Picture Chord Encyclopedia INTRODUCTION The Picture Chord Encyclopedia is designed to serve two purposes: frst, isa 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 to you, Use it when you're composing your own music and looking for “just the right chord.” Use itto explore the guitar fretboard, to improve your chord playing, to increase your under- standing of chord theory, or just to discover new and unusual sounds. The applications are almost limitless. ‘The Picture Chord Encyclopedia is a comprehensive source for chords, for all playing styles and levels. One word of warning, though: it does not contain every guitar chord in existence; no book could. It does contain five easy-to-play voicings of 44 chord qualities for each of the twelve musical keys ll totaled, thats 2,640 chords at your fingertips! These chords and their fingerings have heen chosen for their playability and their practicality, ensuring a wealth of usable fingerings for any musical 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(#9), you'll find what you're looking for here. Enjoy! CONTENTS How to Use This Book . 7 ji The Chords | c v1 Choosing the Best Voicing 2.0... ee cceeceeeeee ell a B Chord Construction ee D.. 5 canistex Chaat B Bheeeenensacconrrnanonncaencttsann How Does a Chord Get Its Name? .. 2.0.5.0 00 0. i¥ ran . ee : es Boog Do LER Ct a aint FRecicccccceecscecesesesseccerevesesd33 What About Other KEYS? 6... eee ceeeerneee é. 155 ‘Triads... wil Abe. N77 Sevenths . tee : wii : see We ae agenere ENE 199 Extended Chords oi Bb... reine ip ramos e221 | Inversions & Voicings . iti B . waves TS | ISBN 0-7935-8491-4 HAL*LEONARD® CORPORATION ‘Copyright © 2000 by HAL LEONARD CORPORATION Interatonal Copysght Secured Al Rights Roserved For all works contamod herein: Unauthorind copying, angina, adapting, recortng or public performance is an fingemert of copyright. Trier ae blender te aw Visit Ha! Lecnard Online at pn AstoriaHOW TO USE THIS BOOK ‘The Picture Chord Encyclopedia contains 2640 chord voicings and over 500 unique chord types. To help you find your way to the chord you need, all the chords are organized first by root (C, Cé, D, Bb, B, etc.) and then by quality or type (major, minor, seventh, ec.) Each chord is identified by its symbol: Csus4 By its full name: € suspended fourth And by its spelling: ‘Then, you are given a choice of five voicings, which ae presented in chord frames and photos. In a chord frame, the six vertical ines represent the six strings on the guitar, from low E to high E, ‘moving lft o right, The horizontal lines represen the frets: X's tell you a string should not be played or should be muted, ‘dark, thick line represents the nut on the guitar: —> Black dots indicate the notes o be played, as well as their location on the fretboard. Numbers tel you what fingers to use to fret the strings. Think ‘of your left-hand fingers as being numbered 1 through 4: Chords above the fifth fret use a fret number (eg., "5 ft") your hand up to that fret to position your fingers. = One of the goals ofthis book isto provide “playable” 0's indicate an open string, y ° <— A barre (pronounced like “bar”) is shown when a finger holds down two or more strings a the same time. 60 CcFGCF t Note names appear below each string to help you understand the voicing, to the right of the chord frame. This tells you to move crcrac ‘chord fingerings. The fingerings in this book were chosen for their ease of play and transition between other chords ina progression. If you fel more comfortable with an alternate fingering, feel free to use it, Remember, these fingerings are only recommended. There is no single right way o play these chords.CHOOSING THE BEST VOICING ‘Any chord can havea number of diferent voicings. A voicing refers to how the notes of the chord are arranged—which corresponds to where the chord is played on the guitar, and how it’s fingered. Each chord quality in this book is presented with five different voicings. ‘Typically the first chord voicing presented isin the lowest position on the fretboard. The rest of the 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 Xo” ‘Open Chords Open chords occur within the first five frets of the guitar and contain atleast one open string. These chords are often the most appropriate choice for strumming purposes. They're also typically the easiest voicings o learn 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; that is, they can be strummed, plucked, or played fingerstyle, and can be used in almost any musical setting, Barre chords require you to lay a finger fat actoss a fret and press down all the indicated strings simultaneously. This can be challenging for a beginning guitarist. If you find these chords to be especialy dificult at fist, 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 onthe fith or sixth string and two or three notes on the higher strings, with a least ome interior string muted, or not played. These often work best in a jazz or blues setting, especially when playing solo. Adjacent-Set Chords Adjacent set chords contain notes onthe middle or top four strings. These chords also ‘work well within the jaz or