Ukulele Chord Theory & Practice -...

Ukulele Chord Theory & Practice | 2016 Edition 1

Ukulele Chord Theory & Practice By Ted Fong, January 2016 Table of Contents

1. The Major Scale ........................................................................................................ 2 2. Chords Defined ......................................................................................................... 3 3. Intervals ..................................................................................................................... 4 4. Chord Symbols ......................................................................................................... 4 5. Ukulele Chord Shapes .............................................................................................. 5 6. Chord Functions ........................................................................................................ 7 7. Chord Functions Applied to “Pearly Shells” ............................................................. 8 8. Chord Progressions in Different Keys ....................................................................... 9 9. Chord Shapes Applied to Common Chord Progressions: ...................................... 10 10. Chord Shapes Applied to “All of Me” .................................................................... 13 11. Inversions ................................................................................................................ 14 12. Circle of Fourths ...................................................................................................... 15 13. Chord Progressions Along Circle of Fourths ........................................................... 16 14. Identify These Shapes ............................................................................................. 17

Introduction This handbook contains knowledge, insights, and practice habits I picked up teaching ukulele at the Chinese Community Church in the past five years. It’s far from complete as far as teaching methods go, but it’s a good start for intermediate players who want to take their playing to the next level. I present a lot of music theory. If you’re put off by this, keep in mind that our ultimate goal is to play ukulele by ear. Learning theory and practicing these exercises will really help. It will promote your creative side and develop your intuition in a wide range of musical situations. Playing ukulele will be more fun than ever before!

If you want to help me offset the cost of developing this and other teaching materials, you can make a $5 donation at tinyurl.com/uke1234. Thank you for your support! Ted Fong Sacramento, CA January 2016


1. The Major Scale The major scale is the source of all chords in modern music. It is defined as the following sequence of whole steps (W) and half steps (H): Piano

Ukulele

Using this formula, a major scale can be built starting from any note, giving rise to a tonal center that the ear recognizes as a “key.” For example, when you play a major scale starting on A, you play the notes A-B-C#-D-E-F#-G#-A. The ear recognizes this as a major scale in the key of A. It sounds the same as a C major scale, but “in a different range.” Other major scales can be constructed as follows:

Key Do Re Mi Fa So La Ti Do

C C D E F G A B C

G G A B C D E F# G

D D E F# G A B C# D

A A B C# D E F# G# A

E E F# G# A B C# D# E

F F G A Bb C D E F

Bb Bb C D Eb F G A Bb

Eb Eb F G Ab Bb C D Eb

Ab Ab Bb C Db Eb F G Ab

We use “Do, Re, Mi…” to identify the sound of each note in the major scale rather than actual letters. Letters will change with each key, but the basic major scale sound will not. Julie Andrew describes this perfectly in the Sound of Music, “When you know the notes to sing, you can sing most anything.” Watch video: www.youtube.com/watch?v=ps52qEFiLbg. Thank you Julie!

C D E F G A B

Do Re Mi Fa So La Ti Do

C

W W H W W W H

C D E F G A CBAECG

W WHW W W H


2. Chords Defined Chords are formed by combining alternating notes of a major scale:

Keyboard visualization:

4-note chords

3-note chords

Chords have a certain sound quality depending on the intervals (described in next section) that define them: Chord Type Example Quality Defining Interval

Major C, Cmaj7, C6 Happy, bright, majestic Major 3rd

Minor Cm, Cm7 Cm7b5 Sad, dark, mysterious Minor 3rd

Dominant C7, C9, C7b9 Tense, dissonant, bluesy Minor 7th

Diminished Cdim Tense, dissonant, unstable Minor 3rd and Flat 5th

C Major Scale Containing the chords: Interval from chord root:

C 1 3 5

Dm 1 b3 5

Em 1 b3 5

F 1 3 5 maj7

G 1 3 5 b7

Am 1 3 5 b7

Bdim 1 b3 b5

F G A B C D E F G A B C D E F G A B

C E G

A C

D F A

G B

E G B

F A C

E

D

C D E F G A B C

B D F

E

F

G

!C !D !E !F !G !A !B !C! D !E !F !G !!!A!! !B! !C !D !E !F !G !A !B !C!

C" Am" F" Dm" B"dim" G"

C"Maj7" Dm7" G7"

D !E !F !G !A !B !C !D !E!


