Introduction to Jazz Guitar

Chords and Comping Styles

-by Mike Scott
The following lessons introduce some of the basics of jazz guitar chords. Topics include:

1. Some of the most common chord voicings used

2. Intervals
3. Triads
4. Seventh Chords, Drop 2 and Drop 3
5. Extensions and Sus chords
6. Quartal Chords
7. Freddie Green Style
8. Sample Comping Rhythms
9. Bossa Nova Style
10. Chords with Bass Line

The lessons will demonstrate an example in one key. Your assignment (what you need to
practice!) is to learn to play them in all 12 keys. Some students have found they will need to
write out a few examples in other keys first, but then can start working through the rest in their
head without writing them out. For example, in the triad section the lesson shows possible
ways to play a C major triad. You will then want to learn those for Fmaj, Gmaj, Dmaj, etc..

1. Practice it in the key that is shown first. Memorize it. Know the notes you are playing, not just
the shape!
2. Choose another key to figure it out in. Many students will write it out at first. Memorize that
key as well.
3. Then choose another key and continue. Once you have done it in 3 or 4 keys the rest should
get a lot easier.

It's very important to learn the notes that are in each chord, not just the shape!

Give yourself a grade! As you work on each topic, critique yourself and your progress. I give
my students the following self grading criteria for the triads as well as the drop 2 and 3 chords:

A: You can play all the chord voicings and inversions (on all string sets) from memory and
could identify the notes in each chord.
B: You can play the chords in the key of C from memory and you can identify some of the
notes in the chords. You can play some of the voicings in another key, but it takes you a little
while to figure out each new key and may need to write them out first. Not always sure of the
notes.
C: You can play the voicings if you are looking at them and you could play them in another key
if you write them out. You don't have any of them memorized.
D or F: You really can only read the tabs that written out.

For the style lessons the idea is to learn what is written and then apply it to another song. For
example, the Freddie Green style section gives an example over a blues and over the song "All
of Me". Once you can play those, choose another song and figure out on your own how to play
Freddie Green style on that song.
 Common Jazz Guitar Chords
If you are somewhat new to jazz guitar chords, here are some of the most commonly used voicings.
These chords are all shown with a C root found on the 5th or 6th string. They can easily be moved throughout
the neck of the guitar by lining up the root with another desired note. For example, the first voicing for Cmaj7 has
it's root at the 3rd fret on the 5th string. To change this to a Dmaj7 you would move it up to the 5th fret.
C maj7 C maj7 C 6/9 C 6/9
3fr. 8fr. 1fr. 7fr.

w ww ww ww
& ww w
ww w
w w w
b b
C min7 C min7 C min7 ( 5) C min7 ( 5)
3fr. 8fr. 3fr. 7fr.

w b b b www
b b www b b ww b b b www
w w w w
C min9 C min6 C min6/9 C maj7 (#11)
1fr. 7fr. 1fr. 7fr.

w b ww w # ww
b b www w
w b www w
w
C7 C7 C dim C dim
1fr. 8fr. 2fr. 7fr.

bw b ww bw b b www
ww b ww
w w w

C9 C 7(#9) C 13 C 7(#11)
1fr. 1fr. 8fr. 7fr.

w
b ww b b ww b ww b # www
ww ww w w
 Intervals
An interval is the distance between two notes. Intervals can be described as harmonic if the two notes sound
simultaneously or melodic if the two notes sound successively.

half step whole step

& b ww
minor 2nd major 2nd minor 3rd major 3rd

ww b ww ww

tritone
augmented 4th

bw
perfect 4th diminished 5th perfect 5th minor 6th
&w # ww bw w
w w w w

&w bw w w
major 6th minor 7th major 7th octave

w w w w

1. Find intervals from notes other than C.

2. Try playing different intervals on your guitar. (harmonic and melodic)

 Triads
A triad is a three note chord. The three notes are called the root, 3rd, and 5th. The intervals between the
notes are major or minor thirds. There are four types of triads: major, minor, diminished, augmented.

C major triad C minor triad C diminished triad C augmented triad

& ww b www major 3rd b b www minor 3rd # ww
w minor 3rd w major 3rd
major 3rd minor 3rd minor 3rd major 3rd

C major triad: C (major 3rd) E (minor 3rd) G

C minor triad: C (minor 3rd) Eb (major 3rd) G
C diminished triad: C (minor 3rd) Eb (minor 3rd) Gb
C augmented triad: C (major 3rd) E (major 3rd) G#

Triads can also be inverted. An inversion is a chord with a note other than the root on the bottom.
First inversion has the third on the bottom, second inversion has the fifth on the bottom.

C major triad
root position
ww
first inversion
wwsecond inversion
& www w3rd w
root fifth

C minor triad
root position
w
first inversion
b wwsecond inversion
& b www b ww w
root 3rd 5th
Triads
œœœ œœœ œœ
œœ œœ œœ œ
C major
& œœ œœœ œœ œœœ œœ œ œœ œ œ
œ œ œ
œ
0 3 8
T 0 5 9
1
0
5
5
8
9
1
0
5
5
8
9
A 2 5 10 2 5 10 2 5 10
B 3
3
7
8
10
12
3 7 10

œœ b œœ
C minor
œœ œœ b œœ œ b œœ œœœ b œœœ œ œ
& b œœ œœœ œ b œœœ œ œ b œœ œ
œ
3 8 11
T 0 5 8
1
0
4
5
8
8
4
5
8
8
13
12
A 1 5 10 1 5 10 1 5 10
B 3
3
6
8
10
11
3 6 10

œœ œœ b œœ
œœ œ b œœ b œœœ bœ b œœœ œ b b œœœ œ œ
b œœ
C diminished
& b œœ b œœœ œ b b œœ œ
bœ
2 8 11
T 5 8 11
4
5
7
8
13
11
4
5
7
8
13
11
A 1 4 10 4 10 13 4 10 13
B 3
2
6
8
9
11
6 9 15

# œœœ # œœœ œœ
œœ œœ œ œ
C augmented

& œœ # œœœ œœ # œœœ œœ œ # œœœ œ # œœ

œ œ
#œ
0 4 8
T 1 5 9
1
1
5
5
9
9
1
1
5
5
9
9
A 2 6 10 2 6 10 2 6 10
B 3
4
7
8
11
12
3 7 11

Assignment: Learn to do this in all 12 keys, memorized.

