Chords Within Chords: Unlocking Hidden Harmony in Guitar

If you learn to see these inner shapes—triads and seventh chords embedded within the parent harmony—you’ll unlock a whole new palette for improvisation, composition, and arranging.

Suddenly, instead of staring at a static “Cmaj7,” you’ll see multiple layers of C, Em, G, Bdim, Am, and Dm hiding inside. And instead of feeling stuck over a minor or dominant vamp, you’ll discover rich opportunities for triad superimposition and voice-leading that can drastically improve your playing.

This article will explore that world in depth: starting with seventh chords as triad-plus-bass structures, moving into extended harmonies where multiple triads overlap, and finally broadening to practical strategies for improvisers, compers, and composers.

I. Seventh Chords as Triads Over Bass

Let’s begin with the diatonic seventh chords of C major. If you take each four-note chord and look at the top three notes, you’ll see a perfectly formed triad. That triad, when viewed “over” the bass, gives you a fresh way of naming the chord:

Cmaj7 (c e g b) = Em/C

Dm7 (d f a c) = F/D

Em7 (e g b d) = G/E

Fmaj7 (f a c e) = Am/F

G7 (g b d f) = Bdim/G

Am7 (a c e g) = C/A

Bm7b5 (b d f a) = Dm/B

The triads listed as the first part of each chord are circled in red below: 

This is already illuminating for many students. The fact that a 7th chord can be re-imagined as a triad sitting on top of a bass note is important because:

- Voice-leading becomes clearer. Instead of shifting all four notes, you can treat it as moving a triad shape while keeping the bass grounded.

- Improvisation gets easier. If you’re soloing over Cmaj7, you can simply think “E minor triad” or even “E minor pentatonic” as one of your options.

- Arranging gains flexibility. A horn section might play the Em triad while the rhythm section outlines the bass C, creating depth without clutter.

This approach helps you see seventh chords not as single labels, but as combinations of smaller, more manageable pieces.

II. Extending Out to 9ths, 11ths, and 13ths

When you extend a chord, the hidden structures multiply. Let’s take C major as our model. A full Cmaj13 chord is:

c  e  g  b  d  f  a

That’s seven notes—the entire C major scale stacked in thirds. But look inside, and you’ll find multiple triads hiding in plain sight:

C major (c e g)

E minor (e g b)

G major (g b d)

B diminished (b d f)

D minor (d f a)

F major (f a c)

A minor (a c e)

That’s every diatonic triad in C major, all contained within the single sonority of Cmaj13.  Here is a color-coded diagram of each triad:

The same is true for seventh chords: Cmaj7, Em7, G7, Bm7b5, Dm7, Fmaj7, Am7 are all embedded in the structure.

There may be circumstances where when the I chord is a maj7, like it is above, a #11 might sound less dissonant than a regular 11.  If that's the case, still using the example in C and in the same manner above, the C Lydian scale c, d, e, f#, g, a, b, c yields the triads C, Em, G, Bm, D, F#dim, Am and Cmaj7, Em7, Gmaj7, Bm7, D7, F#m7b5, Am7.  

III.  Voice-leading

Here’s the part that really deepens the picture: these embedded triads are connected by simple one-note changes.

For example:

C major (c e g) → E minor (e g b) by lowering c to b.

E minor (e g b) → G major (g b d) by lowering e to d.

G major (g b d) → B diminished (b d f) by lowering g to f.

B diminished (b d f) → D minor (d f a) by lowering b to a.

D minor (d f a) → F major (f a c) by lowering d to c.

F major (f a c) → A minor (a c e) by lowering f to e.

A minor (a c e) → C major (c e g) by lowering a to g.

In other words, you can move through the entire chain of triads within Cmaj13 by changing just one note at a time. This isn’t random—it’s baked into the logic of tertian harmony (stacking in thirds).

For a player, this means that instead of jumping from one “block” chord to another, you can weave smooth, voice-led progressions that stay rooted in a single harmonic space. Improvisers can utilize an abundance of harmonic motifs. Composers can orchestrate gradual harmonic color shifts.

IV. Applying this Approach to Minor and Dominant Chords

So far, we’ve been looking at C major. But the same thinking applies to minor and dominant tonalities. 

Here’s that information in a clean, readable table format:

Notice a few things:

In major, the embedded triads are bright and consonant: plenty of major and minor triads.  In minor, you get more diminished triads and half-diminished sevenths, reflecting the darker color.  In dominant, you get the same structures as major, but with Bb instead of B. This small change introduces Gm and Fmaj7, which color the C7 in beautiful ways.