3. Intervals Common intervals:

Interval Other names # Half Steps

# Whole Steps

Examples

2nd Major 2nd 2 1 C-D A-B Eb-F

Minor 3rd flat 3 or b3 3 1.5 C-Eb A-C Eb-Gb

3rd Major 3rd 4 2 C-E A-C# Eb-G

4th Perfect 4th 5 2.5 C-F A-D Eb-Ab

5th Perfect 5th 7 3.5 C-G A-E Eb-Bb

6th Major 6th 9 4.5 C-A A-F# Eb-C

Minor 7th flat 7, b7, dominant 7 10 5 C-Bb A-G Eb-Db

7th Major 7th 11 5.5 C-B A-G# Eb-D

Octave 12 6 C-C A-A Eb-Eb

Combining intervals to make chords:

Chord Example Notes Combines

major chord or major triad C C-E-G major 3rd + minor 3rd

minor chord or minor triad Cm C-Eb-G minor 3rd + major 3rd

major 7th chord Cmaj7 C-E-G-B major 3rd + minor 3rd + major 3rd

minor 7th chord Cm7 C-Eb-G-Bb minor 3rd + major 3rd + minor 3rd

dominant chord or 7th chord C7 C-E-G-Bb major 3rd + minor 3rd + + minor 3rd

diminished Cdim C-Eb-Gb-A minor 3rd + minor 3rd + minor 3rd

4. Chord Symbols Chord symbols define which notes make up a chord (but not their stacking order). They are based on intervals described in the last section, although idiosyncrasies do exist.

Chord Symbol Interpretation Notes

C C major chord or triad C-E-G

Cmaj7 Add a major 7th to a C major chord C-E-G-B

C7 Add a dominant 7 to a C major chord C-E-G-Bb

Cm7 Add a minor 7 to a C minor chord C-Eb-G-Bb

Cm7b5 Add a flat 5th to a Cm7 chord C-Eb-Gb-Bb

C6 Add a 6th to a C major chord C-E-G-A

C9 Add a 9th to a C7 chord C-E-G-Bb-D

C7#11 Add a 9th and a sharp 11 to a C7 chord C-E-G-Bb-D-F#


5. Ukulele Chord Shapes A ukulele chord shape is a pre-defined hand position that can be moved up and down the fret board to facilitate transposing (playing in a different key) and playing inversions of open chords. An inversion is a re-stacking or rearrangement of the notes in a chord. For example, C E G and E G C are inversions of the C major chord. Basic Shape Derived Shapes

G"Shape"

C"Shape"

3"

R"

D"Shape"

F"Shape"

5"

2"

3"

3"

2"

G7"

b7"

C7"

3"

D7"

2"

3"

2"

Cm7"

b3"3"

F7"

5"

Dmaj7"

M7"

Fmaj7"

b7"b7"

b7"

5"

M7"

b7"

2"

3"3"

Cm7b5"

b3"b7"3"b5"

C9"

3"9"

b7"3"

Go+a"Know" Good"to"Know"

R" R"

R" R" R" R"

R"

R" R"R"

R"


A7#Shape#

5"

b7"

3"

Diminished#Shape#

2#

Fm7#Shape#

5"

F9#Shape#

b7"

3"

9" 5"

2#

1#

Amaj7#

Fm7b5#

F7b9#

b3" 1# b3"

b7"

b5"

Am7#

5"M7" 3"

2#b7" b3"

2#

Am7b5#

b7" b3"

2#b5"

b7"

b7"

3" b9"

5"

2#

F7b9b13#

b7"

3" b9"

b13"

2#

R"

R"

R" R" R"

R"

R" R"

R" R"

Go,a"Know" Good"to"Know"


6. Chord Functions The “function” of a chord refers to the harmonic role that a chord plays in a song. It is denoted by a Roman numeral and associated with a certain sound that a good ear can recognize. The Roman numeral refers to the distance from the root of the chord to the key of the song. For example, an F chord in the key of C functions as a IV chord (“four chord”), because the root of the chord is F, the fourth note in the key of C. A D minor chord in the key of C functions as a ii chord (“two chord”), because the root of the chord is D and it’s the second note in the key of C. An upper case Roman numeral means that the chord is a major chord. Lower case means that the chord is a minor chord. Earlier we saw this diagram that shows how chords form naturally when you build a chord on alternating notes of the major scale, in this case, a C major scale (all the white keys on a piano).

Each chord can be assigned a chord function based on the position of its root relative to C. A column labeled Chord Function has been added to this table to show this. Notice that the I, IV, and V chords are major chords, and the ii, iii, and vi chords are minor chords. This phenomenon occurs naturally in all major keys! This table below provides further illustration.