Triads (Spread Voicings)

œ œ œ
œœ œœ œœ œœ
C major
œ œ œ œ
& œœ œœ œ œœ œ œ œ œ
œ
3 8 12
T 5 9 12
5 8 13 1 5 8
A 2 5 10 5 10 14 2 5 10
B 3 8 12
3 7 10

For spread voicings you will find there is more than one way to play them.
The tablature here shows one possibilty. Try and find others.

œ œ bœ
bœ œœ bœ œœ œ œœ bœ œœ
C minor

& b œœ œœ œ œœ bœ œ bœ œ
œ
3 8 11
T 5 8 12
4 8 13 1 4 8

A 1 5 10 5 10 13 1 5 10
B 3 8 11
3 6 10

C diminished
b œœ b œœ œ b œœ œ œœ
bœ bœ œ bœ
& b œœ b œœ œ b œœ bœ œ bœ bœ œ
bœ
8 2 8 11
T 1
8 11
4 7
5 8
1 4
11
A 1 10 4 1 4 10
B 2
9
8 11
3 6 9

œ œ œ
# œœ # œœ # œœ œœ
C augmented
œ œ œ œ
& œœ # œœ œ # œœ œ œ œ #œ
#œ
4 8 12
T 5 9 13
5 9 13 1 5 9
A 2 6 10 6 10 14 2 6 10
B 4 8 12
3 7 11

Practice these in all 12 keys.

 Triad Inversions on Guitar (Moving across strings)
ww ww
& c ww ww w w
C Major

w w
root position first inversion second inversion root position
3
T 5 5
A 5 5 5
5 5 5
B 7 7
8

C Minor
w b ww b www
& b www b ww w

3
4 4
5 5 5
5 5 5
6 6
8

w bw b b www
b ww
C Diminished
& b b ww b b ww
w

2
4 4
5 5 5
4 4 4
6 6
8

w # ww
# www # ww w
C Augmented
& # www

4
5 5
5 5 5
6 6 6
7 7
8
 Diatonic Triads in the Major Scale

A triad can be built from each of the seven notes in the major scale. Diatonic triads use only notes belonging to
the scale. Each major scale/key will contain three major triads, three minor triads, and one diminished triad.

Roman numerals are used to distinguish different triads (chords). Upper case for major, lower case for minor,
lower case followed by a "o" for diminshed. Although it is not a diatonic triad in major keys, the augmented
triad would be written as an upper case roman numeral followed by a "+" sign.

Cmajor Dminor Eminor Fmajor Gmajor Aminor Bdim Cmajor

www www ww ww
ww ww w w
I ii iii IV V vi viiº I
& ww ww w w
w w

#
Gmajor Aminor Bminor Cmajor Dmajor Emin F#dim Gmajor

ww www www ww
& w ww w
I ii iii IV V vi viiº I
ww ww w w
ww w w

Dmajor Eminor F#minor Gmajor Amajor Bminor C#dim

ww
Dmajor

##
I ii
ww
iii
ww
IV
ww
V
www
vi
www
viiº
w
I

& www ww w w w
w

In every key the I, IV and V chords are major. The ii, iii, and vi chords are minor and the viiº is diminished.

Learn this in all 12 keys!

 Diatonic Triads in C Major

˙˙˙ ˙˙˙ ˙˙˙

Root Position (on 5th, 4th, 3rd strings)

& 44 ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙

Cmaj Dmin Emin Fmaj Gmaj Amin Bdim Cmaj

T 0 2 4 5 7 9 10 12
A 2 3 5 7 9 10 12 14
B 3 5 7 8 10 12 14 15

˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙

˙˙˙ ˙˙˙ ˙˙˙
Root Position (on 3rd, 2nd, 1st strings)

&
5
Cmaj Dmin Emin Fmaj Gmaj Amin Bdim Cmaj
3 5 7 8 10 12 13 15
T 5
5
6
7
8
9
10
10
12
12
13
14
15
16
17
17
A
B

1st Inversion (on 4th, 3rd, 2nd strings)

˙˙ ˙˙ ˙˙ ˙˙ ˙˙
˙˙ ˙˙ ˙ ˙
& ˙˙˙ ˙ ˙ ˙ ˙ ˙
9

Cmaj Dmin Emin Fmaj Gmaj Amin Bdim Cmaj

T 1
0
3
2
5
4
6
5
8
7
10
9
12
10
13
12
A 2 3 5 7 9 10 12 14
B

˙˙
2nd Inversion (on 6th, 5th, and 4th strings)

& ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙
˙˙ ˙ ˙ ˙ ˙ ˙
13 ˙ ˙
Cmaj Dmin Emin Fmaj Gmaj Amin Bdim Cmaj
T
A 2 3 5 7 9 10 12 14
B 3 5 7 8 10 12 14 15
3 5 7 8 10 12 13 15

This page shows 4 examples, but of course you can do any inversion on each of the 4 string sets.
Practice this in all 12 keys!
 Triads from the A Harmonic Minor Scale

˙˙˙
# ˙˙˙ ˙˙˙ # ˙˙˙ ˙˙˙ # ˙˙˙
Root Position (on 3rd, 2nd, 1st strings)
˙ ˙˙˙
& 44 ˙˙
Amin Bdim Caug Dmin Emaj Fmaj G#dim Amin
0 1 4 5 7 8 10 12
T 1
2
3
4
5
5
6
7
9
9
10
10
12
13
13
14
A
B

˙˙
˙˙˙ # ˙˙˙
Root Position (on 6th, 5th, 4th strings)
& ˙˙ ˙˙˙ # ˙˙˙ ˙˙˙ # ˙˙˙ ˙
˙
Amin Bdim Caug Dmin Emaj Fmaj G#dim Amin
T
A 2 3 6 7 9 10 12 14
B 3 5 7 8 11 12 14 15
5 7 8 10 12 13 16 17

1st Inversion (on 5th, 4th, 3rd strings)

˙ ˙˙ # ˙˙ ˙˙
& ˙˙˙ ˙˙ # ˙˙˙ ˙˙ # ˙˙ ˙ ˙ ˙
˙ ˙
Amin Bdim Caug Dmin Emaj Fmaj G#dim Amin

T 2 4 5 7 9 10 13 14
A 2 3 6 7 9 10 12 14
B 3 5 7 8 11 12 14 15

˙˙ # ˙˙ ˙˙ # ˙˙˙ ˙˙
˙ ˙
2nd Inversion (on 4th, 3rd, 2nd strings)
˙˙
& ˙˙˙ ˙ # ˙˙ ˙ ˙ ˙

Amin Bdim Caug Dmin Emaj Fmaj G#dim Amin

T 1
2
3
4
5
5
6
7
9
9
10
10
12
13
13
14
A 2 3 6 7 9 10 12 14
B

Practice in all 12 keys!

