11 Ways to Enhance Your Chords and Playing (Part 1)

Chords & Enhancements

There are many ways to approach enhancing and altering your chords.
Heres a short list:
1) Inversions
2) Chord Additions
3) Chord Omissions
4) Chord Suspensions
5) Chord Arpeggios
6) Chord Extensions
7) Chord Reaches
8) Chord Dissonance
9) Chord Substitutions
10) Polychord voicings
11) Grace notes
CHORD INVERSIONS:
=============
Youd be surprised how far mastering inversions will take you.
In fact, many musicians dont pay attention to inversions.
They learn their major, minor, diminished, and augmented chords (what I call the Fantastic
Four in my Monthly Music Mentor series) and never look back.
And sure, these 4 chord types can take you a long way but what separates a GREAT musician
from a good one is ones attention to details.
The melody will often times determine what inversion of a chord you play. I say often times
because this isnt the case all the time but usually.
If you dont know what an inversion is, heres my simple definition.
INVERSIONS are just different ways to play the same chord.
Basically, every note gets its turn on the bottom. If you remember that, youll never forget how
inversions work.
If I had 4 odd numbers:
1 3 5 7
And you had to rearrange these numbers in as many different ways as possible with each one
getting its turn in the front, it would look like this:
1 3 5 7
3 5 7 1
5 7 1 3
7 1 3 5
Now, imagine these numbers are notes like:
C E G B
E G B C
G B C E
B C E G
There you have it! Youve mastered the inversions game.
So when youre playing a particular chord and you think it can sound better, the first thing to do
is try different inversions.
After hitting a chord, you can even follow up with other inversions of the same chord up your
piano.
Hands down, its the easiest, lowest hanging fruit for enhancing your sound.
ADDITIONS
============

The second thing you can do is add single tones to your chords.
When playing major and minor chords, the easiest thing you can do is add the 9th tone to
your chord.
9 sounds all fancy doesnt it?
Dont sweat it because its basically the same thing as the 2nd tone of your scale.
If youre in the key of C major, heres the scale:
C D E F G A B C
1 2 3 4 5 6 7
Now, imagine we kept going and we never stopped counting:
C D E F G A B C D E F G A B C
1 2 3 4 5 6 7 8 9 10 11 12 13 14
What tone is the 9th?
Its D right?
D also happens to be the 2nd tone of the scale too.
Now technically, you can reserve 9 for times when youre really going to add the high D
from the next octave and 2 for the instances where you use the low D.
But to be honest, this is playing by ear and it really doesnt matter how you look at it. As long
as you arrive at D for this C major or C minor chord, youre fine.
High D, low D they both will enhance your chord and you can choose the one you like for the
situation at hand.
So instead of boring C major and C minor chords like this:
C E G
C Eb G
Youll play:
C D E G
C D Eb G
OR
C E G D
C Eb G D
But I prefer the first version where the notes are closer.
Another tone that works well in these situations is the 6th tone (or 13th, as described
above).
I like adding this tone when Im already playing a major 7th chord.
So if youre playing a C major 7 chord:
C E G B
Adding the 6th tone, A works well in most instances.
C E G A B
Additions dont always have to be new notes. You can double up on existing notes.
Usually the 3rd tone of the scale is a great note to double up on.
For example, in the last chord, you could double up on the E.
C E G A B
becomes:
C E G A B E
Because this is 6 notes, you simply play the C on your left hand and the E G A B E on your
right.
C on left /// E G A B E
Additions are a great way to enhance your chords.
OMISSIONS
==========