C Major Scale Chord Chord Function Interval from chord root:

C I 3 5

Dm ii b3 5

Em iii b3 5

F IV 3 5 maj7

G V 3 5 b7

Am vi 3 5 b7

Bdim vii b3 b5

C E G

A C

D F A

G B

E G B

F A C

E

D

C D E F G A B C

B D F

E

F

G

Chord&Func+on& I& ii&& iii& IV& V& vi& vii&

Chord&Type& Major& Minor& Minor& Major& Major&or&Dominant& Minor& Dim&

Key$of$C$Major$ C& Dm& Em& F& G&or&G7& Am& Bdim&

Key$of$D$Major$ D& Em& F#m& G& A&or&A7& Bm& C#dim&

Key$of$E$Major$ E& F#m& G#m& A& B&or&B7& C#m& D#dim&

Key$of$F$Major$ F& Gm& Am& Bb& C&or&C7& Dm& Edim&

Upper$case$denotes$major$or$dominant$chord,$i.e.$$I,$$IV,$$and$V.$Lower$case$denotes$minor$or$diminished$chord,$i.e.$ii,$iii,$vi,$and$vii.$

A$system$of$idenAfying$chords$based$on$their$harmonic$purpose$within$a$given$key.$


7. Chord Functions Applied to “Pearly Shells” A I-chord tends to sound like it’s resting. A V-chord projects tension and often resolves to a I chord or a IV chord. G (resting) Pearly shells from the ocean C Shining in the sun A7 D7 (tension) Covering the shore G G7 (a V chord to C) When I see them C Cm7 My heart tells me that I love you G (resting) D7 (tension) G (resting) More than all the little pearly shells All the chords in the song can be assigned a chord function:

Chord Function FufunFunction

I ii II7 iii iv IV V7 vi vii Chord G Am A7 Cm C D7 Em7

Notes:

• A7 and Cm do not follow the general rule that the ii-chord is minor and the IV chord is major. This is done purposely to create musical interest.

• G7 on line 4 functions as a V chord to C on line 5, creating tension and release. Other chord functions have their own signature sound. The next section on Chord Progressions will give you a chance to explore the sound of chords when they “function” in different contexts. Why is all this information about chord functions important? Our ultimate goal is to play by ear. The training process goes much faster if you can identify what you are hearing and put a name to it. You want your left brain (analytical) to inform your right brain (creative), and vice versa. Overtime, your right brain will take over most of your musical processing and create the art that we call music.


8. Chord Progressions in Different Keys

Function I IV V I

Type Major Major Dom Major

Key of C C F G7 C

Key of G G C D7 G

Key of D D G A7 D

Key of A A D E7 A

Key of F F Bb C7 F

Key of Bb Bb Eb F7 Bb

Function I vi ii V

Type Major Minor Minor Dom

Key of C C Am Dm G7

Key of G G Em Am D7

Key of D D Bm Em A7

Key of A A F#m Bm E7

Key of F F Dm Gm C7

Key of Bb Bb Gm Cm F7

Function ii V I

Type Minor Dom Major

Key of C Dm G7 C

Key of G Am D7 G

Key of D Em A7 D

Key of A Bm E7 A

Key of F Gm C7 F

Key of Bb Cm F7 Bb

Function I V vi IV

Type Major Major Minor Major

Key of C C G Am F

Key of G G D Em C

Key of D D A Bm G

Key of A A E F#m D

Key of F F C Dm Bb

Key of Bb Bb F Gm Eb

1. 2.

3. 4.


9. Chord Shapes Applied to Common Chord Progressions: Practice these up and down the fret board, while identifying the chord names:

V I

R R

1.

I IV V IV

R R

R

R

I IV IV

R R R

V

R

3.

4.

I vi V IV

5. R R

R

R

iii IV V R

R

6. R

V7

R R

R

2.

I

R

I


8.

I IV I

R R R

V

7.

R

I IV V I

R R R

R

I V7 IV V7

9. R

R

R R R

I ii V7

10.

11.

R

R

R R

R

I

iii

IV V7

R

R

R

R

vi

R


I ii iii IV

12. V vi

R

R

R

R

R

R

15. I II7 V7

R R R

ii V I

R R

R

II7 V I

R R

R

16.

ii V I

R

R R

13. 14.

I #Idim ii

R

R

17.

V9

R

R


10. Chord Shapes Applied to “All of Me” Shown: Shape | Fret

Progression)1 )I )IV) )V )IV)!

1. !Chord !G !C !D !C!

!Shape|Fret !G|2 !C|3 !C|5 !C|3!

!

2. !Chord !G !C !D !C!