 Triads from the A Melodic Minor Scale

˙˙˙
# ˙˙˙ # ˙˙˙ # ˙˙˙ # ˙˙˙ # ˙˙˙
Root Position (on 3rd, 2nd, 1st strings)
˙ # ˙˙˙
& 44 ˙˙
Amin Bmin Caug Dmaj Emaj F#dim G#dim Amin
0 2 4 5 7 8 10 12
T 1
2
3
4
5
5
7
7
9
9
10
11
12
13
13
14
A
B

˙˙˙
# ˙˙˙
Root Position (on 6th, 5th, 4th strings)

# ˙˙˙ ˙
& ˙˙ # ˙˙˙ # ˙˙˙ # ˙˙˙ # ˙˙
˙
Amin Bmin Caug Dmaj Emaj F#dim G#dim Amin

T
A 2 4 6 7 9 10 12 14
B 3 5 7 9 11 12 14 15
5 7 8 10 12 14 16 17

1st Inversion (on 5th, 4th, 3rd strings)

˙ ˙ # ˙˙ # ˙˙ ˙˙
& ˙˙˙ # ˙˙˙ # ˙˙˙ # ˙˙ # ˙˙ ˙ ˙ ˙

Amin Bmin Caug Dmaj Emaj F#dim G#dim Amin

T 2 4 5 7 9 11 13 14
A 2 4 6 7 9 10 12 14
B 3 5 7 9 11 12 14 15

2nd Inversion (on 4th, 3rd, 2nd strings)

# ˙˙ # ˙˙ # ˙˙˙ # ˙˙˙ ˙˙
˙ ˙ ˙
& ˙˙˙ # ˙˙ # ˙˙ ˙ ˙
Amin Bmin Caug Dmaj Emaj F#dim G#dim Amin

T 1
2
3
4
5
5
7
7
9
9
10
11
12
13
13
14
A 2 4 6 7 9 10 12 14
B

Practice in all 12 keys!

 Seventh Chords

Seventh chords are triads with a note an interval of a seventh above the root added.
There are five basic types of seventh chords: Major 7th, Dominant 7th, Minor 7th, Half-Diminished or
Minor 7(b5), and Diminished 7th. With a C root the chords would be:

C Major7: C E G B
C7: C E G Bb
Cminor7: C Eb G Bb
Cø7 or Cminor7(b5): C Eb Gb Bb
Cº7 or Cdim7: C Eb Gb Bbb(A)

& www b www b b wwww b b b www b b wwww

C Major7 C7 Cminor7 Cø7 Cº7

w w w

Diatonic 7th Chords

ww ww ww ww
www www ww ww
C Maj7 Dmin7 Emin7 F Maj7 G7 Amin7 Bø7 C Maj7

& www ww ww ww
w ww w w
I Maj7 ii min7 iii min7 IV Maj7 V7 vi min7 viiø7 I Maj7

Other types of 7th Chords

Cmin(Maj7): C Eb G B
C+(Maj7) or C Maj7(#5): C E G# B
C+7 or C7(#5): C E G# Bb
Cdim(Maj7): C Eb Gb B

& b www # www # b www w

b b www
Cmin(Maj7) C Maj7(#5) C7(#5) Cdim(Maj7)

w w w
Like the triads, seventh chords can also have inversions.
However,on guitar they are often very difficult to play, and many times just not possible.
Try playing some of the following:

C maj7

w
www wwww www
Root Position 1st Inversion 2nd Inversion 3rd Inversion

& wwww w

w
b wwww b www
C7

& b ww b www
ww w

w
b b wwww b b www
C min7

& b b www b ww
w b ww

b b b wwww b b b wwww
C min7(b5)

& b b b www b b b wwww

w

b b wwww
C dim

w b w
& b b wwww b b www b www

The above are referred to as close voicings. One way to make these work better on the guitar is to use what are
called drop 2 and drop 3 voicings. A drop 2 voicing takes the second highest note of a close voicing and drops
it to the bass. A drop 3 voicing takes the third highest voice and drops it. For example:

w ww w ww
www
Cmaj7 3rd Inversion = Cmaj7 (drop 3)

& www
Cmaj7 2nd Inversion = Cmaj7 (drop 2)

ww w
w
 - Drop 2 Voicings -
Cmaj7 - Drop 2 Voicings
ww w
& 44 www ww
ww ww www
w

T 4 5 9 12
A 2 5 9 10
3 7 10 14
B 3 7 8 12

w ww ww
w ww ww ww
& www w
5

T 5
4
8
5
12
9
13
12
A 5 9 10 14
B 3 7 10 14

ww ww ww
w ww ww
& www ww
9

3 7 8 12
T 1
4
5
5
8
9
12
12
A 2 5 9 10
B
 C7 - Drop 2 Voicings
w
& b www ww b www b www
13 w b ww w

T 3 5 9 12
A 2 5 8 10
3 7 10 13
B 3 6 8 12

w b ww ww
w b www ww b ww
& b www
17

T 5
3
8
5
11
9
13
12
A 5 8 10 14
B 3 7 10 13

w b ww ww b www
& b www ww b ww w
21

3 6 8 12
T 1
3
5
5
8
9
11
12
A 2 5 8 10
B
 Cmin7 - Drop 2 Voicings
ww
& b b www ww b b www b w
25 w b ww
b w b w

T 3 5 8 12
A 1 5 8 10
B 3 6 10 13
3 6 8 11

w bw ww
bw b ww b ww b ww
b
& b www b w w
29

T 4
3
8
5
11
8
13
12
A 5 8 10 13
B 3 6 10 13

ww bw ww b b www
b w b ww b ww
b w
&b w w
33

3 6 8 11
T 1
3
4
5
8
8
11
12
A 1 5 8 10
B
 Cmin7(b5) - Drop 2 Voicings
b w
& b b ww w
b b b www b b b www b b www
37 b ww w

