Scribd Logo
Upload

Welcome to Scribd!

  • 14 views

    The Picture Chord Encyclopedia #359 PDF

    Uploaded by

    Andres Darwin

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content

    You might also like

    The Picture Chord Encyclopedia #359 PDF

    Uploaded by

    Andres Darwin
    14 views269 pages

    Original Title

    The Picture Chord Encyclopedia #359.pdf

    Copyright

    © © All Rights Reserved

    Available Formats

    PDF or read online from Scribd

    Did you find this document useful?

    Is this content inappropriate?

    Report this Document

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    Download as pdf
    14 views269 pages

    The Picture Chord Encyclopedia #359 PDF

    Uploaded by

    Andres Darwin

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    Download as pdf
    of 269
    Picture Chord Encyclopedia INTRODUCTION ‘The Picture Chord Encyclopedia is designed to serve two purposes: fist, i's a reference guide to chords; second, its a collection of popular guitar sounds, Use it when you're learning a new song and you come across a chord that’s unfamiliar 1o you. Use it when you're composing your own music and looking for “just the sight chord.” Use it to explore the guitar fretboard, to iroprove your chord playing, (0 increase your under- standing of chord theory, or just to discover new and unusual sounds. The applications are almost limidess. ‘The Picture Chord Encyclopedia is a comprehensive source for chords, for ail plaving styles and levels. One word of warning, though: it does not contain every guitar chord in existence; no book could. t does contain five easy-to-play voicings of 44 chord qualiies for each of the twelve musical keys, All totaled, tha’s 2,640 chords at your fingertips! These chords and their fingerings have been chosen for their playability and their practicality, ensuring a wealth of usable fingerings for any ausical situation. So, whether you're a beginner looking for your first C major chord, or a budding jazz guitarist searching for a new voicing for C7}5(49), you'll find what you're looking for here. Enjoy! CONTENTS How to Use This Book... ess eeecsseeeeeseeaii The Chords c.. seeae seen 1 Choosing the Best Voicing . ee Db. B Chord Construction ces iv Daw. peteeeeetenees 6 What's Chord? Ww % bo cteettsteeesneenes voveeeees OF How Does a Chord Get ts Name? ecco r : fe How Do I Build a Chord? . ¥ Ht . es What About Other Keys? .. 6.666 ccc cece Ge a 155 Triads fee oil M : . Nn Sevenths : sere ce Kc see o cece 9D Extended Chords .. o wii Bb... 221° Inversions & Voicings . votes ill Boi eee tteee teres 243 ISBN 0-7935-849-4 HALeLEONARD* CORPORATION Cony © 210 by HAL LEONARD CORPORATION Inemafers Coppgm Secured Al ghs Reserved Fora was contaned heh ‘Unaunoriza copying, aranging, adapting record ar pub poronmance Intingers are tata une te low. Vis Ha! Leonard Oa at ‘www.halleonard.com. HOW TO USE THIS BOOK The Picture Chord Encyclopedia contains 2640 chord voicings and over 500 unique chord types. To belp you find your way to the chord you need, all the chords are organized fist by root (C, C¥, D, Es, B, etc.) and then by quality or type (major, minor, seventh, etc.) Each chord is identified by its symbol: Csus4 By its fll name: € suspended fourth Ad bys speig SSS => c P G root 4th Sth ‘Then, you are given a choice of five voicings, which are presented in chord frames and photos, In a chord frame, the six vertical lines represent the six strings on te guitar, from low B to high B, moving left to right. The horizooal lines represect the frets. X's ell you a string should not be played or should be muted. 0 indicate an open string Y oy star A dar, thick line represens the auton te uit, —m TITS Seen ecto atte strings at the same time. Black dots indicate te notes to be played, as well as their location on the frethoard, Numbers tell 00 you what Bingers to use to fret the strings. Think ~ ‘of your left-hand fingers as being numbered 1 through 4: 2nd tet rd cFGCF ’ ip ' J ] Note names appear below each string | to help you understand the voicing, A, Chords above the fh fret use a fret number (e.g, “5 f°) to the right of the chord frame. This tells you to move your hand up to that fret to position your finger. 5© One ofthe goals ofthis book is to provide “playable” chord fingerings The fingerings inthis book were chosen for their ease of play and transition between other chords ina progression. Ifyou fee! more comfortable with an alternate fingering, fel free to use it, Remember, these fingerings are only recommended. There is no single right way to play these chords. CHOOSING THE BEST VOICING Ay chord can have a number of different voicings. A vofcing refers 1o how the notes of the chord are arranged—which corresponds to ‘where the chord Js played on the guitar, and how it's fingered. Each chord quality in this book is presented with ive different voicings. Typically the fist chord voicing presented is in the lowest postion onthe fretboard. The rest ofthe voicings gradually move up the neck. Within these sets of voicings, you will encounter open chords, barre chords, broken-set