!Shape|Fret !G|2 !C|3 !D|2 !C|3!

!

3. !Chord! !A !D !E !D!

!Shape|Fret !G|4 !C|5 !D|4 !C|5!

!!

4. !Chord! !C !F !G !F!

!Shape|Fret !C|3 !F|3 !F|5 !F|3!

!!

!

Progression)2 )I )vi) )IV )V)!

5. !Chord! !D !Bm7 !G !A!

!Shape|Fret !D|2 !Cm7|2 !G|2 !G|4!

!!

6. !Chord! !D !Bm7 !G !A7!

!Shape|Fret !D|5 !Cm7|2 !G|2 !A7|4!

!!

)Progression)3 )ii )V) )I)!

7. !Chord! !Dm7 !G !C!

!Shape|Fret !Cm7|5 !G|2 !C|3 !!

!!

8. !Chord! !Dm7 !G9 !C!

!Shape|Fret !Cm7|5 !F9|4 !C|3 !!

!!

)Progression)4 )I) )V )))))I))9. !Chord! !D !A !!!!!!D!

!Shape|Fret !C|5 !G|4 !!!!!!!C|5!

!

10.!Chord! !D !A7 !!!!!!!!!D!

!Shape|Fret !D|2 !A7|2!!!!!!!!D|2!

!

))INTRO!!!!!!!C!!!!!!!!!!C#dim!!!!!!!!Dm7!!!!!!!!G7!

!!!!!!!!!!!!!!!!!!!!!!!!!C|3!!!!!!!!!!!!!Dim|3!!!!!!!!!!!!!!!Cm7|5!!!!!!!!F9|4!

!

C!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!E7!

C|3!!!!!!!!!!!!!!!!G|7!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!C7|7!!!!!!!!!!!!!!!!!D7|4!

All!of!me…….!why!not!take!all!of!me……..!

!!

A7!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!Dm!!A7!!!Dm!

G|4!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!Cm7|5!!!!G|4!!!Cm7|5!

Can't!you!see!I'm!no!good!without!you,!

!!

E7!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!Am!!!!E7!!!!!Am!

D7|4!!!!!!!!!!!!!!!!!!!!!!C7|7!!!!!!!!!!!!!!!!!!!!!!!!Fm7|5!!D7|4!!!Fm7|5!

Take!my!lips……..I!want!to!lose………them,!

!

D7!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!Dm!!!G7!C7|5!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!Cm7|5!!!!G|2!

Take!my!arms!I'll!never!use!them.!

!!

C!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!E7!

C|3!!!!!!!!!!!!!!!!!!!!!!!!!!!!!G|7!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!C7|7!!!!!!!!!!!!!D7|4!

Your!goodbyes…they!leU!me!with!eyes!that!cry,!

!!

A7!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!Dm!!A7!!!Dm!

G|4!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!Cm7|5!!!!!!G|4!!!!Cm7|5!

How!can!I!get!along!without……...you,!

!!

F!!!!!!!!!!!!!!!!!!!!Fm7!!!!!!!!!!!!C!!!!!!!!!!!!!!!!!!!!!A7!

D|5!!!!!!!!!!!!!!!!!!!!!!Cm7|8!!!!!!!!!!!!!G|7!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!G|4!

You!took!the!part!that!once!was!my!heart,!

!!

!!!!!!D7!!!!!!!!!!!!!!!!!G7!!!!!!!!C!!!!!C#dim7!!Dm7!!G7!

!!!!!!!C7|5!!!!!!!!!!!!!!!!!!!!!!!!G2!!!!!!!!!C|3!!!!!!!!!dim|3!!!!!!!!!Cm7|5!!!F9|4!

So!why!not!take!all!of!me.!

!


11. Inversions An inversion is a re-stacking or rearrangement of the notes in a chord. For example, The C chord contains the notes C-E-G. Inversions of the C chord are E-G-C and G-C-E. Playing different chord shapes for the same chord is a natural way of producing inversions. Inversions are useful for adding musical interest and constructing chord melodies where the note on the top of the chord is the same as the melody note. Chord Inversions (Shape-Fret)

C C-Open C-3 F-10

D D-Open D-2 C-5 G-9

D7 D7-2 C7-5

Dm Dm-Open Cm7-5

E F-2 D-4 G-11

E7 E7-Open D7-4 C7-7

Em7 Em-Open Cm7-7

F F-Open F-2 D-5 C-8

G G-Open G-2 F-5 D-7

A A-Open G-4 F-7 D-9

Bb C-1 G-5 F-8 D-10


12. Circle of Fourths The Circle of Fourths is a sequence of 12 notes or chords that are separated by a 5 half steps or a “4th.” Much of Western music is based on chord progressions along the Circle of Fourths.