T 3 5 8 11
A 1 4 8 10
B 3 6 9 13
2 6 8 11

b w bw w
bw b ww b ww b b b www
& b b ww b w bw
w
41

T 4
3
7
5
11
8
13
11
A 4 8 10 13
B 3 6 9 13

b w b b www
w
b b b www b b b www
& b www
b bw w
45

2 6 8 11
T 1
3
4
5
7
8
11
11
A 1 4 8 10
B
 C, Eb, Gb, or A Diminished - Drop 2 Voicings
w bw b ww
& b ww b b ww b ww b ww
49b ww w w

T 2 5 8 11
A 1 4 7 10
B 3 6 9 12
2 5 8 11

w
bw bw
w b www b b ww
& b ww b ww bw w
w
53

T 4
2
7
5
10
8
13
11
A 4 7 10 13
B 3 6 9 12

w b w
b ww b www b b ww b www
& b ww bw w
57

2 5 8 11
T 1
2
4
5
7
8
10
11
A 1 4 7 10
B

Practice all of the drop 2 chords in all 12 keys!

 Drop 3 chords
ww ww ww
& 44 www w
Cmaj7 on strings 6,4,3,2
w w w
w w w

T 1
4
5
5
8
9
12
12
A 2 5 9 10
B 3 7 8 12

ww www ww
ww w
Cmaj7 on strings 5,3,2,1

& ww w w w
w

3 7 8 12
T 5
4
8
5
12
9
13
12
A
3 7 10 14
B

ww w b ww
& b www b ww w
C7 on strings 6,4,3,2
w w w
w bw

T 1
3
5
5
8
9
11
12
A 2 5 8 10
B 3 6 8 12

b ww b www ww
ww w
C7 on strings 5,3,2,1

& b ww w w bw
w

3 6 8 12
T 5
3
8
5
11
9
13
12
A
B 3 7 10 13

b ww w b ww
& b b www b b ww w
Cmin7 on strings 6,4,3,2
w w bw
w bw

T 1
3
4
5
8
8
11
12
A 1 5 8 10
B 3 6 8 11
 b ww
Drop 3 (page 2)
b ww w
b ww b b ww w
Cmin7 on strings 5,3,2,1

& b ww w w bw
bw

3 6 8 11
T 4
3
8
5
11
8
13
12
A
B 3 6 10 13

Cmin7(b5) on strings 6,4,3,2

bw b b b www b b www
& b b www b ww w bw
bw bw

T 1
3
4
5
7
8
11
11
A 1 4 8 10
B
bw
2 6 8 11

b b www b ww b ww
b b b www b w
Cmin7(b5) on strings 5,3,2,1

& bw b w bw
w

2 6 8 11
T 4
3
7
5
11
8
13
11
A
3 6 9 13
B

bw b b ww b ww
& b www b ww w
Cdim on strings 6,4,3,2
w b w
bw w w

T 1
2
4
5
7
8
10
11
A 1 4 7 10
B 2 5 8 11

w bw
b b ww b ww b ww b ww
w
Cdim on strings 5,3,2,1

& w b w bw w
w

2 5 8 11
T 4
2
7
5
10
8
13
11
A
B 3 6 9 12

Practice in all 12 keys!

 Common Chord Extensions
Some common extensions on major chords would include the 6th, the 9th, and the #11.

w ww
6 6

& 44 wwww www ww ww

C6 C6 C Maj9 C Maj7 C9 C9

www ww ww ww w
w

T 5
2
3
4
3
2
8
7
A 5 2 2 7
B 3 3 3
8

1. As with the seventh chords, it can be difficult to play these extended chords in root position on
guitar and include every note. Notice the second voicing for C6 moves the E up an octave.
2. The fifth can often be omitted (as well as other chord tones) to make room for the extensions.
Compare the two voicings for CMaj9 (5th omitted in 2nd). In the second voicing for C6/9 the third is omitted.
3. Both the 6th and the 9th are diatonic tones and can be included with any major seventh voicing.
4. Notice that C6 uses the same chord tones as Amin7. So all of those drop 2's and drop 3's for Amin7
could also be possible voicings for C6. A similar thing happens with CMaj9. If you take away the root you
would be left with Emin7. You could then use drop 2 and 3 Emin7 voicings as options for CMaj9.
_____________________________________

The #11 is also a common extension on Major 7th chords in jazz. On the I chord it is a non-diatonic tone,
but on the IV chord it is a diatonic tone. The #11 could also be referred to as a #4 or b5. (see below)

#w # www # www w
6
C 9 (#11)

& wwww
C Maj9(#11) C Maj7(#11) C Maj7(#4)

ww w # www
2 2
T 3
2
3
4
7
9
5
4
A 2 2 9 4
B 3 3
8
3

_____________________________________

The 6th and the 9th are also very common extensions on minor chords.

b ww b www
6

w w w
C min6 C min6 C min6 C min9 C min9 C min 9

& b wwww ww w b b wwww b b www b www

T 4
2
8
8
3
3
3
2
A 5 7 1 1
B 3
8
3 3
 The 6th and 9th work well with the min(Maj7) chord as well.
w
b www b www
C min9(Maj7)

b ww w
C min(Maj7) C min(Maj7) C min9(Maj7) C min6(Maj7) C min(Maj7)

& b wwww ww b www b wwww w w

10
T 0
0
4
4
3
4
0
2
8
8
8
8
A 1 5 1 1 9 9
B 3 3 3 3
8 8

A common extension on the minor7 and the minor7(b5) chord is the 11th. (Same note as the 4th)

w www b www b ˙ww b˙ b b www w ˙ b˙

& b b wwwww
C min11 C min11 C min11 C min11 C min11(b5)

b
b ww b b www b b www
w w w
(resolving to 3rd) (resolving to 3rd)
1
T 3
3
6
3
6
3
4 6
8
6
3
6
3
4

A 1 5 5 8 4 4
B 3 3 3
8
3 3

_____________________________________

Dominant 7th chords have the most possibilities for extensions. They can be both diatonic and
non-diatonic. These include 9, b9, #9, #11 (same as #4 or b5), 13 (same as 6), b13 (same as #5).