By stacking triads from within the chord, you create rich upper-structure voicings and melodic lines.

V.  Triad Superimposition in Practice

Listen to how these triad chords sound over a C drone.

Cmaj13 (c e g b d f a)

Cmaj13 (c e g b d f a)

The fun doesn't stop here.  Just like triads, you can superimpose diatonic 7th chords over a parent harmony to create rich melodic and harmonic colors. 

This is particularly powerful for improvisation, comping, and arranging — because a single 7th chord shape can imply upper-structure tensions, modal colors, or voice-leading pathways without changing the root harmony.  So try these over a C drone:

Seventh Chord Superimposition over Cmaj13 (c e g b d f a)

Seventh Chord Superimposition over C13 (c e g bb d f a)

Seventh Chord Superimposition over Cm13 (c eb g bb d f a)

Improvisers can think of any of these 7th chord shapes as upper-structure substitutions, giving immediate access to tensions (9, 11, 13) without complex scale thinking.  Composers and arrangers can distribute these 7th chords across different instruments for layered, modern textures. 

Compers can move between these 7th chords to create fluid harmonic motion while staying over a static root.  Just like the triad version, these chords are connected by smooth voice-leading, often moving by step or single-note shifts. 

Overall, understanding harmony this way creates a deep palette for both harmonic richness and melodic development — all derived from one parent chord.  This is why jazz musicians talk so much about upper-structure triads—they’re the most practical way to access rich extensions.

VI. Exercises to Master the Concept of Extended Harmony

1. Identify Embedded Triads

Take any major, minor, or dominant 13th chord (e.g., Abmaj13, E13, Bm13).

Write out all the triads in it, with roman numerals next to them.  As we have seen, the chord Cmaj13 is: 

2. Voice-Lead Through the Cycle

Start by playing the III triad over a I chord bass drone.

Now lower the root of the III triad by one diatonic scale degree. This gives you the next embedded triad in the cycle.

For example, in the key of C:

* Start with Em (e–g–b).

* Lower e → d, giving G major (g–b–d).

* Lower g → f, giving B diminished (b–d–f).

* Lower b → a, giving D minor (d–f–a).

* Lower d → c, giving F major (f–a–c).

* Lower f → e, giving A minor (a–c–e).

* Lower a → g, giving C major (c–e–g).

This creates the cycle:

III → V → VII → II → IV → VI → I

The beauty of this approach is that each new triad differs from the previous one by only a single note. This builds strong internal voice-leading and makes complex harmonic movement feel natural and connected.

3. Improvise Using Triads Only

Vamp on the chord you chose in Step 1.  (For many players, it’s even more effective to loop just the bass note.)

Improvise lines only using the triads you listed in Step 1.  For example:

In C major, for example, your melodic vocabulary would be limited to the Em, G, Bdim, Dm, F, Am, and C triads.

Optionally, you can alternate between linear playing (improvising within the scale) and vertical playing (using chord tones of the superimposed triads).

4. Comp with Triad Chains

Use three-note triads moving smoothly through the one-note difference cycle.  Play slowly, focusing on voice-leading smoothness.

Record yourself and listen critically to how the color shifts with each triad, even though the root stays stable. This is one of the simplest and most effective ways to bring motion to static harmony.

5. Compose a Short Piece

Write an 8-bar melody where each measure emphasizes a different embedded triad within your chosen chord.

This exercise develops your ability to think compositionally with upper structures. The resulting melody will naturally imply harmonic movement without changing the underlying chord symbol.

6. Repeat with 7th Chords

Now repeat Steps 1–5, but with 7th chords instead of triads.

The main difference with 7th chords is that you’ll raise the root by one diatonic scale degree to get to the next chord in the series (unlike with triads where we lowered it.)

For example, in C major:

Start with Em7 (e g b d) — the III chord of C.

Raise e → f, which gives G7 (g b d f), the V chord. 

Raise g → a, which gives Bm7b5 (b d f a), the VII chord.

Raise b → c, which gives Dm7 (d f a c), the II chord.

Raise d → e, which gives Fmaj7 (f a c e), the IV chord.

Raise f → g, which gives Am7 (a c e g), the VI chord.

Raise a → b, which gives Cmaj7 (c e g b), the I chord.

Thus we get the same cycle as before:  III → V → VII → II → IV → VI → I

Here’s an example:

This approach builds fluency with both triads and 7ths and creates an intuitive sense of harmonic contour over a static harmony.