Bb Eb Ab

000"

F"

C"G" E" A"

G"

A"

B"

Db"

1"

3"

5"

7"

8"

2"

4"

6"

9"

C"

D"

E"

Gb"

Bb"

4th"4th"

The"Circle"of"Fourths"is"a"sequence"of"12"notes"or"chords"that"are"separated"by"a"5"half"steps"or"a"“4th.”""Much"of"Western"music"is"based"on"chord"progressions"along"the"Circle"of"Fourths."""

A"""""B""""C""""D"""""E"""""F"""""G""""A""""B"""""C""""D"""""E"""""F""""G"""""A""""B""""C"""""D""""E"""""F"""""G""""A""""B"

4th" 4th"

4th" 4th" 4th" 4th"4th" 4th"4th"

4th" 4th" 4th"

Db Gb

10"

Eb" Ab"11"

D"

E"A" G

"

Bb"B"

Ab"

F"

Db"

C"

Eb"Gb"

F#,"C#,"G#,"D#,"A#"

F#,"C#"

F#,"C#,"G#"

F#,"C#,"G#,"D#"

Bb"

Bb,"Eb"

Bb,"Eb,"Ab"

Bb,"Eb,"Ab,"Db"

Bb,"Eb,"Ab,"Db,"Gb""

Bb,"Eb,"Ab,"Db,"Gb,"Cb""

F#"

(5ths"Progression"or"“Circle"of"5ths”)"

4ths"Progression"or"“Circle"of"Fourths”"

Chord"Root""or"Key"

Memorize"the"sequence!""""B"""E"""A"""D"""G"""C"""F"""Bb"""Eb""Ab"""Db"""Gb"


13. Chord Progressions Along Circle of Fourths

7. We Wish You A Merry Christmas G (G-2) C (C-3) A (G-4) D (C-5) We wish you a Merry Christmas, we wish you a Merry Christmas, B (G|6) Em7 (Cm7|7) Am (Fm7|5) D7 (C7|5) G (F|5) We wish you a Merry Christmas, and a Happy….. New.…Year.

8. Ain’t She Sweet C (C-3) E7 (D7-4) A (G-4) D7 G (G-2) C (C-3) Now, I ask you very.....confidentially, ain’t she sweet? 9. Little Grass Shack B7 (C7-2) E7 (D7-4) I can hear the old guitars playing, on the beach at Hônaunau A (G-4) D7 (C7-5) I can hear the old Hawaiians saying, Komo mai no kâua i ka hale welakahao G (D-7) A (D-9) It won't be long till my ship will be sailing back to Kona

D7#

E"Am# G

"

Bb"

B"

Ab"

F"

Db"

C"

Eb"Gb"

1."D7#

E"A" G7

#

Bb"

B"

Ab"

F"

Db"

C#

Eb"Gb"

2."D"

E"A" G7

#

Bb"

B"

Ab"

F#

Db"

C7#

Eb"Gb"

3."

Dm#

E"Am# G7#

Bb"

B"

Ab"

F"

Db"

C#

Eb"Gb"

4."D#

Em7#A7# G"

Bb"

Bm7#

Ab"

F"

Db"

C"

Eb"Gb"

5."D7#

E"A" G7#

Bb"

B"

Ab"

F#

Db"

C7#

Eb"Gb"

6."

Start"Start"

Start"

Start"

Start"

Start"

II5V5I" II5V5I"ii5V5I"

I5vi5ii5V" I5VI5II5V"I5vi5ii5V"

D

E A G

Bb

B

Ab

F

Db

C

Eb Gb

D

E A G

Bb

B

Ab

F

Db

C

Eb Gb

D

E A G

Bb

B

Ab

F

Db

C

Eb Gb


14. Identify These Shapes

5"

M7"

3"

5"b7"3"

2"R"

b7"

2"R"

3"R"

3" R"

b3"3"b7" R"

2"

R"

R"

b7"2" R"

2"

M7"

R"

5"3"

R"3"

3" b7" R"

b7"

3"

9" 5"

2"

5"

b7"

3"

2" R"

5"

1"b3"

b7"

R"

5"M7" 3"

2" R"

2"b7" b3"

R" R" R"

R" R"

2"R"

3"R"

3" R"

b3"3"b7" R" 5"

1"b3"

b7"

R"

5"3"

R"

5"

b7"

3"

2" R"

5"M7" 3"

2" R"

3"

b7" R"

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