C7 b9 () ()
C 7 #9 C 7 b5() C 7 #5() ( )
C 7 # 11
# w w b Cww7(b13)
b wwww b www b b www b b www w w w b ww
C9 C9 C 13

& w w w w b b www # b www b w

w w
bw
w

T 3
3
2
3
4
3
5
3
5
3
7
9
10
9
9
9
A 2 2 2 4 6 8 8 8
B 3 3 3 3 3
8 8 8

( )
Of course multiple extensions can be combined on the dominant chord as well. For example: b13

C 9 #11 ( ) # 11 b13
C 13 b 9
C 9 #11
() w ww bw
C 7 #9

b bb www w b ww
C 7 b9 C 7 #9
C 13(9)

# ww b b # www # ww
& b ww ww ww b b www b w b ww bw
w w ( w) w w
2 2 4 5 10 10 11
T 3
3
2
3
4
3
2
3
7
9
10
9
9
9
A 2 2 2 2 8 8 8
B 3 3 3 3
(8 ) 8 8
 Sus (Suspended) Chords
Typically in a sus chord the 4th replaces the 3rd in either a triad, dominant 7th chord, or dominant 9th chord.
It will often resolve down to the major or minor 3rd of the chord (shown below), but does not have to.

ww ˙˙ ˙˙ ˙˙ b ˙˙
C sus C sus C C sus C sus C C sus C sus C C sus C min C sus C min

& ww ˙˙˙ ˙˙˙ www ˙˙˙ ˙˙ w ˙ ˙ ˙˙˙ b ˙˙˙ ˙ ˙

w w ˙ ˙˙ w ˙ ˙ ˙ ˙

T 0 0 0
1
0
1
0
1
0
6
5
6
5
5
5 0 0
6
5
4
5
A 3 3 2 3 3 2 5 5 5 3 1 5 5
B 3 3 3 3 3 3 3 3 3 3 3 3 3

w ww w ww
b www b ww
C 7sus C 7sus C 7sus C 9sus C 9sus C 13 sus

& b www b ww bw bw
w w w w w w

T 6
3
8
10
3
3
6
7
10
10
A 5 8 3 8 8
B 3
8
3
8 8

There are also voicings that can include both the 3rd and the 4th.

ww b ww
w
b www b wwww
C (add4) C 7(add4) C 7(add4) C 7(add4)

& w
w w w (w)

0
T 6
9
6
9
5
3
1
3
A 8 3 3
B 10
8 8
3 (3)

__________________________________________________________

Keep in mind: Depending upon the context they are used in, all these sus voicngs and
voicings with extensions can also be played without the root.
And of course, practice these in all 12 keys!
 Quartal Chords
Quartal chords are chords built with the interval of a 4th rather than the 3rd used in traditional harmony.
They can be constructed as 3 part voicings (like a triad), 4 part voicings (like a seventh chord), or more.
Quartal chords can also have inversions. The following example constructs 3 part quartal chords from

œœ œœ œœ
the D dorian scale (C major).
œœ œœ
& 44 œœœ œœ œœ
œ
œœ
œ œ œ œ œ œœ œœœ œœœ œ
œ œ
inversions
3 8
T 1
0
3
2
5
4
6
5
8
7
10
9
12
10
13
12 5
3
5
3
5
8
7
A 0 2 3 5 7 9 10 12 5 5
B 5

Although primarily made of perfect 4ths, you'll notice the augented 4th or tritone occurs as well.

œœœ œœœ œœœ œœœ œœœ œœœ œœœ

You will also notice in the inversions that they become a combination of 2nds and 4ths.

œœœ œœœ œœœ œœœ œœœ œ œœœ

œ
œœ
& œœœ œœ
4
1st inversion... 2nd inversion...

3 5 7 8 10 12 13 15
T 3
5
5
7
6
9
8
10
10
12
12
14
13
16
15
17
3
5
5
7
6
9
8
10
10
12
12
14
13
16
15
17
A 5 7 9 10 12 14 15 17
B
_______________________________________________

œœ œœ œœ œœ
The following shows voicings using 4 and 5 part voicings. These are still all derived from the D dorian scale.

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œ œœ œœ œœ œœ œœ œœ œœ
& œœœ œœ œœ œœ œœ œœ œœ
œ
œœ
œ œ œ œ œ
8
œ œ

1 3 5 7 8 10 12 13 1 3 5 7 8 10 12 13
T 1
0
3
2
5
4
6
5
8
7
10
9
12
10
13
12
1
0
3
2
5
4
6
5
8
7
10
9
12
10
13
12
A 0 2 3 5 7 9 10 12 0 2 3 5 7 9 10 12
B 0 2 3 5 7 8 10 12

ww ww
As you work on these, try to play the same voicing on different string sets as well. For example:

w ww
& www ww www ww
12

8 5 7
T 1
0 5
8
7
13
12
5
4
10
9
1
4 5
6
5
12
10
A 0 5 10 12 3 9 3 9 10 5 10
B 5 10 8 8 14 10
10 13
 Quartal Chord Examples

1. This example shows quartal chords used for Dmin7. (Dorian)

j œœœ œœœ œœ ww
. œœ œœ œœœ
& œœœ .. œ œ œœ
œ
œœ
œ ˙˙ ..
˙.
œœœ ‰ œ w
17
w w
(6th string tuned down to D)
3 5 7
T 3
2
5
4
3
2
1
0
3
2 4
3
5
5
7
3
5
5
7
6
5
A 2 3 2 0 2 3 5 7
B 3
0 0

2. This example shows quartal chords used for Emaj7(#11). (Lydian)

j # œœœ œœœ œœ j
#### œœ œœ œœ œœ # œœ ˙˙ œœœ œœœ ˙˙ .
& ‰ # œœœ œ œ œ œ œ ˙ ‰ œ ˙ ..
21 w w
11 7 7 4
T 4
3
5
4
7
6
9
8
11
9
7
6
11
9
7
9
7
6
4
6
4
6
A 2 4 6 8 9 6 6
B 0 0

œœ ..
3. This example shows quartal chords used for A7sus. (Mixolydian)

