I know the basics of chords (meaning the stuff about root notes and such), but I have no idea how to construct a chord when I see a name with "add7sus9blahblahblah" or anything like that. I think it's finally time I widen my theory knowledge even a little bit.

Dude I know my chord theory but to type it out here would take weeks. Here are some sites on the subject which will hopefully be of some use to you.

http://www.harmony-central.com/Guitar/chor...heory-chart.txt

http://www.guitarchordsmagic.com/guitar-mu...sic-theory.html

Thanks for the links, ID; I'm studying the triad thing right now. There is something that I don't understand, though.

In the end of the first part of the theory there's a list of all triads made with the C major scale. How come aren't chords like Amaj and Emaj triads?

because they dont exist in the C major scale. C maj is C D E F G A B C, an A maj triad needs A C# E, and an E maj needs E G# B.

Intervals in chords in the key of C Major.
1 C
b2/b9 Db
2 D
b3/#9 Eb/D#
3 E
4 F
b5/#11 Gb/F#
5 G
6 A
b7/#13 Bb/A#
7 B
8 C
Chord names are based on the intervals they use. You don't want more than 4 notes in a chord. So here are some of the formulas to get the right notes.
C Major chord= 1 3 5
C min chord= 1 b3 5
C dim chord= 1 b3 b5
C augmented chord= 1 3 #5
C7 chord= 1 3 5 b7
C Maj 7 chord= 1 3 5 7
C min 7= 1 b3 5 b7
C min(Maj7) = 1 b3 5 7
D dim7= 1 b3 b5 bb7(6)
C min 9= 1 b3 b7 9
C min 13= 1 b3 b7 13
C sus 2= 1 2 5
C sus 4= 1 4 5
C6= 1 3 5 6

Oh wow. This is going to take me a lifetime.

So, Emaj and Amaj (for instance) are based on other scales?

All major chords are triads (3 note). From the root you go up a major third then a minor third up to the fifth.

Notes for EMaj scale are E F# G# A B C# D# E. Thus the notes are altered to fit the key signature. These 2 threads might help.

http://neoclassicalmetal.org/index.php?showtopic=6
http://neoclassicalmetal.org/index.php?showtopic=13

Yeah it's important to learn your major scale as that way you will be able to understand how to construct these chords. You should learn the notes and intervals not just the fingerings. The major scale is the mother scale if you like and all others are derived from this.

Yeah, I've learned the note names ages ago, and I know can name the notes in, say, the C major scale. It's just the interval thing that I find hard to memorize.

Neo's post here has given the intervals for a wide range of chord types. The theory thing can be confusing at first but it's really not that difficult and once you get started you'll get it no probs and it will help you become a better player big time. You want to start looking into modes as well if you're not already familiar with them and the way they work. :)

Thanks for all the help so far. I'll make sure I look into the stuff posted...

...right after my god damn school stuff. Oh, how I despise my studies. <_<

So, studying the intervals a bit now. So far I've understood (at least) that power chords consist of the root, a perfect fifth and a perfect octave (haha, yay?).

But I'd like to that can I name chords based on the intervals, meaning that:

A ---11-----
E ----8-----

Well, that's not a real chord, but would that be named Cmin6, because the interval between the notes is a minor sixth?

To get a minor chord, you need the minor 3rd to go with it. The 3rd interval decides if it is major or minor. The chord you put down would be a C#5.

I guess I'm starting to realise the interval thing now, but I still confuse the heck out of me trying to create chords or name chords using the intervals. For instance naming arpeggios would be hell for now.

I read both your lessons I and II (thanks for them), but according to lesson II a diminished chord is 1 b3 b5. But doesn't a diminished chord need 4 notes?

It doesn't need it but it usually is thought of as a diminished 7th chord. Chords are either 3 or 4 notes except for power chords.

Ah. Thanks for all the help, neoshredder. I've gotta look more into the subject tomorrow.

Well, I'm beginning to get it little by little. I can name some chords already.

So, another question. Would this arpeggio shape be called Dm7 (trying to use the theory on arpeggios)?

-----------5---8------
-------6---------------
---7-------------------
-----------------------
-----------------------
-----------------------

Good. Also some more chords. The 5th interval, 9th interval, and 11th interval are the least important notes. So those can be dropped out.
Cm11 1 b3 b7 11. 11 would be the same as 4 interval but up a octave.
C Eb Bb F
C13 would be 1 b3 b7 13(6)
C E Bb A
Cm13 1 b3 b7 13(6)
C Eb Bb A
Cm9 1 b3 b7 9 (2)
C9 1 3 b7 9(2)
CM9 1 3 7 9(2)

D F A C. Yeah that would be a Dm7 arpeggio.

Haha! I've still got a long way to go, but again the future seems a little bit brighter than it used to.

So just for a test, what are the notes of Ddim7, G7sus2, F7#9, and A7#5 chords?

Haven't really gotten that far with the studies yet; I really can't tell what -sus chords are, for instance.

So far I can only tell Ddim7: D F G# B, right?

Yeah those are the right notes but you go every other note. D F Ab Cb. A sus 2 just replaces the 3rd interval with a 2. A sus 4 replaces the the 3rd interval to a 4. A #5 is just moving the 5th interval up a half step. A #9 is the same as a #2 or minor 3 but up an octave.

Is there any rule for when to use terms, for instace, "Ab" instead " G#"?

Now I've found out how "add" chords work, awesome!

For chords. Yeah just think every other note. The more extensions, the more jazzy the chord is. Diminish chords would use the flat notes since the formula is 1 b3 b5 bb7. You would add the G# on a #11 chord. D7#11 would be D F# C G#

So, now I've looked into forming the chords more. I've been studying how to construct chords from scales. So, let's take the A blues scale for instance:

A C D D# E G A

A minor - A C E
C minor - C D# G
D sus 2 - D E A
D# 6 - D G C
E 7 sus 4 - E A D
G sus 4/5+ - G C D# (had to check this one with Guitar Pro)

Is that right? So in theory I could solo over those chords with the A blues scale?

I'd also like to know why the chords must be made with every other note (which I read from one of neoshredder's lessons)?

From what I've seen the pentatonic or blues scale doesn't go by harmonized chords. It can be used on almost any progression. Use your ear to see when it is appropiate or not.

Well, what kind of restrictions or rules are there to follow in the beginning? If you tried to get soloing going, that is.

Not too many. Obviously in Neo-Classical Music you wouldn't use it but most rock based music does use the minor pentatonic scale. For country it is more major pentatonic. Oriental music does use modes of the pentatonic scale. I'm not sure which exactly. The blues note is b5 and that is more a passing tone. Thus I wouldn't use that in harmonizing the chords. I think of minor pentatonic as the natural minor scale with 2nd note and 6th note taken out.