This lesson is part of a larger sequence on jazz piano harmony. It is intended for pianists who already read well and have basic technical fluency, but who may be new to interpreting jazz chord symbols in real time. Think of this as orientation: we are establishing a common language for how chords are constructed before moving on to voicing, function, and application.
By beginning with a clear explanation of jazz chord symbols, we lay a foundation that will support everything that follows. This first lesson focuses on triads and seventh chords—the raw materials of jazz harmony.
Use the attached PDF documents at the bottom of this page alongside this lesson and the next one. Chords with more than four notes are addressed in Lesson #2:
Chordal Extensions and Alterations.
Note: At 1:31 in the video, I mistakenly typed b5. It should be a natural 5.
I. Triads
Triads are three-note chords built by stacking thirds. There are four basic triad qualities used in jazz and classical harmony:
major, minor, diminished, and augmented.
To keep everything consistent and transferable, assign numbers to each chord tone in relation to a major scale. Even when dealing with minor or altered chords, this numeric approach keeps the system unified and predictable.
Below are the interval formulas for each triad type, followed by common chord symbols you are likely to encounter. For illustration, all examples use the key of D.
| Major | 1, 3, 5 | D |
| Minor | 1, b3, 5 | Dmi, Dm, Dmin, D− |
| Diminished | 1, b3, b5 | Ddim, Do |
| Augmented | 1, 3, #5 | Daug, D+, Dx, D(#5) |
At this stage, play all triads in root position. The goal here is not voicing variety, but fast, accurate recognition of chord quality in any key.
II. Seventh Chords
Seventh chords expand triads by adding one additional chord tone. In jazz, these four-note structures form the core harmonic vocabulary.
Rather than memorizing long, unrelated lists, organize seventh chords into families based on function. This will matter later when we discuss voicing choices and harmonic motion.
In tonic chords (both major and minor), the sixth is often used as a practical substitute for the seventh.
Major Family (tonic function)
- Maj7: 1, 3, 5, 7
- Maj6: 1, 3, 5, 6
- Maj7(#5): 1, 3, #5, 7
Minor Family (tonic function)
- mi(maj7): 1, b3, 5, 7
- mi6: 1, b3, 5, 6
Dominant Family (often referred to simply as “seventh chords”)
- 7: 1, 3, 5, b7
- 7(b5): 1, 3, b5, b7
- 7(#5): 1, 3, #5, b7
Minor Pre-Dominant Family
- mi7: 1, b3, 5, b7
- mi7(b5): 1, b3, b5, b7
Diminished
- dim7: 1, b3, b5, 6
At this stage, accuracy and speed matter more than texture. Learn to recognize these chord qualities instantly and build them without hesitation.
PDF Attachments
- Chord Construction Worksheet
- Chord Symbol Notation & Identification
- KEY – Chord Construction Worksheet
Homework Practice Assignments
- Construct all of the above chords in two keys per day. On Day 1, work in C and Db. On Day 2, D and Eb, and so on. Always play the major scale first before building chords from it.
- If you are secure in all twelve major scales, have a friend quiz you with random, root-position triads or seventh chords in random keys (e.g., E−, Bbdim, Faug, B7).