### Œ œœ œœ n œœœ œœ .. n œœœ ˙˙

˙˙ œœ œœ œœ œœ .. j
& œœ n œœ œ œ Œ œœ n œœ œœ nœ. œœœ ˙˙˙
w J w
25

5 7 9 12 9 5 7 5 2
T 5
4
7
6
8
7
12
11
8
7
5
4
7
6
5
4
2
0
2
0
A 4 5 7 11 7 4 5 4 4
B 0 0
 Freddie Green Style
B b Blues (1 chord per measure)
B b7 E b7 B b7 B b 9/D

b
& b 44 .. b œœ œœ œœ œœ b œœ
œ
œœ
œ
œœ
œ
œœ
œ b œœ œœ œœ œœ b œœœ œœ
œ
œœ
œ
œœ
œ
œ œ œ œ œ œ œ œ

.
.
T 7 7 7 7 6 6 6 6 7 7 7 7 5 5 5 5
A 6 6 6 6 5 5 5 5 6 6 6 6 6 6 6 6
B 6 6 6 6 5 5 5 5
6 6 6 6 6 6 6 6

E b7 E dim B b7 G7

b
& b b œœœ œœ
œ
œœ
œ
œœ
œ
b œœ
nœ
œœ
œ
œœ
œ
œœ
œ b œœ œœ œœ œœ n œœ œœ œœ œœ
5
œ œ œ œ œ œ œ œ

T 6 6 6 6 6 6 6 6 7 7 7 7 4 4 4 4
A 5 5 5 5 8 8 8 8 6 6 6 6 3 3 3 3
B 6 6 6 6 7 7 7 7
6 6 6 6 3 3 3 3

B b7

n œœœ œœ
C min7 F7 G7 C7 F7

b œ œœ œœ œœ œœ œœ œœ œœ b œœ œœ n œœ œœ b œœ œœ ..
& b œœ œ œ œ œ œ œ œ œ œ œ œ œ
9
œ œ

.
.
T 8 8 8 8 8 8 8 8 7 7 10 10 9 9 8 8
A 8 8 8 8 7 7 7 7 6 6 9 9 8 8 7 7
B 8 8 8 8 10 10 8 8
8 8 8 8 6 6 8 8

Often when playing with a bassist the notes on the 6th or 5th string can be omitted and the guitarist
would just play the notes on the 3rd and 4th strings.
 B b Blues - changing voicings every 2 beats (or 1)
B b7 B b 9/D E b7 B b7 B b/D B b7
œœ œœ
E dim F min7

b b œœœ œœ
& b .. b œœ œœ œœ
œ
œœ
œ
b œœ
œ
œœ œœ
œ nœ
œœ
œ b œœ œœ
œ œ œ
œœ œœ
13
œ œ œ œ œ œ

.
.
T 7 7 5 5 6 6 6 6 7 7 10 10 8 8 7 7
A 6 6 6 6 5 5 5 5 6 6 8 8 6 6 6 6
5 5 6 6 7 7 8 8
B 6 6 6 6 10 10 6 6

E b7 E b 7/B b E dim D b dim B b7 A7 A b7 G7 G/B

b
& b b œœœ œœ
œ
œœ œœ b œœ
nœ
œœ œœ
œ bœ œœ
œ b œœ œœ # œœ œœ b N œœ œœ n œœ n œœ
17
œ œ œ œ œ œ bœ œ œ nœ

T 6 6 6 6 6 6 3 3 7 7 6 6 5 5 4 7
A 5 5 5 5 8 8 5 5 6 6 5 5 4 4 3 5
B 6 6 7 7 4 4
6 6 6 6 5 5 4 4 3 7

C min/E b B b7 A b7 D b7 G b7
œœ œœ
C min7 F7 B7 G7 C7 F7 A7

b œ œœ œœ œœ œœ œœ b œœ b œœ n œœ b œœœ # œœ ..
& b œœ œ œ œ œ œ nœ n A œœœ œœ b œœ
21
œ œ bœ œ bœ œ œ

.
.
T 8 8 12 12 8 8 8 8 7 5 4 4 3 3 2 6
A 8 8 10 10 7 7 7 7 6 4 3 3 2 2 1 5
B 8 8 4 3
8 8 11 11 7 7 6 4 3 2 1 5

2 Freddie Green Style

 Freddie Green Style on Chord Changes to "All of Me"

œ œ
C Maj7

œ œ œœ œœ œ œ
E7

œ œ œ œ œ œ
& .. œ œ œ
œ
œ
œ œ œ #œ œ œœ œœ # œœœ œœ
œ œœ œœ
œ œ œ œ œ œ œ œ
25

.
.
T 9 9 9 9 12 12 9 9 7 7 7 7 5 5 7 7
A 7 7 9 9 10 10 7 7 6 6 6 6 6 6 6 6
B 7 7 7 7 7 7
8 8 8 8 12 12 8 8 7 7

A7 D min

& # œœ œœ œœ œ
œ # œœ œœ b œœ œœ œœœ œœœ œœ œœ œ œ œœ œœ
œ œ œœ œœ œ œ
29
œ œ #œ œ œ œ #œ œ

T 6 6 9 9 6 6 3 3 2 2 4 4 5 5 4 4
A 5 5 7 7 5 5 5 5 3 3 3 3 3 3 3 3
B 4 4 5 5 5 5 5 5 5 5
5 5 9 9 5 5

E7 A min

œ œ œ œ œ œ œœ œœ œœ œœ œ œ œ œ œ œ
& # œœ œœ œ œ # œœ œœ #œ œ œ œ #œ œ
33
œ œ #œ œ œ œ œ œ œ œ œ œ

T 7 7 7 7 7 7 4 4 5 5 5 5 5 5 5 5
A 6 6 6 6 6 6 2 2 5 5 4 4 2 2 4 4
B 7 7 7 7
7 7 4 4 5 5 5 5 5 5 5 5

D7 D min7 G7

œ œ
& # œœœ œ
œœ
œœ
œ
œœ
œ # œœœ œœ
œ
œœ
œ
œœ
œ
œ
œœ
œ
œœ
œ
œ
œ
œ œœ œœ œ œ
37
œ œ œ œ œ œ

T 5 5 5 5 5 5 5 5 5 5 5 5 4 4 7 7
A 4 4 5 5 6 6 7 7 3 3 3 3 3 3 5 5
5 5 5 5 5 5 5 5 5 5
B 5 5 3 3 7 7

Freddie Green Style 3

 "All of Me" (page 2)