chords, and adjacent-set chords: open strings Open Chords Open chords occur within the first five frets ofthe guilar and contain atleast one open string. These chords are often the most appropriate choice for strumming purposes. Theyre also typically the easlest voicings to Jean when you're a beginner. Barre Chords Barre chords can occur anywhere on the neck and serve as a type of “all-purpose” chord voicing; tha is, they can be strummed, plucked, or played fngerstte, and can be used in almost any musical seting Barre chords require you to lay a finger flat across a fret and press down all the indicated strings simultaneously This can be challenging for a beginning gultasis. If you find these chords to be especially difcult at first, don't give up. Just keep practicing, and be patient Broken-Set Chords Broken-set chords also provide good, multipurpose chord voicings. These chords contain a bass note on the fifth or sixth string and two or three notes on the higher strings, ‘with atleast one interior string muted, or not played. These often work best in 2 jazz or blues setting, espectally when playing solo. Adjacent-Set Chords ‘Adjacent-set chords contain notes on the middle or top four strings. These chords also work well withia the jaz or blues idioms, especially for chord-melody techniques or when playing with another instrument that provides a bass line Uttimatey, which chord voicing you choose will depend on either your playing level or the situation at hand. Musically speaking, if you're playing a chord sequence igh on the neck, a chord volced down low would probably sound out of place. Likewise if you're playing a progression of open cbords, jumping up high on the neck for a particular chord ‘would Ukely sound and feel awkward ‘That sald, you should become familiar with as many voicings of a chord as you can. ‘They do not all sound the same. Practice switching between different voicings of the same chord, and compare how they sound. Ifyou like, go ahead and practice a progression ‘where you jump from high to low on the neck—there really are no rules in music that can't be broken. CHORD CONSTRUCTION WHAT'S A CHORD? 1n order to effectively choose and utilize the chords io this book, itis important to have a basic understanding of how chords are constructed. So, what is a chord? A chord is simply defined as three or more notes played at the same time. Typically its function Is to provide the barmony that supports the melody of a song. HOW DOES A CHORD SET ITS NAME? A chord gets its name from its root note, For example, the root of a G major chord is G. The remalning notes i the chord determine It quality, oF type. This is indicated by the chord sufix. So, in aBm7}5 chord, Bis the root, and m7}5 isthe sux that indicates the quay of the chord. Ban75) 7 This book contains 44 chord types. Here is a summary tble to help you Keep track of the suf for each chord type quality or ype ‘SUF CHORD TYPE ‘SUFAK CHORD TYPE no suffix inajor all rminor eleventh 5(n0 3rd) fifth (power chord) m3 minor thirteenth sush suspended fourth 7 dominant seventh sus2 suspended second Tsus4 seventh, suspended fourth add9 added ninth 7b5. seventh, flat fifth 6 sixth 9 ninth 9 sixth, added ninth 9sus4 ninth, suspended fourth mal? major seventh 5 ninth, fa ith maj) major ninth 789 seventh, Oat ninth maj7$11 ‘major seventh, sharp eleventh 79 seventh, sharp ninth, maaj13 ‘major thirteenth 7h5(49) seventh, flat fifth, sharp ninth minor it eleventh m(add9) minor, added ninth TH seventh, sharp eleventh m6 ninor sixth B thirteenth m6 minor, Bat sith 13sus4 thirteen, suspended fourth 6/9 minor sixth, added ninth + ‘augmented m7 minor seventh 47 seventh, sharp fifth m7bs minor seventh, Hat fith +9 ninth, sharp fifth m(maj7) minor, major seventh +769) seventh, sharp fifth, flat ninth m9 tninor ninth +749 seventh, sharp fifty, sharp ninth 0955, minor nintb, fat fifa ° diminished m9(maj7) minor ninth, major seventh °7 diminished seventh HOW 00 | BUILD A CHORD? All chords are constructed using intervals. An interval is the distance between any two aotes. Though there are many types of intervals, there are only five categories: major, minor, perfect, augmented, and diminished. Interestingly, the major scale contains only major and perfect intervals: Scale degree: 1 2 3 4 5 6 7 © S Interval: Rost “M2 M3. Ps Ps M6 MT ‘The major scale also happens to be a great starting point from which to construct Cmajor chords. For example, if we start atthe root (C) and add the interval of a major third (E) and a perfect fifth (G), we have constructed a C major chord In order to construc a chord other than a major chord, at least one of the major or perfect intervals needs to be altered. For example, take the C major chord you jst constructed, and lower the third degree (E) one balf step. We now have a C minor chord: C-Eb-G. By lowering the major third by one half step, we create a new interval called a minor third ‘We can further alter the chord by flating the perfect lth (G). The chord is now a C°. C-Eb-Gb. The Gb represents a diminished filth interval m3 ‘ims ‘This leads us to a basic rule of thumb to help remember interval