blues idioms, especialy for chord-melody techniques or when playing with another instrument that provides a bassline, Uimately, 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 high on the neck, a chord voiced down low would probably sound out of place. Likewise, if you're playing a progression of open chords, jumping up high on the neck for a particular chord ‘would likely sound and feel awkward. ‘That said, you should become familiar with as many vocings ofa chord as you can, ‘They do not all sound the samme, 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 realy are no rules in music that cavthe teclia:WHAT'S A CHORD? CHORD CONSTRUCTION In order to effectively choose and utilize the chords inthis book, it is important to havea 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 harmony that supports the melody of a song. HOW DOES A CHORD GET ITS NAME? A chord gets its name from its root note. For example, the root ofa G major chord is G. The remaining notes inthe chord determine its quality, or type. This is indicated by the chord suflix. So, in a Bm755 chord, B is the root, and m7}5 is the suffix that indicates the quality of the chord. ~ quality or type ‘This book contains 44 chord types. Here is a summary table o help you keep track ofthe sufi foreach chord type: ‘SUFFIX CHORD TYPE ‘SUFFIX CHORD TYPE no suffix ‘major mil minor eleventh 5(n0 3rd) fifth (power chord) m3 minor thirteenth sus suspended fourth 1 dominant seventh sus2 suspended second. Tsus4 seventh, suspended fourth addy added ninth Ths seventh, flat fifth 6 sixth 9 ninth “9 sixth, added ninth 9s ninth, suspended fourth maj ‘major seventh 915 ninth, fla fifth maj major ninth 79 seventh, lat ninth maj7#11 ‘major seventh, sharp eleventh 79 seventh, sharp ninth majl3, ‘major thirteenth. 7h5(49) seventh, flat fifth, sharp ninth m ‘minor Mt eleventh. m(add9) ‘minor, added ninth THI seventh, sharp eleventh m6 minor sixth 13 thirteenth m6 ‘minor, flat sixth 13sus4 thirteenth, suspended fourth 6/9 minor sixth, added ninth + augmented m7 ‘minor seventh 47 seventh, sharp fifth m7b5 ‘minor seventh, fla fifth +9 ninth, sharp fifth m(maj7) ‘minor, major seventh +749 seventh, sharp fifth, fat ninth m9 ‘minor ninth +749 seventh, sharp fi, sharp ninth 955 ‘minor nich, fst fifth s diminished m9(maj7) ‘minor ninth, major seventh 7 diminished seventh‘HOW DO | BUILD A CHORD? all chords are constructed using intervals. An interval is the distance between any two notes, 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 x 3 4 5 e eS Interval: Root = M2 MB Ps Ps ‘The major scale also happens to be a great starting point from which to construct chords. For example, if we start atthe root (C) and add the interval of a major third (E) and a perfect fith (G), we have constructed a C major chord. In order to construct 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 just constructed, and lower the thitd degree (E) one half step. We now have a C minor chord: C-E5-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 fatng the perect ith (6). The chord is now a C*: CE}-Gb. The Gb represents a diminished fifth interval. This leads us to a basic rule of thumb to help remember interval alterations: A major interval lowered one half step is « minor interval ‘perfect interval lowered one half step isa diminished interval. A perfect interval raised one half step is an augmented interval. M7 m3 PS C diminished m3 ‘dims, Ps ims e PS augs s© Half steps and whole steps are the building blocks of intervals; they determine an interval’ quality —miajor, minor, et. On the ‘guitar, a half step is just the distance from one fret to the next. A whole step is equal to 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 a labeling the intervals. These numerical values, termed scale degrees, allow us to “generically” construct chords, regardless of key. For example, a major chord consists of the root (1), ‘major third (3), and perfect ith (5). Substitute any major scale forthe C 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 Scale degree: 1 a 3 4 5 6 a Interval: Root M2 M3 Po PS M6)? D major chord‘The chart below is a construction summary ofthe chord types in this book (based on the key of C only) using the scale degree method: TPE FORMULA ‘NOTES (CHORD NAME major 135 CEG c fifth (power chord) 15 CG 6 suspended fourth 145 CRG sus suspended second 125 CDG sus2 added ninth 1359 CEGD Caddo sixth 1356 CEGA 6 sixth, added ninth 13-5-6-9 CEG-AD cay ‘major seventh 135-7 CEGB Cmaj7 ‘major ninth CEGBD cmaj9 ‘major seventh, sharp eleventh 13-5-7-H11 CEGBEE Cmaj7#1t ‘major thirteenth 135-7913 CEGBDA cmaj13 ‘minor 1435 CEG cm ‘minor, added ninth 1435-9 CEL-GD cm(add9) minor sixth 1435-6 CE-GA m6 ‘minor, at sixth 1435-6 CEH-G-AD cmb6 minor sixth, added ninth 1435-69 CEHGAD cm6/9 ‘minor seventh 143-5-47 CE)-G-Bb m7 minor seventh, fat fifth 143-5547 CEb-Gh-Bb cm7b5 minor, major seventh 1435-7 CHL-G-B ‘Gn(maj7) ‘minor ninth 143547.9 CEb-G-B)-D cm9 minor ninth, flat fifth 1-4345-47-9 C-Bb-Gh-Bh-D cm9b5 ‘minor ninth, major seventh 1435-79 CEL-GBD (Can9(maj7) ‘minor eleventh 143-5-b7-9-11 CBb-G-BL-DF cmt ‘minor thirteenth 143-5-57-9-11-13 