œ œ
C Maj7 E7

œ œœ œœ œœ œœ œœ
& œ œ
œ
œ
œ # œœ œœ œœ
œ
œœ
œ # œœœ œœ
œ
œœ
œ
œœ
œ
œ œ œ œ œ œ œ œ
41

T 9 9 9 9 12 12 9 9 7 7 7 7 5 5 7 7
A 7 7 9 9 10 10 7 7 6 6 6 6 6 6 6 6
B 7 7 7 7 7 7
8 8 8 8 12 12 8 8 7 7

A7 D min

& # œœ œœ œœ œœ # œœ œœ b œœ œœ œœ œœ œœ œœ œ œ œœ œœ
œ œ œ œ œœ œœ œ œ
45
œ œ #œ œ œ œ #œ œ

T 6 6 9 9 6 6 3 3 2 2 4 4 5 5 4 4
A 5 5 7 7 5 5 5 5 3 3 3 3 3 3 3 3
B 4 4 5 5 5 5 5 5 5 5
5 5 9 9 5 5

F Maj7 F min6 C/E E b dim

œ œ
& œœœ œœ
œ œœ œœ b œœœ œœ
œ œœœ œœœ œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
bœ
œœ
œ
œœ
œ
œœ
œ
49

T 7 7 9 9 7 7 5 5 5 5 7 7 7 7 5 5
A 7 7 7 7 6 6 6 6 5 5 5 5 7 7 7 7
B 8 8 8 8 8 8 8 8 7 7 7 7 6 6 6 6

C # dim G 7 #5 ()
œœ œœ b œœ
D min7 G7 C6 D min7

œ œ œœ œœ b œœ œœ œœ
& œœœ œ
œœ
œ
œ
œ
œ œœ œœ œ œ œ œ #œ œ œ œ œ œ ..
53
œ œ œ œ œ œ

.
.
T 5 5 5 5 4 4 7 7 9 9 9 9 10 10 8 8
A 3 3 3 3 3 3 5 5 7 7 8 8 10 10 9 9
5 5 10 10
B 5 5 3 3 7 7 8 8 9 9 10 10

4 Freddie Green Style

 Example Comping Rhythms
(try using each rhythm to comp through a 12 bar blues or jazz standard)

4
Swing â's

&4 .. Û . Û. .. .. ‰ Û Œ Û. ..
1.
Û Ó Û Ó
2.
Û Œ Û Ó
J J J J

.. Û ‰ Û Œ Û Œ Û ‰ Û Œ .. .. Û Œ Û Œ Û ‰ Û Ó ..
3. 4.

J J J

.. Û Œ Û ‰ Û Ó ‰ Û. .. .. ‰ Û ‰ Û Û Û Û Û Û Ó ..
5. 6.

J J J

.. Π.. .. Π..
8.
Û Œ ‰ Û ‰ Û ‰ Û ‰ Û Û ‰ Û ‰ Û ‰ Û Û Œ Ó
7.

J J J J J J J

.. Û Û Û Û ‰ Û Œ Ó Œ Û .. .. Œ Û Û Œ Û Û Û Û ‰ Û Œ ..
9. 10.

J J

.. Œ .. .. ‰ Û | . ..
11. 12.
‰ Û Ó Œ ‰ Û ‰ Û Œ Û Û Û Û Œ
J J J J

.. Û Û ‰ Û Ó .. .. Û ..
13.
Œ ‰ Û | Œ Œ Û Ó ‰ Û Œ
14.

J J J
 Some Chord Voicing Options for Autumn Leaves
(First 8 Bars)
F # m7 b 5()
ww
# w ww ww # www # www w
A min7 D9 G Maj7 C Maj7 B7 E m6

& 44 ww ww
ww
w ww ww
w www
w w w

T 5
5
5
5
3
4
5
4
10
9
7
8
8
6
A 5 4 4 5 10 7 9
B 5 3 9 7
5 3 7

F # m7 b 5() B 7 #9() 6

# ww
A min7 D7 G Maj7 C Maj7 E m9 E min 9

& w www ww
w www ww ww www # www
w w w # ww
9 w w w w w

T 5
5
3
5
3
4
1
4
1
2
3
2
0
0
2
0
A 5 4 4 2 2 1 4 4
B 2
5 5 3 3 2 0 0

w ww w ()
F # m7 b 5

# www ww w w w ww
A min7 D7

www
G Maj7 C Maj7 B7

ww www # www
E min6

ww # www ww
&
17

12 10 10 8 8 7 7
T 10
12
10
11
8
11
8
9
7
9
7
8
5
6
A 10 10 9 9 7 7 5
B

ww ww ( )
F # m7 b 5 # ww ( )
B7 b9 ww ww
6

ww
E min 9

# ww ww
# ww # ww
E min6

ww ww ww
A min7 D9 G Maj7 C Maj7

& ww ww ww
25 w
3 5 7 8 8 11 12 14
T 1
2
5
5
7
7
8
9
7
9
10
11
12
12
12
12
A 2 4 5 9 7 10 11 11
B 0
 Brazilian Guitar Style
example bossa nova and samba rhythms for the right hand
the right hand fingers play the more active rhythms (the top voices of the chord),
while the thumb plays the quarter note bass figure (usually on the 5th or 6th string).
the bass switches from the root and the fifth of the chord and it's better to play the
fifth below the root. if the root is already on the 6th string it's ok to stay on that note.

2 ¿
& 4 .. ¿
¿ ¿ ¿. ..
1. Basic Bossa Nova Pattern
¿

¿ .. ¿ ¿ ¿ ¿ ¿ ..
2. Variation of Bossa Nova
or Basic Samba Pattern R ¿ ¿

.. ¿ ¿ ¿ ¿ ¿ ¿. ¿ ¿ ¿ ..
3. Bossa Nova Pattern
(two bar pattern) ¿ ¿ ¿ ¿

.. ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ..
4. Samba Variation ¿ ¿ ¿ ¿

.. ¿¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
¿
¿ ¿ ..
5. Bossa Nova Variation
¿ ¿

.. ¿ . ¿ ¿ ¿ ¿ ¿ ¿ ¿. ..
6. Bossa Nova Clave Pattern ¿ ¿ ¿ ¿

j
.. ‰¿ ¿ ¿ ¿. ¿.
¿
¿ ¿ ¿ ..
¿ ¿
7. Bossa Nova Inverted
Clave Pattern

(practice each example with a single chord at first, then try it with a simple chord progression)
Nelson Faria's book "The Brazilian Guitar Book" is an fantastic resource for this style.
 So Danco Samba Antonio Carlos Jobim