alterations: ‘A major interval lowered one half step is a minor interval. & — Pe M3 m3 A perfect interval lowered one half step is a diminished interval. & ——— = cS PS dims A perfect interval raised one half step is an augmented interval. cs PS augs se ‘all steps and whole steps are the building blocks of interval; they determine an intervals qualiy—major, minor, etc. On the altar, a baf step is just the distance from one fret tothe next. A whole step is equal o two half steps, or two frets. WHAT ABOUT OTHER KEYS? Notice that we assigned a numerical value to each note in the major scale, as well as labeling the intervals. These nusuerical values, termed seale degrees, alow us 1o "generically" construct chords, regardless of key. For example, a major chord consists ofthe root (1), ‘major third (3), and perfect fifth (5). Substinste any major scale forthe € major scale above, select scale degrees 1, 3, and 5, and you will have a major chord for the scale you selected, D major scale D major chord Scale degree: 1 2 3 4 5 6 7 Interval: Root M2 M3 PG PS M6 OM? The chart below is a construction summary of the chord types in this book (based on the key of C only) using the scale degree method: CHORD TYPE FoR nore NAN major CEG c fi (power chord) CG 6S suspended fourth cre sus4 suspended second CDs suse added ninth CEGD cadeo sixth CEGA 6 sivth, added ninth CEGAD 69 major seventh CELEB Gnaj7 major ninth CEGBD ‘cmap ‘major seventh, sharp eleventh CEGBFY Conaj7 #11 ‘major thirteenth CEGBDA ‘cmajl3 minor 1435 CBG cm minor, added ninth 1435-9 CH-GD madd) minor sixth 53-5 CECA m6 minor, at sixth CEb-G-Ab cmb6 ‘minor sah, added ninth 1435-69 CEGAD cm6/9 minor seventh 1535-67 CEb-G-Bb m7 minor seventh, Bat if 43-45-57 CEb-G)-Bb cm7bs minor, major seventh 1443-5-7 CEGB mn(enaj7) ‘minor ninth 143-5579 CB-GBLD m9 rigor ninth, lat fh 14345-47-9 CEb-G-BL-D cm9b5 ‘minor ninth, major seveoth 1435-79 CHGBD (m9(maj7) ‘minor eleventh 1435-67-9-11 CEGBDE cmt ‘minor thirteenth 143-5-57-9-11-13 CE)-G-BbD-PA cmi3 dominant seventh 13547 CE-GBb a seventh, suspended fourth 14547 CRG-BE C7sus4 seventh, fat ith 1345-67 CEGH-Bb ons ainth 135479 CEG-BL-D 9 ninth, suspended fourth 145479 CRG-BLD C9sus4 ninth, flat fh 1345479 CEG-BLD bs seventh, flat ninth 1354749 CEG-B-DS ong seventh, sharp ninth 1354749 CEG-BLDE cng seventh, flat fifth, sharp ainth 13-55-4749 CE-Gh-Bb-DE CTb5(H9) eleventh 1547911 CG-B)DP cu seventh, sharp eleventh 13547411 CEGBL-PE cme thirteenth 13557913 CEGBLDA 13 thirteenth, suspended fourth 145-457-913 CEGB-DA Cr3sus4 ‘augmented 13-45 CEGt ct seventh, sharp fifth 13-4547 CE-GEBS c+ ninth, sharp fifa 1345479 CEGEBLD C49 seventh, sharp fh, fat ninth 13455749 CE-GEBL-D) +79 seventh, sharp Ath, sharp ninth 13-45-5749 CE-GEBS-DE cng diminished 1-43-45 CLG c diminished seventh 1-43-b5-667 CEb-Gb-Bbb C7 ‘The most basic cords inthis book are called triads. A trad isa chord that is made up of only three notes. For example, a simple G major chord isa triad consisting ofthe notes G, B, and D. There are several types of triads, including major, minor, diminished, augmented, and suspended. All ofthese chords are constructed by simply altering the relationships between the root note and the intervals. G major G minor G diminished G augmented M3 PS m3 PS m3 dims M3 augs ‘SEVENTHS: To create more interesting harmony, we can take the famullar triad and add another interval: the seventh. Seventh chords are comprised of four notes: the three notes ofthe triad plus a major or minor seventh interval. For example, if we use the G major trad (C-8-D) and add a ‘major seventh interval (F), the Gmaj7 chord is formed. Likewise, if we substitute the minor seventh interval (F) for the Ff, we have a ew seventh chord, the G7. This is also known as a dominant seventh chord, popularly used in blues and jazz music, As with the triads, seventh chords come in many types, including major, minor, diminished, augmented, suspended, and others. G major tied Gmaj7 a EXTENDED CHORDS Extended chords are those that include notes beyond the seventh scale degree. These chords havea rich, complex harmony tha s very ‘common in jazz muse. These include ninths, elevenths, and thirteenth chords. For example, if we take a Gmaj7 chord and add a major ninth interval (A), we get 2 Gmaj9 chord (G-B-D-Pf-A). We can then add an additonal interval, a major thirteenth (R), to form a Ganaj13 chord (G-B-D-FEA-). Note thatthe interval of a major eleventh is omitted, This is because the major eleventh sonically conflicts with the major third interval, creating a dissonance. Gmaj9 Gmaj13 2 M9 M3 By the way, you may have noticed that these lst two chords, Gmaj9 and Ganaj13, contain Gve and six notes, respectively; however, we only have four fingers inthe left hand! Since the use of a barre chord or open-strng chor is not always possible, we often need to choose the four notes ofthe chord that are most important to play. The harmonic theory that underlies these choices ts beyond the scope of this book, but not to worry—it bas already been done for you where necessary. Below are two examples fo demonstrate these chord “trimmings” Gmaj9 ‘Gmaj9 (four notes) Gmaj13 (four notes) 2 Generally speaking, the root, third, and seventh are the most crucial notes to include in an extended chord, along with the uppermost ‘extension (ninth, thirteenth, etc.). INVERSIONS & VOICINGS ‘This brings us to our last topic. Though a typical chord might consist of only three or four notes—a C triad, for example, consists of just 4 root, third, and fifth; a G7 chord consists of a root, third, fifth, and seventh—these notes do not necessarily have to appear in that same order, from bottom to top, in the actual chords you play Laversions are produced when you rearrange the notes of a chord: c a root Ist 2nd root Ist 2nd 3rd position inversion inversion position inversion inversion —_inversion Practically speaking, on the guitar, notes ofa chord are often inverted (rearranged), doubled (used more than once), and even omitted to create different voicings. Each voicing is unique and yet similar-—Kind of lke diferent shades of the same color. I 3rd Sth Cheo6 | ecaceac Once again, the possible voicings ofa chord are many. The vocings in this book were chosen because he are some ofthe most popular, useful, and attractive chord voicings playable on the guitar. CB eros C fitth (power chord) gay xx xo x ‘ofr Csus4 tcsusi Csus2 csaui2) & suspended fourth C suspended second Cadd9 C6 C added ninth sixth C6/ 9 (C6add9) € sixth, added ninth c £8 G A o root Grd Sth th Sth | we | oGceEA ——— 099 | Ox ADGCE Cmaj7 cm major seventh case Cmaj8 cu) C major ninth BEeEBDG Cmaj7#11 cw C major seventh, sharp eleventh eG 8 oF root are Sth «7th th | ¢ eer xx Qo ‘ore 9 cREeE Cmaj13 cma Cm comin, c C major thirteenth C minor Cm(add9) CME cmins, cs) C minor, added ninth C minor sixth 4 Ses 2 a 6 - bard Sth th P00! a x x == x x caap Be caa xx xx AN itr 13te occa Bacs Cmb6 c08), cminsy Cm6/9 C minor, that sixth minor sixth, added ninth co os 6 A c 8 GC AD root rd Sth Ih root Mrs Sth 6th th CMm7 ccninr,c-7 G minor seventh cB sth 7th x ~~ 9 9° 6s aac cease vor M79 ic-70855,cminz5) C minor seventh, flat ftth eS 5 a Bh Kid i5th 7th ° ro0t cael es Te Cm(maj7) omen Cm9 cming, cs) C minor, major seventh € minor ninth, cB « & fb root bird Sth 7th th x x coeaco xx Ol | im i eS ee ae Ha eacec BaD G Cm9(maj7) tcne+7,c9+7 minor ninth, major seventh CM95 cen, cninasy C minor ninth, fat fifth B & BB > root lard 5th 7th th Cm11 car,camn minor eleventh Sc & po Ff root rd Sth W7th Sth 11th Cm13 cs, coins C minor thirteenth o eo bo oO c 8 Gc B&B oD A root Mid Sth 7th th 13th, C7 (Cdom7) C dominant seventh C7SUS4 crews) C dominant seventh, suspended fourth cof root ard cs Sth bith came co oF co & root ard Sth Sth or C7 0 (C7-5, Cdom7}5) C dominant seventh, that firth Eo & ard sth 7th 10% CcGBE ———_a— 2 c c8& co & ob root ard Sth 7th Sth B06 C9sus4 cous) C955 95, caonas) C ninth, suspended fourth 6 ninth, sat ith — 1 ———— ° cor 6 & © c o£ & & » Sot yh Ahh Sorin th ath x x a 00000 o cFBODG ceBos x x x x @ | ow 8\|9 © BDF DGeE x x x 0 1 0/00) 9 re OG BOGE x xx 0090 | Oo QO] me ccrmD BeEGO x x x x | 0/1060 tr fe 5 9 D Gar @ecee D C749 (C7-9, Cdom7+8) C749 (C7+8, Ciom7#9) C dominant seventh, flat ninth C dominant seventh, sharp ninth Sass SS rs e|9 [3] 98 — fi « o 8 019 x 0/6] s 019 | e °o GOE B BE GO oN x 010] & 60 tr e eo 9 oO BEG cE BD xX xX -N eo y2te @ at 8 8 9 0 Bh GOE OG BE C755(38) co7sc+9), coonzse0n C11 C dominant seventh, flat fifth, sharp ninth Celeventh a OO | xx | ERR G C7#1 1 (€7+11, Cdom7 #11) C13 (Cdom13) C dominant seventh, sharp eleventh € thirteenth c £ G & oF e£ G %B Dd A root rath 7th 1th root Ses Sth Ih Sth 13th GocrR® Ee EBCA C13sus4 cissus C+ cas, cesn € thirteenth, suspended fourth C augmented o as eo = es eo ° c oF S & Dp -« cor St rot tn Shyam cst ard th C47 cris C+9 sis, co. C dominant seventh, sharp fifth Crninth, shag ftth C+759 crs C dominant seventh, shang fifth flat ninth es ste —— | ° co £ St Bm root Sed 5th Ath 8th C47HD ccrstion C dominant seventh, starp fitth, sharp ninth ve cof oF 8. root ard Sth 7th 8th @ | mw OF GiB E var =e OF @ C° cam C°7 cain C diminished C diminished seventh rp xX me ate OL Onn BoCE Ci (Chmaj) CHS (Ci no 3rd) C-sharp major C-sharp fifth (nower chord) Cisus4 cis) C-sharp suspended fourth to choo gt root ain 5th vr) ra | CHSUS2 — cciseaz) C-sharp suspended second cho root 2nd sth Cfaddd -sharp added ninth of root ard st sik atm CHE/D cisasisy Cimaj7 ci C-sharp sixth, added ninth C-sharp major seventh ———F ro fo rset cho tat root 3rd Sth «BIN Sth Cr 3a thin ChE AbD Gb I x -N 6 . 