Opposite of additions, sometimes less is more.
For example, the chord above:
C on left /// E G A B E
Id probably take out the G which is the 5th of the chord.
Usually, if theres something to take out, its the 1 or the 5 of the chord.
Let me explain:
First, you need to know your numbers for the key youre in.
In our case, C major:
C D E F G A B C
1 2 3 4 5 6 7
So when I say the 5 or the 1 or the 6 or the 7, Im referring to the tones of the scale, as
shown above.
Im NOT talking about the order of the chord as in the 3rd note thats played. It all relates
back to the scale. Just thought Id clarify that.
The reason you can take out the 5th is because its present in both major, minor, and dominant
chords. Taking it out doesnt alter these chords whatsoever.
On the other hand, you dont want to mess with the 3rd or 7th tones of a chord because
they are critical. They determine what type of chord youre playing usually.
But unless the chord is diminished or augmented (which, in those cases, the 5th is either
lowered a half step or raised a half step), you can take out the 5th because its just there for
support.
For power, some people prefer to play it on their left hand and leave it out of their right hand.
Some people leave it alone.
Let your ear be the final judge. Sometimes I keep the 5, sometimes I omit it.
Another tip is to omit the 1 of the chord.
Why? Because its usually covered in the left hand bass. If youre playing a C major chord,
youre usually playing C on your left hand anyway so theres no need to play it again on your
right hand.
And most of the time, it sounds better to NOT play it on your right hand. Try it:
Compare:
C on left /// C E G B
versus:
C on left /// E G B
Doesnt the second one sound better?
Plus, it lets you invert easier (tip #1 above).
Its far easier to invert E G B (which is basically an E minor chord) than it is to invert C E G
B.
Now compare:
C on left /// G B C E
versus:
C on left /// G B E
If the melody is C, then Id keep C and question whether C major 7 is the right chord
altogether.
Maybe the chord just calls for E G C instead of E G B C.
The closeness between B and C as the highest notes create tension and if thats not what
youre looking for, perhaps the B should be gone.
So this is the thought process going on when it comes to omissions.
SUSPENSIONS
=============

