When two or more pitches are played simultaneously they are referred to as a chord. In Western harmony there are two fundamental types of chords, known as triads (three notes): Major (sometimes referred to as happy); and minor (sad).

Major chords use the natural third in the pattern I (2L) III (L+s) V (2L+s) VIII. Eg. C-E-G-C: and minor chords use the flatten third instead I (L+s) bIII (2L) V (2L+s) VIII.Eg. C-Eb-G-C

Additional notes are usually identified by their position in the scale, as detailled in the table below: In classical stave notation the note names are clear, yet popular music uses symbols to specify chords. (*There are some strange and partly illogical rules):

*the second (II) as the ninth (IX), which is more commonly the position used.

*Usually the fourth (IV) is described as suspended (sus) eg. Csus4 i.e. C-E-F I-III-IV.

*The seventh note (7) is usually assumed to be the flattened (diminished or dominant) seventh (bVII); if the natural seventh (VII) is used, it is described as the major seventh (Maj7)

*If both a sixth (VI) and a seventh (VII) are used, the chord is usually referred to as a thirteenth (13), if the seventh is flattened (bVII): or as a major thirteenth (Maj13), if the the seventh is a natural (VII).

The terms augmented, +, sharp, or raised are used to show that a note is sharpened, (by L-s) eg. from C to C#: diminished, -, or flattened show that a note is flattened (by L-s) eg. from B to Bb

The two terms used to describe further Major and minor chords respectively are: Augmented and Diminished.

Augmented refers to the pattern I-III-#V, (in 12tET this would be three intervals each of four semitones - splitting the octave into three equal parts). In LucyTuning and other meantones this becomes steps of thirds Eg. C-(2L)-E-(2L)-G#-(2L)-B#. (total = 6L). [If the the flattened seventh (bVII) is use it is described as Aug7. (I-III-#V-bVII)]

Diminished refers to the pattern of I-bIII-bV-bbVI, (four intervals each of three semitones in 12tET - splitting the octave into four equal parts). In LucyTuning and other meantones this becomes steps of flattened thirds Eg. C-(L+s)-Eb-(L+s)-Gb-(L+s)-Bbb-(L+s)-Dbb.(total = 4L+4s). In LucyTuning, of course, this does not exactly split the octave, as in 12tET.

Modal chords is a loose term some musicians use to describe chords which fall outside the usual major/minor designation. Eg: C-(2L+s)-F-(2L+s)-Bb-(2L+s)-Eb - (a chain of fourths).

The (long and slow to load) table below lists how LucyScaleCoding may be used to analyse and synthesise chords (Patience Please!). The table is arranged in ascending scalecoding order.