram
Image 7 – Bbm chord with root on the third string at the 8th fret<\/figcaption><\/figure><\/div>\n\n\n\n

Just as a side note, did anyone recognize this as a 1st inversion Bbm chord<\/strong>? (Because the 3rd is the lowest note in the chord)<\/p>\n\n\n\n

It\u2019s always good to keep exploring when you can, because you might find something that works better. Here\u2019s a few more Bb minor chords built off that same root note.<\/p>\n\n\n\n

\"Image
Image 7 – More Bbm chords built around the same root.<\/figcaption><\/figure><\/div>\n\n\n\n

Try that exercise a few times. Put your finger on a fret, figure out what note it is, then build a minor chord around that root note. Take a little time to explore any other minor chords that might possible around the same root.<\/p>\n\n\n\n

The intervals in a minor triad<\/h3>\n\n\n\n

In the section on major triads, we discussed two intervals \u2013 the Major 3rd and the minor 3rd.<\/p>\n\n\n\n

If two notes are separated by 4 semitones, then they are a \u201cMajor 3rd\u201d apart (M3). The interval of 4 semitones is called a \u201cMajor 3rd\u201d.<\/p>\n\n\n\n

If the distance between any two notes is 3 semitones (3 half tones), then they are separated by a \u201cminor 3rd\u201d (m3). The interval of 3 semitones is called a \u201cminor 3rd\u201d.<\/p>\n\n\n\n

The distance between the 1st note (tonic) and the flatted 3rd note in the major scale is 3 semitones. That is a minor 3rd interval! The distance between that flatted 3rd note and the 5th note in the major scale is 4 semitones. That\u2019s a major 3rd!<\/p>\n\n\n\n

When we build a minor triad we use a minor 3rd, then a Major 3rd.<\/p>\n\n\n\n

\"Image
Image 8 – A C-minor chord is made up of a minor interval, then a Major interval.<\/figcaption><\/figure><\/div>\n\n\n\n

Look at the diagram of the C-major scale above. You can see that, once we flat the 3rd, we end up with a minor 3rd interval<\/strong> (3 semitones), then a Major 3rd<\/strong> (4 semitones).<\/p>\n\n\n\n

So let\u2019s compare intervals<\/h3>\n\n\n\n

The intervals used to build a major chord \u2013 Major 3rd – minor 3rd.
The intervals used to build a minor chord \u2013 minor 3rd – Major 3rd.<\/p>\n\n\n\n

Its just the opposite for minor chords.<\/p>\n\n\n\n

It is written<\/h3>\n\n\n\n

Minor chords are usually written with a small \u201cm\u201d after the chord letter, such as \u201cAm<\/strong>\u201d, or \u201cEm<\/strong>\u201d.<\/p>\n\n\n\n

Next, we\u2019ll have a look at augmented triads<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"

Major chords to a minor chords Let\u2019s start by taking a look at the A major scale again. The 1st is A, the 3rd is C#, and the 5th is E: 1st, 3rd, 5th = A-C#-E For a minor triad we have to flat the 3rd. The 3rd is a C#. If we flat that […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":true,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"full-width-content","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[58],"tags":[54],"class_list":["post-1405","post","type-post","status-publish","format-standard","category-building-chords","tag-music-theory","entry"],"yoast_head":"\nMinor chords on the mandolin - building from triads - SimplyMandolin<\/title>\n<meta name=\"description\" content=\"Minor chords on the mandolin. 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