This is when you hold on to a particular tone (usually a tone not originally in the chord) and it
resolves down to the real tone.
You hear it a lot at the end of songs.
Say your song ends on a typical C major chord:
C E G
If you wanted to change this to a suspended chord, youd get rid of the 3. Thats E.
Instead, youd replace it with the tone a half step higher the 4.
So, instead of:
C E G
Its:
C F G
The F (which is the 4) creates a dissonance that must resolve. Its begging to resolve down to
E and eventually it will.
C F G
resolves to:
C E G
This is would we call a suspended 4 chord.
There are also suspended 2 chords.
Instead of the 4th tone replacing the 3rd tone, we use the 2nd tone to replace the 3rd tone.
Notice in both cases, the 3rd of the key is the target.
So now its:
C D G (C sus 2 chord)
This is similar to the C major add 2 chord we studied above.
The key difference is one has the E in it and the other doesnt.
C major add 2 C D E G
C sus 2 C D G
Corny joke: They say Gods favorite chord is G sus
Assume sus4 if you dont see a number after sus.
So if this is true, Gods favorite chord is what?
G C D (G sus chord)
Interesting Observation:
Inverting a sus2 chord gives us another type of chord I talk about in GospelKeys 202, the
Quartal chord.
C D G (Csus2)
Now, take the C off the bottom and put it on top:
D G C
(D G C = quartal chord).
Unlike major, minor, diminished, and augmented chords that are built off third intervals, quartal
chords are built entirely with fourth intervals.
Whats the interval between D and G answer: a fourth! The interval between G and C?
answer: a fourth!
So turning your sus chords into quartal chords is another way to enhance your sound.
Compare:
C on left /// C E G
to
C on left /// D G C
What sounds better?
Heres one final insight Ill leave you with:
Inverting a sus4 will eventually give you a sus2.
Csus4 is:
C F G
Now put the C on top:
F G C (now you have Fsus2)
Now put the F on top:
G C F (a quartal chord).
All this stuffs related! If you learn one, then take the time to explore how to get the others,
youll cut your learning time in half!
Well, I think Ive given you enough to think about for now.
11 Ways to Enhance Your Chords and Playing (Part 2 continued)
Chord Enhancements Part 2
Now, well pick up where we left off.
Lets start with Arpeggios
CHORD ARPEGGIOS
===========
This is when you break up the notes of your chord,
one by one, rather than sounding them together.
So instead of playing a C minor 9 chord as:
C on left /// Bb D Eb G (all at once)
Youd hit:
C on left /// Bb D Eb G (separately).
Many will add notes to the left hand to make the
arpeggio last longer.
So instead of just playing C on the left, theyll
play: C + G + high C.
In this example, G is the fifth of C. If youre
looking for some quick power in your left hand, adding
the fifth of the chord will always work
C G C on left /// Bb D Eb G (separately)
Even when youre not playing arpeggios, adding the
fifth to your left hand (called a power chord isnt
a bad idea).
I tend to find ways to incorporate both.
For example, I might hit the chord all at once, then
follow up with each note played separately, from
low to high.
Or I might start off with an arpeggio, playing each
tone from low to high, separately. Then follow up
with the whole chord sounded at once.
Or I might play the full chord first (all at once),
follow up with an arpeggio, then end with the full
chord again.
There are many ways to incorporate arpeggios and
ultimately youll develop your own special way. It
takes practice but once your muscles get used to
playing them, itll be second nature.
In jazz, youll find many arpeggios used in solos
and licks.
To a beginner, it seems like fancy scales and modes,
but often times, jazz licks are just a bunch of
regular chords broken up into arpeggios, strung
together by half steps and chromatic movements.
(Chromatic movements = half steps, notes right next
door).
Now for some language
You can either reference the breaking up of notes
as arpeggios or you can make the word a verb
by saying arpeggiate. Either works.
I usually say arpeggiate.
Examples:
Im arpeggiating this chord.
Youll want to arpeggiate that chord.
Or
Notice the arpeggios Im playing. (noun)
Either way works.
I talk about arpeggios in GospelKeys 202. In fact,
I show several dozen worship chords and how to use
them in real songs. Its worth a look at:
http://www.hearandplay.com/gospelkeys202.html
And like I mentioned above, youll find arpeggios in
a lot of jazz music and solos. Check out our jazz
series for more ideas:
http://www.hearandplay.com/jazz201.html
Lets move on to chord extensions.
CHORD EXTENSIONS
==========
This concept is very similar to the Chord Additions
section covered earlier.
The main distinction is when talking about
additions, that usually included stuff like add 2
or add 6 tones from the same octave.
(Not that you cant say add 9. Those work too as
we discussed).
Extensions reach into the NEXT octave. They extend
your chord.
If youre always playing just major, minor, diminished,
and augmented triads, youre only staying in one
territory. Your playing probably sounds basic.
Thats not to say triads dont have their place. Much
of the time, less is more. Some of the most beautiful
classics utilized basic triads.
But for most musicians wanting to sound contemporary,
the use of extensions is a MUST.
These are chords like:
Major 9 chord
Minor 9 chord
Dominant 9 chord
Major 11 chord
Minor 11 chord
Dominant 11 chord
Major 13 chord
Minor 13 chord
Dominant 13 chord
Or even altered chords like:
Dominant 7 #9 #5 chord
Dominant 7 b9 #5 chord
Dominant 7 b9 chord
Major 7 #11 chord
Major 13 #11 chord
Now, this may look scary to some folks but theres
nothing to chord extensions.
In fact, if you have my 300pg course, youre exposed
to all these extended chords already.
(If you dont, check out http://www.hearandplay.com/course )
Heres how it works:
Everything starts with major, minor, diminished,
and augmented.
I like to call these the FANTASTIC FOUR.
C major
C + E + G
C major