000 | sm 9 ° ©} Di Gi CF EE AY L Gh ct at [ xX Nx x x OO] |e ote 8 9 4 &4 Ct OOF AL er) xx xx ° tor eo 1 0 i 09090 ch eb AE DF Ch GH BE EE Ci maj9 im ¢-sharp major ninth ch Gt root 3d Sth Cemaj7#11 cian C-sharp major seventh, sharp eleventh Cimaji3 (cena) Cckm (cém, C2) C-sharp major thirteenth -shara minor Cim(add9) C-sharp minor, added ninth E root ised 5th Que © Gt cto CME Cnins, cis) C-sharp minor sixth | si Gt Ale CHMLE :-v8, cimins) €-sharp minor, flat sixth jo to coe atk root Std Sth 6th Cim6/9 C-sharp minor sixth, added ninth fe cof go root Kid Sth th \\ ot oth CEM7 cciminr, c:-7 Cim75 (C#-7(5), Chmin7-5) C-sharp minor seventh C-sharp minor seventh, flat fitth io a © 6 8 reat Wid Sth th x ooo os Pci ceGee > x x Qo ate 8 Gane x x x x @ | 5 OT] | (3) 9 Gee e aoe x x x x 6 1068 |» @ | CG BE G co BEG xx xx 9 mtr 0 Ne cc} GiB E ciG BE Cém(maj7) cin CEMG ccinins, cr C-sharp minor, major seventh C-sharp minor ninth ate ch G; BE CHMIL5 ccins's,ciminasy C-sharp minor ninth, flat fifth © os 2 ot Me Sth th C#m9(maj7) (cima4+7, 04-847) C-sharp minor ninth, major seventh CHM cce32,cemimn CHM13 cci-13, canna) C-sharp minor eleventh C-sharp minor thirteenth he fy FY jo et? ae. : , ot : = : to te oc © of 8 bm Ff of cB ow Sd Shh Bin rest (Sed Sih ttn Sth 13th CET ccivomr C-sharp dominant seventh 10100» chat e ef Ci7sus4 (ci7sus) C-sharp dominant seventh, suspended fourth a oR ct 8 root ath Sth 7th ° nite Ci75 (C#7-5, Cidom75) C-sharp dominant seventh, tat fitth =? es to cog « 8 a 6 8 of root aid Sth th root ard Sth nth o ———_¥y x x —— =i x C#Ssus4 isu C-sharp ninth, suspended fourth co to root 4th Sth 7th ah xx CJ (2) 9 a 8 mF 000 | On @ | Di Gi B FE CEOS 95, citomas) €-sharp dominant ninth, flat fifth fo oth ot tn CY ED @ | ow AAAS G ce B Df 6479 (Gi7-8, Cidom79) C-sharp dominant seventh, flat ninth >. fe Go Go op Dp root ard Sth «th kth x x Ts * xx ON O | Qi ogee oO C4749 cci7+9,ciom7ia) -sharp dominant seventh, sharp ninth Gs Bx root ard Sth 7th th 12t0 Gy B Dx CH7LHCES) cx7sco8, cxomzscion C-sharp dominant seventh, flat fifth, sharn ninth ce Gs & G8 DoF soot ard isin H7th «8th oe a Se ut CH7FTT taze11,ceuonmer CHI ccrtomay C-sharg dominant seventh, sharp eleventh C-sharp thirteenth fo oO 4 <2 oa 4e 10 a to to Sx ed Shh itty woe Shun Shaan [ nS O° | ~ — x x | \ [2] o 00 A —— 00 itr O13 Gch re BE | Bo ACh ES CE1SSUS4 crasus) C-sharp thirteenth, suspended fourth fo eo cof Goa ke root ath Sth 7th = Sth 13th CE+ cciaus, cies C-sharp augmented to ch Ge root 3rd 5th CH+7 (ci7#5) Ci+8 (Ci825, C4845) C-sharp dominant seventh, sharp fifth C-sharp ninth, sharp fitth e , to e fo cho gw coe ge Oh root ae 5th 7th root aed Sth «7th Sth ‘ofr CETL ccizascan CH+7HD coors can C-sharn dominant seventh, sharp fifth, flat ninth C-sharp dominant seventh, shara fifth, sharp ninth & s 2 1 é te © feo +e- . oo Bt cho ek gk Bw root aid Sth 7th 8th woot 3rd 5th 7th Fath 1 x 20 aS HE - of EL Gx BOO x Qo e196 00 of eB Ox Gx x a 09 | « 60/10 »W i Dox oh eB 0 tr ae xx xx O 1 O | x sar o 9 De BE coo BE CH citi CH7 cam C-sharp diminished C-sharp diminished seventh to e oG of Gm root bard 88th root rd 38th rth —————- x oo a ae oo S BEGGE Ss [8] « QO» 6 mo DS wnara D fifth (power chord) ° root a sth te ofr Dsus4 oss) O suspended fourth AbvDGODOG Dsus2 cosasez) D suspended second a o > oe rooted Shh xx oo ce DADE x ° 005 9 | DAODEA XA \g 00 mW 9 Go EAE AD r xx °° ote 9 9 DEAE ae a ADADE 0 added ninth DRAE mr DE/S cosas Dmaj7_ om O sixth, added ninth D major seventh Dmaj9 ons) Dmaj7#11 (OM7#11) D major ninth ‘D major seventh, sharp eleventh A Ce wo 3k th hatin OL | ° 2h ORG E DG of Dmaj13 om 1D major thirteenth °o tar 69090 BOA GR DM comin, 0 minor xx 09 | 9 9 DF AEF Dm(addg) D minor, added ninth Oia EADE DME oonine,o-6) ‘Beninor sixth DMbE 048), onin5) D minor, flat sixth o D> oF Ab root Kird Sth 6th Dm6/9 D minor sixth, added ninth SS ee ee root Kid Sth 6th th Dm7 02, onin7) O minor seventh DM7}5 075, onin7-5) D minor seventh, flat Titth 6 = = DoF root kare oo nbn ONCE Dm(maj7) om D minar, major seventh Dit8 105, oninwy DO minor ninth GFA D Dm9}5 con95, oninas Bm9(maj7) (um8+7, 0-8+7) O minor ninth, flat fifth ‘D minor ninth, major seventh = — re 2] J 3 : oe 7 Ay DoF A ctr root 8rd Sth 7h th | | I DM11 15, oni DM13 013, onima 2 minor eleventh ‘D minor thirteenth Oo oF aA Cc e& & DoF A ¢ 6 8 root ard Sth 7th Sth ath root (3rd Sth 7th oth 13th ——_ He xo . pGcer cOoABE D7 (oom? D ttominant seventh oF root 3rd D7sus4 w7sus) ‘D dominant seventh, suspended fourth > G A root ath Sth 7th D7>5 0075, odon7s5) DS D dominant seventh, flat fitth ninth Fo D 7 c root rd 5th TIN root ard sth_ 7th th XxX OD c RAD D9SUS4 cossus) DSb5 095, n1omas) D ninth, suspended fourth D ninth, flat fitth oe so Db A ce oD mR ce root ath Sth 7th sth root rath 7th oth 10" Q sn D759 079, odom7:9) D739 t07+8, onon7:) D dominant seventh, flat ninth D dominant seventh, sharp ninth <1 gz q — x { s t os i oD FF Ao D FO A oc gt root 3rd Stn 7th 18h root 3rd Sth «Sth 8th e > CBR HCE AD ee xx 8 | Os Ce 9 L1@ 9 ° DAC Be DAC Ee D7 b 5(#9) (07-5(-+8), Ddom7;5(#9)) D dominant seventh, fat fifth, sharp ninth 2 Fo ake root ard A5th 7th th —— xx . O] 6 9 | cH eA 00] e 6 ER AL CFE 2 p11 Deleventh OL)™ eo 9 | me ce x x CLO] e ° oO eS D7#11 (07411, Baom7+11) D13 soma) 0 dominant seventh, sharp efeventh Orhirteenth D Fk Gt ee ee root ard Sth 7th Tth root ard sth 7th th 13th oe A ey ee 3) yo , ° } ode A A Dec xx x _——~ OJ x O11 O]™ 6[ | 6 Qo Hepa ceo. == « 6600s OW ]« Qo 0 sodenA oneE.S fas x x m~ OL) 007. L o o/o oA Dat | o cene DISsus4 orasus) D thirteenth, suspended fourth D+ coms, nes» O augmented — oe 2 o 2 G aA c¢ € 2B roo! ath Sth Mth th 3th ~ o b 7 Fat sath D+7 ors) Dominant seventh, sharp ith root FE ara Abe sin 7th ate ofr D+9 xis, 005) D ninth, sharp fifth o > oR ae root Grd Sth 7th as” aS = th me D+759 cor-se0 ‘0 