# # 4 œœœ œœœ ‰ œœjœ œœœ ˙˙ .. j ˙˙ ..

INTRO

& 4 œœœ # œœœ œœ œœ

œ #œ ˙. œœœ œœœ ‰ œœœ œœœ œœœ # œœœ œœ œœ
œ #œ ˙.
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
0 0 0 0 0 2 2 2 0 0 0 0 0 2 2 2
T 3
4
3
4
3
4
3
4
3
4
2
3
2
3
2
3
3
4
3
4
3
4
3
4
3
4
2
3
2
3
2
3
A
B 0 0 0 0
0 0 0 0

j j j
# œ œœ œœ ‰ œœœ œœ œœ œ ‰ a œœœ œœ
D6 E9

& # œœ˙ œœ ‰ œœ .. œœ œœ ‰ œœ # œœ œ˙ # œ œ œ˙ # œœ nœ
˙ ˙ ˙ ˙ ˙
5

T 4 4 4 4 4 4
7
7
7
7
7
7
7
7
7
7
7
7
7
7
A 4 4 4 4 4 4 6 6 6 6 6 6 5
B 5 5 7 7
5 5 7 7

j A 13 j j . j j . j
# œ œœ ‰ œœœ œœ œœ œœ ‰ œœœ
E m9 D6 G7

& # œœ˙ œ œ œ œ œœ œœ
˙
œœ œœ œœ œœ n œœ œœ n ˙˙ ..
9
˙ ˙ ˙ ˙ œ ˙.

T 7
7
7
7
7
6
7
6
7
6 4 4
. 4
.
4 4 4
A 5 5 5 5 5 4 4 4 4 3 3
7 5
B 7 5 0 5 3 3

j j j
6

# œ œ œœ œœ ‰ œœœ œœ œœ œ ‰ a œœœ œœ
D9 E9

œœ ‰ œœœ ... œœ œœ œ œ
& # œœ˙ œ œ˙ œ ‰ œœ # œ œ˙ # œ œ œ˙ # œœ nœ
13
˙ ˙ ˙ ˙

T 5
4
5
4
5
4
5
4
5
4
5
4
7
7
7
7
7
7
7
7
7
7
7
7
7
7
A 4 4 4 4 4 4 6 6 6 6 6 6 5
B 5 5 7 7
5 5 7 7

j A 13 j œœ j j j
œœ œœœ
6

# œ œœ ‰ œœœ œœ œœ œœ ‰ œœœ
E m9 D9

œœ œœ ‰ œœœ œœ œœ œœ œœ
& # œœ˙ œ œ œ œ œ œ˙ œ œ œ˙ œ œ œ
17
˙ ˙ ˙ ˙ ˙
5 5
T 7
7
7
7
7
6
7
6
7
6
5
4
5
4
5
4
5
4
5
4
5
4
5
4
A 5 5 5 5 5 4 4 4 4 4
B 7 5 5
7 5 0 5 5
 So Danco Samba - Page 2

()
D 7 b9
# # n œœ œœ ‰ œœj ‰ œœ .. j j j
A m7 D9 G Maj7

& œ œ œ œ. n œœœ œœœ ‰ b œœœ ‰ œœœ .. œœ

œ
œœ
œ ‰ œœœ œœ œœ œœ ‰ œœ ‰
œ œ œ œ
œœ ..
œ.
˙ .
21
˙ ˙ ˙ ˙ ˙ ˙ ˙

T 5
5
5
5
5
5
5
5
5
5
5
5
4
5
4
5
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
A 5 5 5 5 4 4 4 4 4 4 4 4 4 4 4 4
B 5
5 0 5 3 3 3 3

A 7 b13
# œ œœ . . . .
‰ œœœ .. œ œœ ‰ œœœ .. œ œœ ‰ œœœ .. œœ œœ ‰ n œœœ ..
B min7 E9 E m9 A 13

& # œœ œ # œœ˙ œ N œœ˙ œ œ œ

25
˙ ˙ ˙ ˙ ˙ ˙

T 7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
6
7
6
6
6
A 7 7 7 6 6 6 5 5 5 5 5 5
B 7 7
7 7 7 7 5 0

j j j
6

# œ œ œœ œœ ‰ œœœ œœ œœ œ ‰ a œœœ œœ
D9 E9

œœ ‰ œœœ ... œœ œœ œ
‰ œœ # œœ
& # œœ˙ œ œ˙ œ œ˙ # œ œ œ˙ # œœ nœ
29
˙ ˙ ˙ ˙

T 5
4
5
4
5
4
5
4
5
4
5
4
7
7
7
7
7
7
7
7
7
7
7
7
7
7
A 4 4 4 4 4 4 6 6 6 6 6 6 5
B 5 5 7 7
5 5 7 7

j A 13 j œœ j œœ
6

# œœ œœ ‰ œœœ œœ œœ œœ ‰ œœœ
E m9 D9

œœ œœ ‰ œœœ œœ œœ
& # œ˙ œ œ œ œ œ œ˙ œ œ œ˙ œ Ó
˙ ˙ ˙
33 ˙
5 5
T 7
7
7
7
7
6
7
6
7
6
5
4
5
4
5
4
5
4
5
4
A 5 5 5 5 5 4 4 4
B 7 5 5
7 5 0 5
 Blues with Bass Line
b13
b7 b9 B

4 b œœ
7
B E E dim
œœ b œœ œœ œœ
bb 4 œ œœ œ n œ œ œ œœ
3

& œ bœ
œ œ œ œ œ #œ œ œ œ œ nœ
b9 b7 b7
E dim7 B A7 G7
b œœœ
E A
œ
b b Ab œœœ œ nœ b œœ # œœ b œœ n œœ
bœ œ bœ œ œ œ œ œ œ bœ œ œ nœ
b13
C9 F 13 b7 7 B
œ
B G C 7
F 7

bb œœ œœ b œœ nœ œ b œœ
œ nœ œ œ b œ œœ b œ n œœ b œœ
œ œ bœ œ œ #œ œ œ œ œ œ
 Appendix

Various Chord Charts