CBb-6-Bb-D-EA cmi3 ‘dominant seventh 135-47 CEGBD oO seventh, suspended fourth 14547 CREB, C7sus4 seventh, fat fifth 1345-7 CEGL-BL ons ninth CEGB-D 9 ‘ninth, suspended fourth CEG-BLD Ssus4 ninth, flat fifth 1-3-45-b7-9 ‘CE-Gb-Bb-D 095 seventh, flat ninth 1354749 CE-G-Bb-Db ong seventh, sharp ninth 1354749 CEG-BL-D} ote seventh, fat fifth, sharp ninth 1-3-6547-49 C-#-G)-Bb-DF c75(49) eleventh 1-5-67-9-11 C-G-Bb-D-F cu seventh, sharp eleventh 1-3-547-411 CEG-BL-FE cmH thirteenth 13547-9153 CEGBH-D-A cis thirteenth, suspended fourth 14557-9153 CEGBLDA Ci3sus4 augmented 13-45 CEG Ge seventh, sharp fifth 134547 CE-GEBD cH ‘ninth, sharp fifth 1345479 CE-GEBL-D cr seventh, sharp fifth, flat ninth 1:3-45-57-9 CE-GEBD-D) C4769 seventh, sharp fifth, sharp ninth 13454749 CEGEBH-D} cog diminished 14345 Bb-Gb c diminished seventh 1-b3-b5-b67 C-Bb-Gh-Bbb 7The most basic chords in this book are called triads. A ériad isa chord that is made up of only three notes. For example, a simple G major chord is a triad consisting of the notes G, B, and D. There are several types of triads, including major, minor, diminished, augmented, and suspended, All of these 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 familiar 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 triad ((-B-D) and adda ‘major seventh interval (F$), the Gmaj7 chord is formed. Likewise, if we substitute the minor seventh interval (F) for the F$, we have a new seventh chord, the G7. This is also known as a dominant seventh chord, popularly used in blues and jazz music. As withthe triads, seventh chords come in many types, including major, minor, diminished, augmented, suspended, and others G major triad Gmaj7 or Extended chords are those that include notes beyond the seventh scale degree. These chords have a rich, complex harmony that is very ‘common in jazz music. These include ninths, elevenths, and thirteenth chords. For example, if we take a Gmaj7 chord and add a major ninth interval (A), we get a Ginaj9 chord (G-B-D-F¥-A). We can then add an additional interval, a major thirteenth (E), to form a Gmajl3 chord (G-B-D-FEAE). Note thatthe interval of a major eleventh is omitted. This is because the major eleventh sonically conflicts with the major third imerval, creating a dissonance. Gai Gmaj13 Ps M9 MI3 ‘By the way, you may have noticed that these last two chords, Gmaj9 and Gmaj13, contain five and six notes, respectively; however, we only have four fingers inthe let hand! Since the use of a barre chord or open-strng chord is not always possible, we often need to choose the four notes of the chord that are most important to play. The harmonic theory that underlies these choices is beyond the scope of this book, but not to worry—it has already been done for you where necessary. Below are two examples to demonstrat these chord “trimmings” Gmaj9 Gmaj9 (four notes) Gmaj13 ‘Gmaj13 (four notes) 2 2 Generally speaking, the root, third, and seventh are the most crucial notes to include in an extended chord, along withthe uppermost extension (ninth, thirteenth, etc.).This brings us to our last topic. Though a typical chord might consist of only three or four notes—a C trad, for example, consist of just 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 hottom to top, inthe actual chords you play. Inversions are produced when you rearrange the notes ofa chord: ie a root Ist 2nd root Ist 2nd 3rd position inversion inversion position inversion Practically speaking, on the guitar, notes ofa chord are often inverted (rearranged), doubled (used more than once), and even omited to create different voicings. Each voicing is unique and yet similar—kind of like different shades of the same color. x oo 6 E G Iss 3d Sth 6¢ 0 caceac ‘Once again, the possible voicngs of a chord are many. The voicings in this book were chosen because they are some of the most popular, useful, and attractive chord voicings playable on the guitar.eo OO 9° xx cS {C no 3rd) C fifth (power chord) c root 5th Rae K On XkCsus4 caus € suspencied fourth S 2 c Ff root th «th acre a 09 | 1 00m cacr CSUS2 cou) € suspended second | c root o 2nd c sth peoacec tr aCG/B ceases) ¢ sixth, added ninth 4 =e —=3—_ 2 oo c c8& G aA root ard Sth 6th D sth ADGCE Cmaj7_ cm C major seventh <= aCmaj9 cu) Cmaj7#11 (cM7#11) C major ninth C major seventh, sharp eleventh —— eo oe 5 a oD Ce > i i oe root 3rd Sth 7th sth root 3rd sth 7th ftithCmaj13 cms) CM comin. C major thirteenth ¢ minorCm(add9) CME coins, co) minor, adied ninth C ke etch Ou Doce BaACGCmb6 cos, cms) Cm6/9 m oth minor, flat sixth minor sixth, added ninth ots te = dl ° c 8 « wv c 6 « root ‘3rd sth th Cc i x = se ceACG = = me x BBGCE ate ite ay 5) C dominant seventh, flat fitth C@BE 7 ceBD Th ofC9sus4 cous) C955 05, cions.sy € ninth, suspended fourth C ninth, flat fitthC79 (C7-9, Cdom7,) C739 (C7+9, Cdom7+) C dominant seventh, fiat ninth C dominant seventh, sharp ninthC7/5(#9) (C7-5(+8), Cdom7,5(¢9)) C1 1 C dominant seventh, flat fifth, sharp ninth C eleventhC7H1 1 (€7+11, Cdom7#11) C1 3 (Cdom13) C dominant seventh, sharp eleventh € thirteenth 9° AacRBEC13S8US4 Cissus) C+ ccam,cesn C thirteenth, suspended fourth © augmented 4 4° —— °o c fk @ root 3rd 8th x ate FA x x 6 O13 Qe tar oe cr e EQ@cC+7 crs C dominant seventh, sharp fifth C+9 ois, ca+5) Chinth, sharp ttth 5 root 3rd 5th BE GDC+759 ccrssc9n C dominant seventh, sharp fifth, flat ninth o o o c ofc os 8 o root 3rd 5th 7th 8th 9 tr 0 [8 | a6 DGB E C4749 rss» C dominant seventh, sharp fifth, sharp ninth 2 = al \ o e|9 ° a 00 8 ae ta bs. 0/6 | 9 i 6 e oo E 8 Dt G@ Bir tateC° cum C°7 cuiCe (Cémaj) Ci5 (C+ no 3rd) C-sharp major C-sharp fifth (power chord) tite 8 at CH GE CE EF Gt ceCisus4 css) C-sharp suspended fourth Go eo to co oF at root 4th 5th © \- ch Ge Ct FE ate CHSUSZ ccisau2) C-sharp suspended second Gt Ge Ct DEChadd C-sharp added ninth Gc ¢ @ root ard th geCHB/9 ccisassay Ckmaj7 cam C-shanp sixth, added ninth C-sharp major seventh x maw [90670 060 8 A Di GEO} Et Of EF GB a Our ° o 0|9 9 Of EF ABD: Gh Gh BE Gi Zs Eas [90000 999 | Cf Dy GE CHE a FC & 8: ga x K @ | | @ | 9 9 = Ct Db AY BE Ge OL | a ° 11 9 = 900 ce EE AH DE Ch GE BE EECi maj9 cm) C-sharp major ninth ot 3th ce maj7#1 1 cman C-sharp major seventh, sharp eleventh ch ES BE DF ct et Fe BtCemaj13 cana C-sharp major thirteenth Gat root 3rd Sth_«= 7th «Sth 13th CHM cnc: ° titC+m(add9) C-sharp minor, added ninth CHME ccinins, c:-) C-sharp minor sixth o of oA root \grd Sth th ew | oS a 4 00/0 CH GE CHE At Ct 01 O |i FS oa Ae30 CHMLG c:-c6),c-minss) Cim6/9 C-sharp minor, fat sixth C-sharp minor sixth, adie ninth ct E Gt A Sa Shitty 1 x \\ 000 9 cE A CHG © Ad Dt GE x x x x ° str @ | OG 9 A @GeE mE A x x x ° 1 0 1 e (J 00 o AEG EA DGC x x xx 090%: Ce @/90 9 A FG G GE AO xx xx @ | wo Ore 8 9 (3) 9 aa e reasCEM ccemin7, c:-7 CEM7>9 — :-705, ceminz-s C-sharp minor seventh C-sharp minor seventh, flat fitth E @ .B & oo root rd Sth W7th root ard 8th 7thCim(maj7) cnn C-sharp minor, major seventh CHM ccénns,c:- C-sharp minor ninth 2 Gf Gt root Grd Sth 7th AMAA cG BE Cu DGB EC3M9/5 ccinss, cinno.s) CHm9(maj7) cc:ns+7,c:-24n C-sharp minor ninth, flat fifth C-sharp minor ninth, major seventhCHM11 c:-11,c:mm C-sharp minor eleventh E Bo oF root \Srd Sth «7th Sth 1th GrnRBE CHMIB cc-15,c:mms) C-sharp minor thirteenth ao o£ @¢ 8 oOo wt root 3rd Sth 7th Sth 13th OO A GB EC-sharp dominant seventh Ci7sus4 ccizsus) C-sharp dominant seventh, suspended fourth ae root 3rd oa sth 8 smn Ge co of a root 4th th goC75 (C#7-5, Catom7-5) C-sharp dominant seventh, flat ftth GG eB & ate cts C-sharp ninth 82 es GB root ard Sth 7th O16] | = B DG: ce BoC#9sus4 css) C-sharp ninth, suspended fourth oF root 4th 5th 7th Sth DE Gt B FE 12H C2945 css, citoms.s) C-sharp dominant ninth, flat fifth to oo yoo root 3rd sth 7th BOG G ce BOO ah trC4749 c:75,c1om79) C-sharp dominant seventh, fat ninth fy oo? 10 eo te co of og 8 » oct ord Shit igth O[ | 016 | & a Dvr aeep 9 (Ci7+8, Cidom7#8) C-sharp dominant seventh, sharp ninth a o@ os ard Sth 7th pb th 000 |CE755(29) 02-545), cxtom7scsy C-sharp dominant seventh, flat fitth, sharp ninth O [J wn ox G 8 & ct11 C-sharp eleventh GAB BG Gr BE 7 ateCH7ET1 i711, cetom710) C413 cetomay C-sharp dominant seventh, sharp eleventh C-sharp thirteenth to fo a ef ot oo root ard 5th 7th «Sth 13thCE1SSUS4 cirssus) C-sharp thirteenth, suspended fourth to cof og Bp AF root ath Sth | th Sth 13th xx AN ate O | Ou tr Ci+ (Céaug, C2(¢5)) C-sharp augmented Cn root 3rd a5th, aS i Biaita cod S a idee cscs CY) 0 Soha 5 et fi Lr oS o alarerc , ‘ as H nial a trCi+7 (C275) C-sharp dominant seventh, sharp fitth ae! root 3rd tite cho B Et Ci+9 (C925, 61945) €-sharp ninth, sharp fitth Gx DF EE BCH+759 czs5eon CH+ 739 ozs 19» C-sharp dominant seventh, sharp fifth, flat ninth C-sharp dominant seventh, sharp fitth, sharp ninth ct ge ¢ fe o& Bm root 3rd Sth «7th 8th root 3rd Sth 7th 8th DGB E DG: B ELCE exam C497 cian C-sharp diminished C-sharp diminished seventh —— =: = fo a a a, ae 3 kd oh eS e G Bb CE(om) DS ows D fifth (power chord) Do root SthDsus4 cos) DSUS2 — coseuez) D suspended fourth D suspended secondD sixth @ | DRAE DABRG/B coeaida) D sixth, added ninth Fo root ard Sth 5 eth Gq th DR ABE Dmaj7_ om O major seventh o DF o root 3rd Sth 7th AD FG aiDmaj9_— ows) Dmaj7}#11 (oM711) D major ninth ‘D major seventh, sharp eleventh A ct A A a Ge wot sd th hth root Sd Sth th Htth x0 ° oo Qo AFA GE x x ° air 98 9 DAG E x oN x — x x OO ]m | | 6 str e 8 9° 9° ag AER D Gi Gi Fr x 8 x x 0 | 8] Ox @Q | eo 9 (‘J HDEAG > oR G xx xx OL | ° ‘2 , % OFC E D GcDmaj13 oma) Dm oni, 0) ‘D major thirteenth D minor D oF A G of 8B A root ard Sth «= 7th Sth 13th root 3rd th BODAGR _ | OFAFDm(add9) DME comine, os) D minor, added ninth D minor sith | FoA root igrd Sth th eel x Ors QO 1 Ox 9 __| EADF | DABEDm6 048, onins) Dm6/9 D minor, flat sixth D minor sixth, added ninth > a Foo E root Sd Sth 6th root Sard Sth Sth th ee i DFBEDM7 07,onin7) ‘D minor seventh oS o oF A Cc root 8rd Sth 7th Ss es” ma at 6/0060 tor £ e xx @ | DM7}5 07.5, onn75) D minor seventh, flat fitth ofr DACEDm(maj7) ou Dm9 02, omins) D minor, major seventh D minor ninthDm9}5 (Om8-5, Dming;5) Dm9(maj7) (Om8+7, 0-947) D minor ninth, flat fifth ‘D minor ninth, major seventh x x i xx 0 Gor OL] e | Fr EAC GEA FDM11 011, onini1) DM13 013, 0mm) D minor eleventh