dominant seventh, sharp fifth, Hat ninth bo Ss o Ce a root 9rd Sih W7th—_Lth OL oe c FEAL eS D+749 zsisn D dominant seventh, sharp fifth, sharp ninth —tgs— DFR ak gt root 3rd Sth 7th Sth Bac F o 0 D (O dim) D 7 (Daim?) D diminished D diminished seventh DoF ab DOF mo root bird s5th root rd th rin xX 0 8 ——— x x Onn 6/9 9 ab OF A x x > x — ° tr ate é 8 9 FR DA : | OOF A & FED | aaa he 3 FAOR og FAD EL (E-maj) Eflat major 00 Sa8 6 6 60 BBE G BE tr itr ELS (E 0 3rd) Etlat fitth (nower chord) a OT jm BS Be o 1 Be Bb EbSus4 esis) Erfllat suspended fourth ate EbSUS2 esos) Eflat suspentied second EL6 Etlat sixth, B 6 root dah th xx x x @ | iw Oi a 9 < 9 9 8 9 Bo BF ® ces Ebmaj7 cw E6/ 9 (€6a0d8) E-flat sixth, added ninth E-flat major seventh —e r 2 F 5 8 root 3rd Sth 7th & G6 8 ¢ root 3rd Sth GI Sth ate Bmaj9 ens) Erflat major ninth & ¢ & o root 318 Sth 7th Emaj7#i1 ewan Eflat major seventh, sharp eleventh ELmaj13 cma Eflat major thirteenth Bo oG¢ & dD fF Cc root ard Sth 7th Sth 13th Ow BGCrBRD ESM nin, Eat minor 5 root Kid Sth Cl BaaG E,m(add9) B/G cemins,c-0) Flat minor, added ninth Eflat minor sixth EbMbG ce-c8), ems) E-tlat minor, flat sixth eo & root Go of ard Sth 6th ELm6/9 Flat minor sixth, added ninth -—e——— — boo & oC root rd Sth Sth th : On BBEGGOE BacrF tr nr EB m7 (Bmin7, 6-7) B m755 (6-755, Bmnin7-5) tat minor seventh Efiat minor seventh, flat fith 6s 6 8 o o Boo oct Mid th bh rect Grd J3th th x xx 98 66 © oD Gb 6B o x ON x x ate Os 6/9/90 BG DB Bb Bb x - x x Onn o ow o Be oG eb x Nx > xx 6 [660 | ow Oe Oo o 6 oe © Bt oO ee x x sr sot ° BaoGD & & Bae. rT Ebm(maj7) ++ EbM9 coming, e-2) Efiat minor, major seventh Etat minor ninth Bs B&D 5B og B oo F root ied Sth Tth root rd 5th th ath ote te ate B£m955 mss, emnas) Eflat minor ninth, that fifth —— eo +e 5G Be oD root rd 5th 7th Sth B m9(maj7) cems+7, 6-247) Effat minor ninth, major seventh $5 a — { Bb og pope root rd sth 7h Sth BBO a oF 10% at Bm11 e11,eninrn Ebm13 1s, smn) E-flat minor eleventh Effat minor thirteenth o Fe S 1} BG B® BF & oo BB om F ¢ root rd Sth 7th Stn tT root iid Sth 7th «3th 13th x a 9 oaBC F XA Cy) ate 6/6 ‘st a 00 [J] AKO OoOG@CrE B7 can EL7s8us4 ez Efiat dominant seventh Eslat dominant seventh, susnended fourth 1 oe | st ——— o rect ord Sth Ah st fh Sh Rh rite Eb7>5 (B7-5, Edom7\5) E49 Eflat dominant seventh, flat itth flat ninth B9sus4 esa Effat ninth, suspended fourth (== B A BB root ath Sth 7th & B 95 (B9-5, Edom$5) Effat ninth, flat fitth 000/90) BAD AB) F Bb7>9 7s, e00nn9) E749 e745, 50on7) Erlat dominant seventh, flat ninth E-fiat dominant seventh, shanp ninth SB 6 B Dm BG Bb ob root ard Sth 7th Sth root ard Sth 7th 8th Boo 0 [OJ im E7559) 6759, cun7san Elat dominant seventh, flat fifth, sharg ninth B&G Bho Fe root aed Sth «| W7th fa B11 Eflat eleventh be 5 GB BF fb root rd Sth 7th Sth Ath EB 7H 1 (657411, Etom7$11) B1 3 (Esdom13) E-flat dominant seventh, sharp eleventh Eslat dominant thirteenth ch kk oS G & om Ff © root 3rd Sth 7th ittth root ard Sth Sth th 15th 016 [00m . ° tte BAGG E B opGce B6188us4 e120 Bb+ teas.cesy Etlat thirteenth, suspended fourth Flat augmented — —o- & 6 69 | eba se B+7 on B49 wos,c5) Eflat dominant seventh, sharp fifth Eflat ninth, sharp fitth Gop om F root ard 45th 7th ath 6 tite °o tote Bb+79 cersusn E6+7#9 cer-sean Eflat dominant seventh, sharp fifth, flat ninth Eflat dominant seventh, sharp fifth, sharp ninth ON 1m OWN | 8 68 Lo BOGE RF B ° (Baim) E-flat diminished 5 root si lars @ BE Gb rot B 7 (Baim?) E-flat diminished seventh SB & BoD root Mire 6th 7th De @ BA E cenap ED enoarn Emajor Efitth (power chord) Esus4 sus) E suspended fourth EAEABE ESUS2 — tesavsz) E suspended second ite 6/9 (£6add3) E sixth, added ninth EGaURBE Emaj7 wm E major seventh Oe 12H Emaj8 cas) Emajor ninth et root ard. @ | & oO 8 FA GE Emaj7#11 canan € major seventh, sharp eleventh eo root ard x x 6 8 o J £ OG A xx & a oO: Gt tite “utr Emaji3 ans) Em (Emin, E) E major thirteenth E minor: to =e + = = = Bs e so 8 & S&B RB bo © Gi ct Fh B oO ofr se ofr Em(add9) EMG cen, eo) minor, added ninth Eminop sixth Emb6 cos, enins) E minor, flat sixth EBEGCE mH 0] [9] Ow Em6/9 Eminor sixth, added ninth — x Xx EGO FR EM7 cninz,e7 Eminor seventh ee O0GBE EM7b5 25, emus) Eminor seventh, flat fifth @ | Em(maj7) cum Em tenins, ¢2) E minor, major seventh E minor ninth eG 8B of 8 oo Ft root Wd Sih 7th root ed Sth «57th th 69 | 01007] | a GA —eeBbDGoF EMm9}5 — cenos, tnna:s) Em9(maj7) ns+7,9+7) E miner ninth, tat fitth minor ninth, major seventh | eo +? a ? 