Conclusion: Chords Are Ecosystems

Chords aren’t rigid blocks—they’re harmonic ecosystems. A Cmaj7 isn’t just four notes; it’s a cloud of interconnected triads and sevenths. Extending to 9, 11, and 13 multiplies the possibilities, and each triad connects seamlessly to the next through smooth voice-leading.

Whether you’re improvising, comping, or composing, this layered perspective gives you tools to create motion, variety, and depth. A single chord becomes a landscape to explore.

About the author: Dennis Winge is head teacher at Guitar Lessons Myrtle Beach and has 12 albums out as a leader.

• 

  Guitar Chord Dictionary

  This PDF eBook provides over 550 guitar chord shapes. This is the perfect reference guide to understand how chords are built and how to play them on the guitar neck.
• 

  Guitar Scale Dictionary

  This E-book is a printable PDF method including over 700 scale diagrams and formula charts for guitarists.
• 

  Harmonized Scales For Guitar

  Complete guitar PDF on harmonized scales: major, minor, harmonic and melodic. Includes chord and arpeggio diagrams, charts and practical tabs.
• 

  172 Arpeggio Shapes For Guitar

  This printable PDF is a method dedicated to guitarists of all styles who want to learn build and play the most important types of arpeggios.
• 

  126 Triad Chord Shapes

  This handbook for guitar players is intended both for teachers and students. It includes 126 guitar shapes for mastering triads.
• 

  Harmonic Major Scale Chords

  this PDF offers diagrams and tabs for guitar to learn the chords of the harmonic major scale.
• 

  Major Scale Harmonization

  This package provides a printable PDF with exercises and audio files to learn how to harmonize the major scale with 3 note chords and their extensions.
• 

  30 Minor Arpeggio Licks

  This package includes a printable PDF method containing 30 exercises with tabs, staves and audio files for practicing minor arpeggios on guitar.
• 

  II V I Bundle - 170 Exercises

  This bundle contains 4 PDF methods for a total of 170 exercises with tabs, staves, analysis & audio files for practicing scales, arpeggios licks & chords over the 2-5-1 progression.
• 

  Diatonic Licks Bundle

  This package contains 120 jazz guitar lines based on diatonic modes as Mixolydian, Dorian and Ionian. PDF format with tabs, audio files and analysis.
• 

  30 Groovy Jazz Guitar Licks

  This downloadable package contains a PDF WITH audio files giving access to 30 groovy guitar phrases mixing jazz, blues and funky licks for beginners.
• 

  30 Smooth Jazz Guitar Licks

  In this package you'll get a printable PDF Method with tabs, notation, analysis, scale shapes and audio files for practicing 30 smooth jazz guitar licks.
• 

  40 II V I Jazz Guitar Licks

  This pdf method for guitar contains fourteen 2 5 1 jazz guitar lines with tab, standard notation, analysis, scale charts and audio files.
• 

  50 II-V-I voicings

  This printable PDF guitar method provides 50 exercises with audio files, analysis, tab and staves for learning major 2-5-1 chord voicings.
• 

  40 Minor 2 5 1 Chord Voicings

  This PDF method contains 40 exercices with tabs, scores and audio files for practicing jazz guitar chords over the minor 2 5 1 progression.
• 

  40 Minor II V I Licks

  This guitar method is a printable PDF with tabs, diagrams, theory and audio files providing 40 minor 2 5 1 jazz patterns.
• 

  40 Mixolydian Jazz Guitar Lick

  PDF guitar method with tabs, audio files and theory providing 40 dominant jazz guitar lines for teachers and students.
• 

  40 Minor Jazz Guitar Licks

  This printable guitar method in PDF format contains 40 easy minor jazz guitar lines based on the Dorian mode.
• 

  40 Major Jazz Guitar Licks

  Printable PDF eBook method containing 40 major jazz guitar licks with tab, standard notation and audio files for beginners and intermediates.
• 

  Guitar Walking Bass Lines

  This jazz guitar method about walking bass lines and chords is available as a PDF files containing 35 exercises with tabs, analysis and audio files
• 

  101 Dominant Arpeggio Patterns

  This printable PDF method provides 101 dominant arpeggio exercises with tab, theory and standard notation for the jazz, blues and rock guitarist.
• 

  49 Essential Jazz Lines

  This printable eBook method in PDF format provides 49 jazz solo transcriptions of the greatest jazz musicians. Tab, standard notation, audio files & analysis.
• 