D minor thirteenth DoF A ¢ £& & e 8 toot irs Sth 7th Sth 1th root iri Sth 7th Sth 13th sn ah 6 ¥ —e Z —s a SHE ee SMES A ——— 2 ie 6000» e a 0 er _ | Sanger LE ts 2 oO] 00 | Ow ele 0 Pour statene eis = TEN 00000 | 00 | | @ | | 6 QD7 (Odom7) D dominant seventh o- o DOF root 3rd A oc sth 7th D FC Ft ate D7Sus4 rus D dominant seventh, suspended fourthD7}5 (07-5, Ddom7;5) DS D dominant seventh, flat fifth Dainth > fF A oC 0 Ble. root rd $5th 7th root 3rd Sth 7th thDISUS4 osu) D9}5 1035, oions:s) ‘Dninth, suspended fourth D ninth, fat fitth 0107 | O[ OT Jin | vpacaae A ORCED759 7, oion7.2) D748 07+8, ovens) D dominant seventh, ttat ninth D dominant seventh, sharp ninth o ho oA oc 5 o A A oc os root Sed th th th root ard th th eth x x r naa a } 00 \ e I] a 9/9 9 8 vDACES RAC & x x 0 af °° DRC E ge 600 |x 8 EADRC x ° tr 98 RCE AD = x x OT] | : 8 90 DRC E DFC etD7}5(#9) (07-5(+8), Ddom7/5(#8)) D dominant seventh, flat fitth, sharp ninth aA Cc FED7#11 (07+11, Ddom711) D13 (Ddom13) ‘D dominant seventh, sharp eleventh O thirteenth ° ease = o oD oF A 6 Do MAS ioe ee root Sed Sth 7th ith rot Sr Sth th oth 13th x x0 Dac xx ot 9 FC DG 00 [6] Os 9 ADGCHA a af [ 4 aD 00 | |m 00% o||190 9/90 cRA DG D CERB —————— 01901 | Ow 98 9 opGcrRAD DACKBDD+ D13sus4 issu) (aug, 0:5) D thirteenth, suspended fourth ‘D augmented ao ar = o—= to = o o > BA 2 o A a th th hy oh ma & a x00 8 9 eye S x 0 afr Wy | eater ge x xx 8 str fr e 8 (J DGceE | > con® fot 0 | a ° MOR D x x 0 str FED FE abD+7 we D+ (ov, 0945) D dominant seventh, sharp fifth Oninth, sharp fifthD+7)9 rss» D dominant seventh, sharp fifth, flat ninth CRA E Tr afr D+7#9 rsa» D dominant seventh, sharp fifth, sharp ninth Bac F 10teD°7 aim Oe 28 as O [| Oia FADEby (Emaj) ELS (E-no 3rd) E-flat major Eriat fitth (power chord) Oe 4 9 3 BeRES 00 tat - ° EO Om BREGB ES Be BELSus4 sus) E,SuS2 esau) Eflat suspended fourth lat suspended second bo 7e- B&B B oF B rect ath th ot and ihBadds E6 E-flat added ninth E-flat sixth Gc B oc root 3rd Sth~— th ° tote | | | __.| Seton ee sie 8 9B 6/ 9 (E-6add9) E-flat sixth, added ninth CcGBeE crREG x m 60 9° Str Bmaj7 xn Exfat major seventh x afr titEmaj7311 cnn Erflat major seventh, sharp eleventh &® oo A root ard 5th 7th HtthE,maj13 ema Em ceni,e Ela major thirteenth Eat minor 5 ro & & km & hs a im & my Xx S BOBS ee 9 Os ° re BOB Ee ~ xx a 00 |e ° 090mm 8 ° 9 ceao eB BGBE —_ — xx 09 | Dr 00 Jin ve e 98 8 Disicrle a aeE,m(add9) Effat minor, added ninth BQ@BF tte ELM6 cemins,c-0) Eflat minor sixth(€;-(68), Emin6) Ebm6/9 E-flat minor, flat sixth Eflat minor sixth, added ninth x x x OT] | & ° tr ° 9 9 9 OBB Gores —— (a a! Ou OL] um 81990 BREGGE Ba@crFBm7 cemnz,-» EM7b5 e-75,emn75) Erlat minor seventh ‘Eflat minor seventh, flat fitth B Go 8B oOo 5 & & BD root 3rd Sth S7th root SSrd 8th 7th tte x xx 6 1666 | Oo 9 BOGEB m(maj7) +m Eflat minor, major seventh Em9 cmins,5-) E-flat minor ninth ate BBD G&D FFM9>5 temo, mings) E,m9(maj7) (Em3+7, £-9+7) E-flat minor ninth, flat fifth E-flat minor ninth, major seventh B & Bh Db oF Bm DF root rd 5th «7th = Sth root iSrdSth_«= 7th th BBROGD F BBOGB FELm11 e-11,emin Elat minor eleventh Eom13 c-1s,emims) Eflat minor thirteenth Bo B& Fw 1's the. ne on root ‘Grd Sth «7th Sth T1th root ‘rd Sth th xx BABG x Our BGOF A ar BADGE F a sth 13th BG CF B DG@cErE at ofr anteB7 eum E57sus4 css) Eflat dominant seventh Etat dominant seventh, suspended fourth be foto se B wot fy Shah 9 9 BB DA x 9 _| “@ wea BOE BS x x eee @ | a 0 | Oe eo ‘ 9 BaDe BD A BS ies A 0 16] Om A 8 98 Benes BEAD Pa cS ae ite ¢ Ca ol | 8 9° Baoaoe BaeoAOEb75 (E:7-5, Edom7,5) Eflat dominant seventh, flat fifth 3 & Go Bb root ard 8th me XX. ed 69 | ate a) ‘Efiat ninth 5 root s 3rd O] ° ° 5 oFe — 010] 0] Q| | 6 ° BBOoGB FE9sus4 css Erfat ninth, suspended fourth B 95 (69-5, Bdom9.5) E-flat ninth, flat fifth E BADAB F ate OG BF Go FBS 1otrB79 (67-8, Exdom7,9) E739 (67+8, Bdom7+8) Efiat dominant seventh, flat ninth E-flat dominant seventh, sharp ninth be BG & Bb 5 CG B FE root ard Sth «7th th root 3rd Sth 7th fath Ss aS xX x 6 at ofr 99 BAG DB GDRBS ———.* eel x x ——. | @ | 0/6 vt | : 9 9 9°B 7,5(#9) (6:7-5(+8), Blom7,5(28)) B1 1 Elat dominant seventh, flat fifth, sharp ninth Eflat eleventh @ CX AGE A a 7 OOE,7#1 1 (E7+11, Bdom7#11) B1 3 (Edom13) Eflat dominant seventh, sharp eleventh E-flat dominant thirteenth B G & Db A &B Gc B Foe root 3rd Sth | S7th_ 11th root. 3rd Sth 7th sth 13thB5188us4 crs») B+ casccsn Erfat thieteenth, suspended fourth Erflat augmentedB+7 cr B+9 cos,com Elat dominant seventh, sharp fifth Eflat ninth, sharp fitth o o o o oo oe — B oc 8B oo Ba G 8B DB F root ard 5th 7th root 3rd 5th 7th othB+79 e759 B+749 (674508) Elat dominant seventh, sharp fifth, flat ninth Elat dominant seventh, sharp fifth, sharp ninth —— OLA OA DGB DGB FB i (Edim) E-flat diminished GREG eB G BL eB str ofr B 7 (Bim7) E-flat diminished seventh 5B Bm root (3rd jth rth & Dh G Be Db @ BEE cw EBEGBE ES cen arn E fifth (nower chord) 6 sate 690 EBEEsus4 ccsus) E suspentied fourth —e A 2B root ath th 00] |x OO EAEABE Esus2 csawz) E suspended second o—4 os cE Fw B root 2nd th — 007] J O [| mmE added ninth E sixth str 0 7 FOB E G eB EGC 5 . a