4+e- 2° eo eo — G Bh o Fe E GS 8 oF Fi root sr 55th 7th sth root ed Sth 7h th x x x h aH 0 Om 9 oo P| OS seme SS — CK) ate OT 199 | 3) ° C) EROGOR eEeoG BR Em11 (E11, Emini) Em13 (E-13, Emin13) E minor eleventh E minor thirteenth . re eo — 2 o 1 e ¢ 8 o FF -@ e 6G 68 pb fF o root Hrd Sth W7th «Sth th root ad Sth th Sth 1ST ooo000 9006 | On @ | eEADG pocar E7 (Edom?) E dominant seventh E7sus4 (E7sus) Edominent seventh, suspended fourth A BD root 4th Sth 7th, E745 (E7-5, Edom7$5) Edominant seventh, flat fifth e o@ mB oo root aed 8th 7th L @ & GO ste rate Eg Eninth e 6 root ard 8 sin 0 sm Fe ih GO FB EGO F a 19te E9SuS4 css) EQL5 cos, tomas) Eninth, suspended fourth Eninth, flat fetth x x xx tot ofr 6160 Qo — DFA oO xx xx 09 [Ou Q |i 9 eAO A og er E749 173, tdon7.9) Edominant seventh, flat ninth —€ cs 8 Dd F&F root ghd Sih 7th 8th xx 0/6] 9 BOF GO x x O79] a F vas E7#9 cers, ctonz9) E dominant seventh, sharp ninth wt vt E755(#9) (E7-5(+8), Etom7.5(#8)) ‘Esominant seventh, flat fifth, sharp ninth e o B& oo root 3d Sth 7th 8th EN Feleventh & root SB oD ok 3rd Sth MH th THth x x °° @ | uw [:] Go Fe x OT OT J A Gt BD E7#11 (E7+11, Edom7#11) E dominant seventh, sharp eleventit e cg 8 Dp FoR root 3d Sth 7th Sth Ath | a El 3 (Edom13) E thirteenth Qo ot O22 ofr 090» 0 GC EL3sus4 crass) E+ ccaug, evs» E thirteenth, suspended fourth E augmented E+7 ws E+9 tea:5,t9+5) E seventh, sharp fifth Eninth, sharp fifth SS = 3 = e co Bf oD © Gt st pF root 3rd 5th th root Sed 5th 7th Sth 6 ate O1OT I. 9 — D GB} cho FH Bf E E+759 assay dominant seventh, sharp fith, flat ninth — $e e Go Boop oF root 3d Sth 7th 8th o Gt BE F E+7#9 cerseon E dominant seventh, sharp fitth, sharp ninth c Go oD Fe root aed 5th «| W7th_ Sth 9° taf D Gj Bt Fe 0 98 6 oe 9 9 9 6 18 J 8 tate Ea oo FS (F no 3ra) F fitth (power chara) Q [Os 9 FACE Fsus4 gus) F suspended fourth a root th Sth 6 ate FOF S OO AS4GS Foc rE tafe F6/9 crsasae) Fmaj7 am F sixth, added ninth F major seventh @ | 1% Fmaj9 rm F major ninth @ | 0 Fmaj7$11 ewan F major seventh, sharp eleventh @ | Fmaji3 ens) FIM rin, e» F major thirteenth Fminor FoA G¢ & 6 oo Foo root aed Sth in th 13th rool rd th Ferac CAC E Fm(add 9) FG timing, 0) F minor, added ninth F minor sixth 2 4 os o te Foo ef reo! Med Sth oth root bird Sth th ‘ofr vate rar FIMb6 09) rmns) F minor, flat sixth oS Foo Gb root rd Sih 8th Fm6/9 F minor sixth, added ninth ° ae DAC E FROG MOGCF ot Fm7 2,rman F minor seventh a= eo Fo oB oe root rd th sé mh F755 75, enin7-5) F minor seventh, flat fith F root a bara 3 Sth 5 inh vor Fin(maj7) m+ F minor, major seventh a Fo co rool rd Sth 7h FQ (9, rmina) F minor ninth Foe c 8 root Wed Sth Th th 134 Fm9b5 cmos, rnina:s) Fm9(maj7) — ns+7,¢9+7) F minor ninth, flat tifth Fiminor ninth, major seventh Foe Go 8 Go Fo c ec 6 root rd Sih 7th sth rool rd Sth Thoth coe s weeae _— xx 61007] TO] 9 [ ° ° | roewes ew oo Fm11 (E11, Fmint1) Fm13 (F18, Fmint3) F minor eleventh F minor thirteenth Fo oA © 8 6G Oo rool rd Sth Ath th 13th Foe mM DF D eS gb oA CE F7sus4 ras) F dominant seventh, suspended fourth 000] crAS B Cre a x Oe 9 J FeBaec xXx cree F7L5 (F7-5, Fdom715) F dominant seventh, flat fifth F ninth Ac 8 root ad Sth 7th 1 s ain BGCFA FOSUS4 (asus) FOL5 eos, rsonasy F ninth, suspended fourth F ninth, flat ftth FT; 9 (F7-8, Fdom7,9) F dominant seventh, tlat ninth fh bo Fg bo FoOoA co ff & root 3rd Sth | Hth 8th F749 (F7+8, Filom7#9) F dominant seventh, sharp ninth vate F7L5(#9) (F7-5 (+8), Flom7}5(49)) F dominant seventh, flat fifth, sharp ninth FA c 6 a root ard Sth 7th Sth 11th OO" i 6/0 | Peers x " ° FRGEAC F7#11 (F7+11, Fdom7311) F13 (Fdom13) F dominant seventh, sharp eleventh F thirteenth FoA co Be co 8 G »D root 3rd Sth 7th «ttt root 8 SthWth_= Sth 13th 6 tat eras FISSUS4 crissus) F+ craus,resn F thirteenth, suspended fourth F augmented |e ° sain aD 90 | BFAD GFA F F+7 as) F dominant seventh, sharp fifth pe o ———— os & rool 3 cos 65th 7th F+9 cas, F ninth, shar fitth F9+5) F+7b9 crssvan F dominant seventh, sharp fifth, flat ninth F+739 sss F dominant seventh, sharp fifth, sharp ninth FA Ge. root. 3rd Sin 7th FA si 10tr {tr Fo stim F diminished ro o FoR rot kee Sth wo OF ab F°7 cram F thminished seventh of vite FAB ce nozen F-shary fitth (power chord) et root 5th ar ofr tt Fisus4 csus) F sharp suspended fourth ct root ath sth - x pa chr BOF ofr tr FASUS2 crsau2) Fsharp suspended second o se Fradd9 FAG F-sharp added ninth Fsharp sixth io a io oo Gt Fate cht root ord Sth Sth root rd Sth th x x x 8 | Ox @ | 6! AAG GA Ay OF FE x x 0000 [un or ye eS — = AR ODE FE CE FHG/S (F8 ad 9) Fsharp sixth, added ninth to io at # ce root 3rd Sth th at 3th Fe GE CE FE A; Dt Femaj7 eam F-starp major seventh jo Fad 4 ht root 3rd Sih TiN dmaj9 ms F-sharp major ninth Fémaj7#11 awn F-sharp major seventh, sharp eleventh == c os root eho ct 3th = wa 3 mm sith ate wT a es wa LL Fimaj13 ama FAM trim Fsharp major thirteenth F sharp minor —— oe = 7 s fo oe Fe A a oom Sh Th 18in oa ine Sh O90 Jw yr | aw ite Fe¢m(add9) F-sharp minor, added ninth Qo tte FR OA Ch GE FEMB 6, r#mine) F-sharp minor sixth so a Foo A cet root iird Sth th FEA DL FE Ch x x o e 60 Foo: A GF xx Ces DP A Ct OFS ate Femb6 (F#-(6), Féminis) Fem6/9 F-sharp minor, fat sixth F-sharp minor sixth, added ninth Fem7 civ, 4mm Fim7}5 (F715, Fémin7-5) Fsharn minor seventh sharp minor seventh, tat fitth Fak E aA oc root Sars Sith root rd sth 8 RGEAG xx | @ | io 8 9 Fem(maj7) cemm FEIN 4-, ming) F-sharp minor, major seventh F-sharp minor nintt FHMS}5 cena, rinina.s) Fim9(maj7) — inss7, r-2+7 F-sharp minor ninth, flat fifth F sharp minor ninth, major seventh _ = io Is a a hoe OOH x x x TO] | 09% Qo () GCE A AC EE GEC xx === x x 134 5 ° tte eo - 9 9 9 EAC Gb A ef Gi ce FANT e-11, min Fsharp minor eleventh FRMT3 cee, riminta) F-sharg minor thirteenth io 2 tt 4o irom — o = fo io oe o oA gt 