  11 Jazz Blues Studies

  11 jazz blues chord studies with tabs, standard notation, analysis, and audio recordings and PDF.
• 

  10 Easy Fingerstyle Blues

  This PDF with Tabs and audio files provides 10 easy acoustic fingerstyle blues guitar studies for kids and beginners.
• 

  25 Altered Jazz Guitar Lines

  This PDF eBook method contains 25 altered jazz guitar licks with tabs, patterns, scale charts and audio files to master, apply and develop the altered scale.
• 

  40 Blues Dominant Patterns

  This printable method is available as a PDF file containing 40 easy dominant jazz-blues guitar lines with tabs, standard notation, analysis, audio files and scale charts.
• 

  25 Pentatonic Licks

  This jazz guitar method is an eBook available as a PDF with standard notation, guitar tabs, diagrams, analysis, audio files and backing tracks. You will find in this booklet 25 easy jazz guitar lines with theory using common and rare pentatonic scales.
• 

  25 Soul Jazz Guitar Licks

  You will find here an eBook available in PDF containing 25 soul jazz and hard bop guitar licks in the style of Grant Green, Melvin Sparks, George Benson.
• 

  25 Diminished Patterns

  This eBook PDF with audio files contains 25 dominant diminished jazz guitar patterns using the half-whole diminished scale and diminished 7th arpeggios.
• 

  6 Tritone substitution licks

  This Printable PDF eBook available for free download contains 6 easy jazz guitar licks with tabs/notation, youtube video link and analysis about the tritone substitution.
• 

  10 Minor 7 Arpeggio Patterns

  This printable PDF eBook offers 10 easy minor 7 arpeggio patterns with its related YouTube video for beginner guitarists.
• 

  10 Easy Major 7 Arpeggio Licks

  This is a printable PDF for beginner jazz guitar players providing 10 easy licks to practice major 7 arpeggios.
• 

  10 Chord Melody Lines

  Within this package, you'll discover a set of ten chord melody exercises for beginners. Printable PDFaudio files, a backing track, and a link to the associated YouTube video.
• 

  10 Minor Blues Scale Licks

  You'll find here a PDF with 10 easy jazz guitar licks to practice the minor blues scale on guitar.

• 

  Guitar Arpeggios Poster

  This giant guitar poster for any guitar player, student or instructor contains colorful arpeggio diagrams. Giant size 24 x 36 inches (60 x 90 cm).
• 

  Guitar Scales Poster 24*36

  Guitar posters and wall art with eighteen neck diagrams representing the most used scales in music.
• 

  Guitar Chord Poster

  This printed color posters contains 63 guitar chord diagrams for jazz players, students, teachers and schools.
• 

  Guitar Modes Poster

  Guitar reference posters and wall art about modes of the major scale for guitar teachers, students and music schools.
• 

  Melodic Minor Modes Poster

  Educative and decorative giant guitar poster with neck diagrams, interval names about the seven modes of the melodic minor scale.
• 

  Pentatonic Scale Guitar Poster

  This guitar reference poster shows the positions and intervals of the major pentatonic scale.
• 

  Guitar Notes Poster

  This is a giant poster showing the notes on the guitar fret board and their positions on a musical staff.
• 

  Triads Guitar Poster

  This reference poster show the positions and intervals of the main triads used on guitar. This is a useful tool for guitarists, teacher and students.
• 

  Four Archtop Guitars Poster

  This is a decorative poster with four archtop jazz guitars. Several size and colors in landscape format available on Teespring and redbubble.
• 

  Intervals On Guitar - Poster

  This giant poster for guitar provides neck diagrams with interval positions.
• 

  Melodic Minor Modes

  This music theory poster available in several sizes shows the construction of the seven modes of the melodic minor scale.
• 

  Major Scale Chords

  This handy poster provides a clear visual guide to the chords built from the major scale, helping you recognize patterns and improve your playing.
• 

  Melodic Minor Chords

  Explore the rich harmonic possibilities of the melodic minor scale with this essential guitar poster.
• 

  Harmonic Minor Modes

  This music theory poster, offered in various sizes, demonstrates the structure of the seven modes of the melodic minor scale.
• 

  Harmonic Minor Chords

  Discover the chords of the harmonic minor scale with this guitar poster.
• 

  Major Scale Modes

  This poster is created for music teachers and students, illustrating the structure of the seven modes of the major scale.