ar OTST gat Seen ae ave ey eae ate000 | am EGadRBEEmaj9 avs) Gt root 3rd th Emaj7#11 an E major seventh, sharp eleventhEmaji3 ans) E major thirteenth Ee Git B DF EM cenin,e9Em(add9) EMG cenin, es) Eminor, added ninth minor sixthEm>6 (E-(6), Emin.6) E minor, flat sixth x x OL Jo 9 9 @ces O91 19] Ow (‘J EBEGCE Em6/9 Eminor sixth, added ninth — GCF attEMm7>5 75, ennz-5) E minor seventh, flat fith @] 20 EBDGBEEm(maj7) com EM cms, es) E minor, major seventh E minor ninth @ e @ 8 o root iSrd Sth «7th root isd Sth 7th th @ | o Oror 9 9 eo Bo s ABD a On 00 | i tateEm955 no, enna.) Eminor ninth, fat fifth —ERODGD FR Em9(maj7) cns+7,es+n E minor ninth, major seventh 20 i == Ce ee cet: root iors Sth 7th Ft th 00% —BoG BFEm11 11, cnn) Eminor eleventh Em13 13, emma) FA oth 11th 20000 caeE7 cciom7 E7Sus4 sus) E dominant seventh E dominant seventh, suspended fourth ie” e o@ Bp o e A B oD root 3rd Sth 7th root ath = Sth = W7th Ls D BEAE75 (E7-5, Edom7,5) ES Edominant seventh, tlat fifth EninthE9sus4 cus) ESb5 x5, tdonas) E ninth, suspended fourth E ninth, fat fifth ——— © te ° = ce A 8 Dp . oo 8 3 A root th sth Sth Sh rot Sd ath th Sth 00 | Ou O | im EAD F DGB FE79 (E7-8, Edom7+8) E7#9 (E7+8, Edom7#8) E dominant seventh, ftat ninth Eddominant seventh, sharp ninth +o é ° 4° Ss > e 8 root Gi > 3rd sth = itth ° ve GO RBE x x 019 | @ [0] Oj 6 9 9°E75(28) z-s1+9),eaonnses» Edominant seventh, flat fitth, sharp ninth BoE GD Fe oo FA Oh tith EG@oe On ofrE711 (E7+11, Edom7#11) E dominant seventh, sharp eleventh EMD GB OO EMDGBE E1 3 (Edom13) E thirteenth EBDGoEE1SSUS4 cerssus) E+ ceaug, ccs) E thirteenth, suspended fourth E augmented to = — —s to. ° 2! oA 8 > wo 5 of ft wot th hth th Sh ot 38h BE GEE+7 os E+9 cca:5,10+5) E seventh, sharp ith E int, sharp th e co Bs oD e oo Ff root 3rd 5th H7th root ard 5th 7th th DG Be OT] D Gi B Gi D> Fi BPEE+7}9 css Edominant seventh, sharp fifth, flat ninth po e @ Bb ob -F root ard Sth 7th ath D GiB F E+7#9 esan E dominant seventh, sharp fifth, sharp ninth(Edim) E°7 (edi 7) x x ae @ | un © | ue 8 9 BEG B EBRDGFS cna F fifth (power chord) fF ow Os root 3rd Sth — sud FACE FOFFsus4 Gs) F suspended fourth Fsus2 crane) F suspended second AS44S FeBCr tr strFE/9 crsaws) Fmaj7_ em F sixth, added ninth F major seventh FoA oc op «6 fF kee eee Ie root 3rd Sth = 6th Oth root 3rd Sth 7th FACE FGCFAD F cAC@ | Fmaj7#11 nan F major seventh, sharp eleventhFmaj13 ans) Fim nin, r F major thirteenth F minorFin(add 9) FING rnin, 8) F minor, added ninth F minor sixth FOFACG FCFADEFm)6 06, rmins) Fm6/9 F minor, flat sixth F minor sixth, adied ninth oa Fo co Db F- @ De root 3rd Sth 6th root rd Sth «6th th 000 | eo or eo 2} 9 8 FADE | “Fave x x x o on Ow 9 Qe 9 | Freres A GoD | xx x ° tte ° a 8 zh DACE BRDGCEFm7 (F-7, Fmin7) F minor seventh Fm7}5 (75, Fmin7-5) F minor seventh, flat fifth x 6 9 BA GF x jr 8 ceAC FOEA x x | 9 e 9 crAS a FO x x 666 | 1 6 00 BAC F BAGFin(maj7) — en+m FQ 9, Fnina) F minor, major seventh F minor ninthFm9b5 cmos, rmino.sy Fm9(maj7) (Fm9+7, F8+7) F minor ninth, flat firth F minor ninth, major seventh 1st 00 | 1 eEACGF111, Finny F138 13, rma) F minor eleventh F minor thirteenth & c 8 Go & fs ¢ @ @ root igrd sth 7th = Sth. 11th root rd Sth 7th Sth. 13th sy x Xs 00 | Os. 6 air 9 8 FREAC FO BAD x x = x | aF7 om F7sus4 rss) F dominant seventh F dominant seventh, suspended fourth — — Kook str ° tr eo 9° BCFA B CFR Sa ee = ecm x 01 [Om 010 | Om 9 9 9 FOeAC FCOeBC iRoom xx 090 | 00 A 8 CcrFAE creeF7L5 (F7-5, Fdom7\5) F dominant seventh, flat fifth ate © |F9SUS4 (ras) F ninth, suspended fourth B oc 6 o root ath Sth 7th th F9.5 (F8-5, Fdomd.5) F ninth, flat fifth a if ABGOFF7}9 (F7-8, Fdom7,9) F dominant seventh, flat ninth a cc 8 @ root 3rd Sth 7th jth CcGAB F749 r7+9,ruon729 FAB GE eo 0 | iaF755(#9) 7569, ruonrscoy Fil F dominant seventh, ttat fifth, sharp ninth Feleventh & at fee | eee eae rth th root 3rd Sth 7th = th «ith. 9 @ | ° Oo ABGG FRBEACF7301 e711, rtomz11) FI3 créomay F dominant seventh, sharp eleventh F thirteenth c 8 oB Bp Sie ray = root 3rd Sth 7th 1th root 3rd Sth 7th th 13th 6 soe BFAE5FISSUS4 —Gissus) F thirteenth, suspended fourth Fo oB c¢ 68 «G@ »D root ath = Sth 7th = Sth, 13th (2) SToTT 8 |990F+7 rs) F dominant seventh, sharp fitth Ss i heh bo 5 inh F+9 crais,ro+5) Fninth, sharp fifth ms iS ct 8 th aig on F F BAC BAGG GaGFAEB ofr mH 10F+7b9 crscan F dominant seventh, sharp fifth, flat ninth bo o: 80 FoOoA 6 og root. 3rd Sth th F+739 (F7+5(¢8)) F dominant seventh, sharp fifth, sharp ninth a ee root 3rd Sth «7th f8th cis cx 6 ‘str \ © A Ct GtFo cuim F°7 aim SSE x % XK ae On O | Qo 0|90 9° 9° OFAC BOF OB K — pe k ™ x x 0/0] x 0 | @ | x 9 AGE A F BAGFE cramp FS ema F-sharp major F-sharp fifth (nower chord) = 1. foo fo root ard th root SthFisus4 rus) Fsharp suspended fourth «” _ << ae : aaa a’ Road ase! x44! = FESUS2 (sanz) Fsharp suspended second ot root 2nd th 00 | Jim GR BF ° tr OO»FHG/9 ces asa) Fémaj7 am F-sharp sixth, added ninth F-sharp major seventhF4maj9 ens) F-sharp major ninth 0 jo? Ho oo ag & root nh Fimaj7#11 ana F-sharp major seventh, sharp eleventh # root a oc ard th 7th to B inith FE A EE Gi 6600 GC: FE AY tr tr ate tr FE BE EY AP —— Qo ft EA BEFémaj13 eins FAM rim) F-sharp major thirteenth F-sharp minor ere : 2g 00 Jw 8 ait 8 ° 600Fem(add3) FEMG ¢:-6,r:mine) F-sharp minor, added ninth F sharp minor sixth 4 to Sth 6th 60/6 _| nanson xx 1: O] oO; x x | ->—— « som | | O10) x ° 6 [To @onA _| Raome x ee x aw | fy OL []™ e 6 no Gor RAG xx xx wr ° o||o Wid @ AidaFEMLB 10, r:min.s) Fem6/9 Fsharp minor, flat sixth F-sharp minor sixth, added ninth ° 12 9 rate DAG | A DE GECE FE47-7, Fimin7 Fem7}5 75, remn70) F-sharp minor seventh F-sharp minor seventh, flat fifth 0 [J umFem(maj7) ems Fsharp minor, major seventh io oA 6G gt root ‘ard Sth «7th FEMS ¢:-s, mina)4M9}5 eno, Fiminais) Fém9(maj7) — :nes7,r-2+7 F-sharp minor ninth, tat fifth F-sharp minor ninth, major seventh o = t o 1 HoA cc oe Gt AoA Gd oot id 38th tn Sih wot Sirs th Sth xx x x 3 TW 3 We % 9 8 (:) AEGC RAEG x x x a OL |x 00s 9° 98 9 G@ceEA A ChE Gc Xx x i @ | ise 9 12k 9 9 9° EACG A Ef Gi cEFAm11 e:-11, rnin) F-sharp minor eleventh Fem13 | c:-13, r:mina) F-sharp minor thirteenth FooA ctl Ctl root isrd Sth = H7th «Sth 1th | Gg of root Sri Sth 7th oe oD sth 13th DA CH FE 12h(Fedom7) FE7SUS4 cr:zsus) ‘p dominant seventh F-sharp dominant seventh, suspended fourth 6 7 +2 hom oe root Sed Sih in xx ° were o 98 9 ACE e/0lo (:] Ee. J AaEMGA xx 6 air 8|9o AE A —— a x 6 Oo Oo 8 ROEM G HEB ct _ -_ ———— xx 000 J 00 [Am 8 GAA He EFR755 ce:75,r:tom75) Fg F-sharp dominant seventh, flat fifth F-sharp ninthFE9SUS4 crissus) F-sharp ninth, suspended fourth F-sharp ninth, flat fitth FB gt root 4th Sth oe “< - H #@ oc of root 3rd Sth «7th «Sth ©} $3 @ce a9 (F#7-8, Fedom7;9) Fi F-sharp dominant seventh, fat ninth #9 (F#7+8, Fedom7#8) F-sharp dominant seventh, sharp ninth x x OT mw ‘] COE A x x @ | uw FRU Gl AE Fat Gos root rd Sth 7th stn AE @ CH FEb5(#9) (F&7-5(+8), Fedom7}5(39)) F-sharp dominant seventh, flat fifth, sharp ninth es 000 | Ox AE G@ Cc ABE ACFE7311 cee, Fon7-11) FE13 cridomay F-sharp dominant seventh, sharp eleventh F-sharp thirteenth to & Fook chee as od © ot of root 3rd Sth 7th 11th root ard Sth ith oth 13thFREISSUS4 crass) Fe+ aw. r08 F-sharp thirteenth, suspended fourth F-sharp augmented a a a: root 4th Sth. 7th Oth 13th == Ss es x x0 coy i x A AL Gs root 3rd 8th x x ‘ofr 9 7 _| co oma XX at cx FEAL FEFR+7 erm F-sharp dominant seventh, sharp fitth AoA ce root 3rd 45th 7th FE+9 cr:0:5,r10+5) F-sharp ninth, sharp fith 1"FEE7L9 ezsscoy F-sharp dominant seventh, sharp fifth, flat ninth o — — — Frey Roo oc Eg root Sed #5th_ | W7th_— 9th ex FEA7E9 cesr+seon F-sharp dominant seventh, sharp fifth, sharp ninth Ss FE oF a root 3rd Sth 7th 8th 09 J 1 Oo RAEFye (Fédim) Fi°o7 (Ffdim7) F-sharp diminished F-sharp diminished seventh Ss 2 Hoa og Hike Eo root rd 8th root lard sth 7th 018] om 8 9 AGHA x x @ | 13% 9 965 (G5 no 3rd) G cmap & major c 8 oo root ard th 0 tot @poGoesGsus4 sus) Gsus2 csasd2) G suspended fourth G suspended second os c op G oA root ath th root 2nd 5th ote safeG added ninth cs root 8 ara D sth x [6000] GBDA x rie AdGe 0 [Om °° 9 GBDAB aAovGB oo00 °o 9 CDGBE x xG6/9 ccsaus) Gmaj7 cw G sixth, added ninth G major seventh G 8 bp -& aA oc 8 » # root ard Sth Gth_~— Sth root 3rd Sth 7th & 000 | On GBEADGmaj9 ens) & major ninth Gmaj7711 ew G major seventh, sharp eleventh co 8 »p. F root aed Sth 7th AoGBF 12tr GaoGcGr 0 | | Om GanBDGmaj13 coms) G major thirteenth E sth 13th "10 EADGBE RFGm(add$) G minor, added ninth = oc om» Dp aA root isrd Sth th BDADG tir GME cs, cnn) minor sixth o mb» bp «§ root rd Sth th ° ° e GBODBDE Q 0/9 GDGBEG eeGME c4.8,cnn.5) Gm6/9 G minor, flat sixth G minor sixth, added ninth 0 tatr 0 131" a e \s |GM7 7.6m GM7>5 75, cminz-5) minor seventh G minor seventh, flat fifth ° sO ° o B&B Dp F os mR D root ard Sth 7th root rd 5th 7th . 09001 O [| x FeDG ® GoFGm(maj7) m+ Gm9 5, cmns) G minor, major seventh 6 minor ninth °o o ° ° oc B&B pb F a. s e a root ‘3rd Sth «7h root rd 5th 7th Sth 9 Dvr GoRrBoDGM9}5 (ono, eninas) Gm9(maj7) tons+7, 29+7 G minor ninth, flat fifth 6 minor ninth, major seventh co 8 oo F A o & 8 root Sard 5th 7th ath root isd Sth «7th thGM11 1, cnn G minor eleventh GM13 13, enim) minor thirteenth 19G7 (Gdom7) G dominant seventh G7sus4 c7sus) G dominant seventh, suspended fourth ea iS a GceoGgcr pGocrG7} 5 (67-5, Gdom7.5) G dominant seventh, flat fitth ik On 6 o Sar " x OO] |» e GOFBG9SUs4 cosus) GODS 95, cions.s) G ninth, suspended fourth G ninth, fat fifth c op F A co 8 & F A root 4th = Sth (7th oth root 9rd iSth« 7th th GDFCDA DGBFA ADF BG7} 9 (67-9, Gom7;9) G dominant seventh, flat ninth °o oBFA x ° e190 o FAB ote tafe G7#9 ca79, caon7:9) 6 dominant seventh, sharp ninth 0 sate 99 BrFADGG755(#9) o7si+0, ctomzst:sn G dominant seventh, flat fifth, sharp ninth BF ALD GCFEBDie G7}11 (67+11, Gdom7#11) G13 G dominant seventh, sharp eleventh 6 ite casper (Gdom13) c root 8 3rd > sth F rtm g> E 13th FeEG x 9 ot enGI3SuUS4 iss G thirteenth, suspended fourth G+ cau, ccs G augmented > ex Os 6 ° 9 9 EGCFA GB x x x oO Oo 00 9 rece ceo xx [9000] o 9 ° GCFAE eB G trG+7}9 ccrsc9y G+749 cerscay dominant seventh, sharp fifth, flat ninth G dominant seventh, sharp fifth, sharp ninth to © ot? —a ‘ 9 ! CB OAOF NOG BF xx xx ea 9 600 3 FeOA