C minor
C + Eb + G
C minor

C diminished
C + Eb + Gb
C diminished

C augmented
C + E + G#
C augmented

To turn these into seventh chords, you add the 7th degree
(gotta know your scales as numbers so you immediately
know what the 7th tone of any scale is).
C major 7
C + E + G + B
C minor 7
C + Eb + G + Bb
C diminished 7
C + Eb + Gb + Bbb
C augmented 7
C + E + G# + Bb
C augmented major 7
C + E + G# + B
(Notice they arent all the *same* 7th tone. Sometimes
the major 7, other times the flatted 7th, and in one
instance, the diminished 7, which is flatted TWICE.
To me, learning seventh chords is actually harder
than the 9ths, 11ths, and 13ths that follow. But at
least, once you know them, you know them!)
Once you know these, they are like the LAST stop before
the bridge. You pay toll and now youre into the world
of extensions.
And the cool part is:
THE CHORD EXTENSIONS DONT CHANGE.
(Thats why I consider them easier than seventh chords).
For example, in C major, the 9th tone of the scale is:
D
The 11th tone of the scale is:
F
The 13th tone of the scale is:
A
(If you have no idea why this is, see the ADDITIONS
section of my last lesson:
http://www.hearandplay.com/main/11-ways-to-enhance-your-chords-and-playing-
part-1 )
When you add the 9 in C major, youre always adding D.
You dont have to worry about what kind of 9, unless
otherwise stated (like b9 or #9.)
In other words, if you see 9, its always D (when
youre playing any type of C chord minor, major, et al).
Same with the 11th, its always F.
The 13th is always A.
And it doesnt matter what the underlying chord is!
I can take my C major 7 chord:
C + E + G + B
and simply add the 9 to make it a C major 9 chord:
C + E + G + B + D
If I want to keep going, I can add the 11th, which is F:
C + E + G + B + D + F
Note: This one sounds dissonant. Most jazz people would
change the F to F#, making it a #11 chord (C major 9 #11)
If I want to keep going, I can add the 13th, which is A:
C + E + G + B + D + F + A
Or the jazzy way:
C + E + G + B + D + F# + A
(C major 13 #11 obviously played with two hands)
But the name of the game is spending some time in this
territory adding extensions to your chords and seeing
what results.
Playing by ear is a game of OPTIONS. You can do
whatever sounds good.
I repeat: DO WHATEVER SOUNDS GOOD.
This aint classical music where the name of the game
is technique.
This is playing by ear. The name of the game is feel.
Now, people go to college and study chords and extensions
for months and years, so I dare not give an entire course
here. But if youre really serious about learning this
stuff, pick up my 300pg home study course, The Secrets To
Playing Piano By Ear at:
http://www.hearandplay.com/course
CHORD REACHES
=========
This is for my advanced folks and it takes a LOT of
practice.
Usually I find advanced musicians reaching in their
left hands.
Instead of playing a C major 7 chord like this:
C on left /// C E G B
Theyll play it like this:
C + high E on left // B G
The reach is in the left hand.
This aint C to the E right next door either!
This is C skipping the E right next door and
reaching all the way to the next octave to play
THAT E.
Thats what we call a major 10th interval.
(C) D E F G A B C D (E) ALL IN ONE HAND.
The right hand then plays B and G.
This entire chord spans 3 octaves.
(C) D E F G A B C D (E) F G A (B) C D E F (G)
I find this done, however, with more altered-sounding
chords. Here are some examples:
C dominant 7 #9#5
C + high E on left /// Bb Eb Ab
C minor 11 b5
C + high Eb on left /// Gb Bb D F
C major 13 #11
C + high E on left /// A D F#
So the big question is: How do you get your hands
to reach that far?
Answer: Doing it a lot! Practicing!
Obviously, on your left hand, youre using the farthest
fingers ya got!
Your pinky finger is hitting the C, while your thumb
is hitting the high octave note (whether E or Eb).
One thing you can do is hit those notes, lift your hand,
hit those notes again, lift your hand, hit those notes,
lift your hand.
(Bobby Griffin, the instructor in our Gospel Guitar 101
says when he learns a new chord, he first plays the chord,
then lifts his hand in the air and says Thank You Jesus,
returning to the chord again. And he repeats that. If youre
a gospel musician, I guess you get two-in-one with that
technique! Try it!)
One last thing: Usually the major or minor 10th is the
largest reach youll play. One time, I saw someone do a
major 11 reach but those are way harder. (That would be
C to the higher F). The easiest is the major 9 reach
(like C to the higher D). Practice all of them and find
ways to add them to your chords.