8 Rook Gok ght root rs Sih ath root rd Sth Mth Sth 13th On 0 [Ox @ | v2 47 crstonr FE7Sus4 ize) F sharp dominant seventh Fsharp dominant seventh, suspended fourth Gor fe E 3rd th atin root ath Sth 7h oo i 8 °o Foch E ALG Ache 8 chr xx xx °0 a o ate 98 8 Fecha | AGEs x — Ow O16 [Ox 9 | 9 ROE AG AGE 8 xx xx 0900 Jin 09 [A (2) Chi AE ane e FE7b5 crzs,ritom7s) FEO F-sharp dominant seventh, flat fifth ‘sharp ninth o 7 Fo ah Fo ak cht root aed Sth bth root aed Sth Ith ath 2 ° zg z g 2 0] 128 ; 0] FESSUS4 crissus) F-sharp ninth, suspended fourth Fe eae FYSL5 (F#9-5, Fédoma:5) F-shanp ninth, flat fitth Gc © ab FHT} 9 (FE7—8, Fédom7/9) F-sharp dominant seventh, fat ninth ar FE7ES criz+s, sons) F-sharp dominant seventh, sharp ninth ALOE Ge Ch OF ate 19¢e FEZL5(#9) cr:7-stea, raommsiien F-sharp dominant seventh, flat fitth, sharp ninth Fe root ab 3rd © ssn e ren ce ith ux 09 | x ° 6 wees x —_—— MEG C FEI F-sharg eleventh s Fo ake ch GE cot arth 7th Sth ath ABE AO He 7 fe FEZETL e711, retary FEB ceesomay F-shara dominant seventh, sharp eleventh F-shang thirteenth #2 coe BF rr a root ard Sth 7th ttt root 3d Sth © S7th th 33th BFE AYE $13SUS4 rss FRA caus, 0m F-sharp thirteenth, suspended fourth ‘F-sharp augmented Fo8 oe ot oo $ ce woot 4th Sth th Sh 13th root Sd 5th OF FRB & Gt (ais ~ | ck wm a 9 Om CY 0 [On 09 | 1 FB DF Fi+7 ers F-sharp dominant seventh, sharp fitth bo A aL cx eg root aed Sih 7th ae . °o 9 _| BAC — xx 0 ate 9 RO Ee AF — x x FEA crisis, ioe F-shanp ninth, sharp fifth Gc HAE FA+7b9 crizssuen F-sharp dominant seventh, sharp fitth, flat ninth FE+7HO earssuan F-sharp dominant seventh, sharp fitth, sharp ninth x poe ac root Sed 5th 7th 8th Fox root 3rd Sth 7th th Feo tim F-sharp diminished Oe sor 13H FEO7 asim 5 aAcH it 134 G (Gmaj) 63 (G5 no 3rd) G major G fitth (power chord) root sth oo Leoe 6 lo Str str CHK:) , . 8 1 10tr 98 (J 0 ofr 00 1a 600 A Gsus4 css) Gsus2 tssaicey G suspended tourth 6 suspended second G@ oc oD co A root ath th root 2nd th 9 ver ADGB G6/9 sass G sixth, added ninth B root ra Gmaj7 cw G major seventh DoF oA Sth 6th sth GeBEAOD GopreoD Gmaj9 evs) 6 major ninth Gmaj7F ewan major seventh, sharp eleventh 6 8 Dp rool ed Shh = J as) = . A sth 6000] AoGe®r 6] [Om ccdrReBoO Gmaj13 coms G major thirteenth 11 E sth 13th tar Eaocea Fr GoGBD Gm(add9) GME cs, enn) G minor, added ninth G minor sixth ar 140 GME 648), cme) minor, flat sixth >) GB root ire 5th — - < ‘ ot AN . > og ‘6th BBOG 101 vate Gm6/9 6 minor sixth, added ninth 8 134 BEA OG GM7 7,6n07 GM7b5 75, emin75) G minor seventh G minor seventh, ftat fifth Gm(maj7) n+ Gm9 ico, enna) & minor, major seventh 6 minor ninth Dt co & 2 oF A root Wd Sth 7th root rd Sth Ith th GM955 tenes, sminos) G minor ninth, flat fifth Gm9(maj7) tcns+7,¢0+7 & minor ninth, major seventh ye te 4 0 oe [:} \ Qo ° ° | ce K:) Fo BOL A GOR BD a 686 | ww “Ose 8 3 0 ote °o et eo ° 0 sof 0 O0- 8 eo Qo GM11 1, cnn co 6 Foo root Wed Sth 7th Sth Ath y 9 Os 9 CBF AC —_ Cg GcrBOD GM13 6413, enims) G minor thirteenth co om Dp oF root grb Sth «7th EBRDG 99090 101 131 (Gdom7) G7sus4 crus) G dominant seventh 6 dominant seventh, suspended fourth 6 oc Dp oF root ath Sth 7th ot G7L5 (67-5, Gdom7.5) G dominant seventh, fat fifth Bb oF root 3rd 5th 7th core Grint 6 8 2 F root 3rd Sth 7th G9SUS4 css) G ninth, suspended fourth cs cD rool ath Sth F wn G9 b D (695, caomass) Gninth, that firth S «~ x ADF SB G759 79, csonna) G7E9 679, ston7:9 G dominant seventh, flat ninth G dominant seventh, sharp ninth bo be —________» “© ——— 6 oe 8 DD oF wb G8 pF A rok 3rd Sth 7th th root ard Sth «7th fh 9° 9 ceomD EF x x Ss _ _ 5 1 ae 8 8 aN o ste 8 GeFAD — x x @ | 9 G7L5(#9) (G7-5(+8), Gdoni7}5(#8)) G11 G dominant seventh, fiat fifth, sharp winth Geleventh G7#11 (67+11, Gdom7#11) Sdominant seventh, sharp eleventh 6 we @aper G13 (Gdom1 3) 6 thirteenth e op fF Af root 3rd Sth th th 3th GI3SUS4 issu) G+ avs, cies G thirteenth, suspended fourth 6 augmented 00900 | a OO | GCFAE a6 BG G+7)9 cerscan G+749 (67+5(¢8)) G dominant seventh, sharp fitth, flat ninth 6 dominant seventh, sharp fifth, sharp ninth GS 8 DoF ow 6 8 mF ag root aed SIN 7th 88th root ord 5th 7th Btn @ | ote 9 9 9 GBF AD 6B F AO | x x —- xx @ | @ | x e 9° 98 9 F AB oF ah BF G°7 coin G diminished seventh G8 woot Sid Sth rth ote Q] vn | Oo ce Bos a cab Ab cwmay ‘A-flat major oo a ce root td Sth (Ab nia 8rd) ‘A-tlat fitth (power chord) e 004: 9 1 MEA C BABA oir Mfr 134 ALSUS4 asus) A-flat suspended fourth ate A,SUS2 iasaai2) A-lat suspended second a ns root 2nd Sth CR BEA BS ALaddS A-flat added ninth A-flat sixth ———— Bc fF root 3rd Sth th — 090990 | tte BeAC HBEACE ALG/9 cassasss) A,maj7 (wn7) Actlat sixth, added ninth Aflat major seventh Abmaj9 wus) ALmaj7#11 aman A-flat major ninth Atlat major seventh, sharp eleventh bo = SS a ¢ 8 6 & ac BR Gf rest ard sth 7h oth root 3rd Sth hath x e| 190 xx ° str 9 ac 6 Bl x 6000" °o BEG x x sor wo Ge x : 0900 Ji Oi 9 o Qo BaA CG BoGCE Abmaj1 3 ama ‘Afiat major thirteenth || ALM canis, nw Acflat minor Ac root 3rd Sth G mh & oth Fe 13th A,m(atd3) ALME mine, a5) Acflat minor, added ninth Adiiat miner sixth joe? Sx xx On 019 | 9 ° o 9 t P| BENG WEF

    You might also like