Fe DA xx xx 010 | & ° eo ° KF B NFB x x 0 tr 0 9 ° oe FAC oer MO ae x x = xx Oia C) F OAS DAB F& (Guim) G°7 (Gaim7) G diminished G diminished seventh c mB Db cs 8 Dp & root 3rd 5th root Hird 5th 7thAb amay ALS wos ‘Aiat major ‘AMtiat fifth (power chord) c s root 3rd thALSUS4 (asus) ‘A-flat suspended fourth BEAD itr ALSUS2 saa) ‘A‘flat suspended second S Aa BB root 2nd Sth ey” x BEAB A xx ABE A 60 ABAB Ee BEAB tif ateBeEAC — ABA CEALG/D cn samsy A-flat sixth, added ninth Abmaj7 (a7) ‘A-flat major seventh c root 3rd th F 6th go BCr AC F BE o Oi BBGCcEAbmaj7#11 aan ‘A-flat major seventh, sharp eleventh Ac GB 0000 | is BEACGAbmaj13 (ana) Abm (Amin, A-) Aflat major thieteenth 1 Alat minor eo ° KcFrGC mee ° tite 8 9 FReEACGAbm(add9) ALME canine, n.2) A-flat minor, added ninth A-flat minor sixth x x x 12 010)» 8 B 9 9 BEA ‘ BROFABALMb6 (0.06), amine) ALm6/9 ‘Afiat minor, flat sixth A-flat minor sixth, added ninth 00] ™ 7 6 6 _| Wows FAG x x x it eo ot oe 60 e110 Bi a ereAbMm7 (x-7,0.min7) A-flat minor seventh ABGOS Abm7>5 a-75,a.mn7-5) A-flat minor seventh, flat fitth bo a o & @& root Wed 8th th 0/6] JunAbm(maj7) wu ALM9 (0-0, a,ming) ‘A-flat minor, major seventh ‘Actlat minor ninthALM9}5 anos, amno.s) A,m9(maj7) (Asm9+7, A,-847) ‘Acflat minor ninth, fat fith A-flat minor ninth, major seventh BG fm & & &o B&B G B& root Hird 5th «7th Sth root Src Sth «7th «othAbm11 (Ab-11, Apmint 1) Abm13 (A-18, A-min13) A-flat minor eleventh ‘A-flat minor thiteenth o q > 4 o B&B o& F root rd Sth «7th «= Sth_tth root rd Sth 7th oth 13th x x 0] [Ox 00 ot 6 ° “NOGBRD GOFrBS x icons 0900 | Om o tt | 6 9 ADBGOE A @OFAL7 (a-iom7) A-flat dominant seventh s C & @& root ard Sth th AL7sus4 ars) ‘A-flat dominant seventh, suspended fourth bo o 4 b> & @& root ath «Sth 7th BAD ABGcE ofr 010 [Om @ | omA 5 (007-5, Abdom7,5) ALS ‘Aflat dominant seventh, flat fifth ‘A-flat ninth EAC ACGBEALSSUS4 sss) AL9b5 wes, aitoma.s) ‘Arfiat ninth, suspended fourth ‘A-tlat ninth, flat fifth a DB x co © root 4th Sth S7th_~— th root 3rd 6th 7th th ‘©; o o]0/0]« OT OT |x 98 9° ABODE B BA CGB a 00 | m e|9 z c BEG J BEGcAL7b9 1072, aon79) Ab7$9 7+9, aston7:9) ‘Atiat dominant seventh, lat ninth Aflat dominant seventh, sharp ninth tho bo & Cc 5 @ Bb coc 8 ¢ 8 root 3rd Sth 7th 9th root 3rd Sth 7th fath ir xx oan 0 [Os str eo 8 9 09 | Ac G Bb KOGB x x hse 01 O)% o tr 9° 9° __| ¢ Bea 8 Bac x x x 81D | om sate 8190/0 9 BCGRE BCG@BA (#9) (A,7-5(+8), ALtom7}5(#8)) ‘A-flat dominant seventh, flat fitth, sharp ninth Ab11 A-flat eleventh cB & BB oO root ard Sth th «= Sth 11thAL7#11 (07411, A,tdom7#11) AL13 (Aedom13) ‘Aflat dominant seventh, sharp eleventh A-flat thirteenth o Ile 010 [Ou BRDG@CE ACGBEAL18SUS4 casssus A-flat thirteenth, suspended fourth o F sth 13th DG BF ate A+ vam,acey ‘Alat augmented s oT Ss i & Cc o£ root 3rd 8th ECEACEAL+7 wr A-flat dominant seventh, sharp fifth Lo ‘ o = = = A oc fF @& root 3rd th 7th aq tr ot tite AL+9 sis, ase A-fiat ninth, sharp fifth RCG@BEAL+7L9 wzsc9n ‘A-flat dominant seventh, sharp fifth, flat ninth bho oS —E @ Bb root ard Sth 7th jth 0] O | 1m 9° +739 wrssuan A-flat dominant seventh, sharp fifth, sharp ninth 2 ac @BeeE teaS root bird 35th x OE A AL°7 (avaim7) ‘A-tlat diminished seventh bro A oh root bird S6th 7th Eb AL Gh AG EbASUS4 asus) ‘A suspended fourth A oD root th E sth ASUS2 (asaus2) A op root 2nd Sth BEABAatided ninth Asixth i a oc B A root sd Sth oth root 3rd sth thAG/9 rsasas) Amaj7 awn A sixth, added ninth ‘Amajor seventh A ct FB A o &£ of root 3rd Sth = 6th oth root 3rd Sth 7th ABEAG AE GG —— x x 00 tir 09 | 9 AGHB E AGE @Amaj7#11 (aN7s11) ‘A major seventh, sharp eleventh — 0060 | us 0] [On BEAGG A Ci GE CE DEAmaj13 wma ‘A major thirteenth A co. root ard th A Ci FE GE Gr FEB E A Ct GtAm(add9) AMG canine, x8) Aminor, added ninth Aminor sixthAM)6 466) anins) Am6/9Am7 (x7, anin7) A minor seventh Am7}5 0175, amn75) A minor seventh, flat fifth AEGCE ABGCEr Am(maj7) a.m Am9 (xs, anins) ‘Aminor, major seventhAM955 cams, anina.s) ‘A minor ninth, tat fitth Am9(maj7) —txns+7,19+ A minor ninth, major seventh A oc 8 G —B root igrd 35th 7th Sth BeEGc Acs O02 cEGBEAM11 (4-11, amin1) AM13 113, anints) Aminor eleventh Aminor thirteenth to 6 Sid Soe lea Sth «= W7th = gth_ 13th > a 5 3 g a> A eco AEGCRA ACGBD A G@crAT suow7 A7sus4 ‘Adominant seventh A dominant seventh, suspended fourth é $2 a ot ° S e G root ad Sth th (a7sus) D ath E sth pq x «x AEGGEA7L5 (A7-5, Adom7}5) A dominant seventh, flat fitth ABGG AGGBEASSUS4 cassus) Anninth, suspended fourth _| ADGBE Ag) 5 (A8-5, Adomd.5) Aninth, flat fifth ° iS quis at od aise dais he Bl iB SARs xo e (3) 9 AB eBGe ——— o 6/00) hk = at aS” be Eo. es G BEG x e AGG BeA7 9 (A7-8, Adom7,8) AT; 9 (A7+8, Adom7#8) A dominant seventh, flat ninth A co o£ «G Bo coo oF oe root 3rd sth 7th 39th, root gd sth th ath e8|9 8 98 € AEBGG BEA GG x x oe 8 ° eae x xx o tr eo ofr 9 ac GB Ac: Go x x xx 0 [Oo] x @ | or BEG oc x 61 OJ 6 tit (J 98 9 ACGOBE A cho 8A7)5(#9) (A7-5(+8), Adlom7,5(28)) All ‘A dominant seventh, fat fith, sharp ninth ‘Acleventh 2 o 12 oe 6 5 2 x = a c B&B ao B Ase oe ae o root 3rd Sth «bth 8th root 3rd sth «th sth anh Xo 00 0 ADGGEA7#11 (A7+11, Adom7#11) AT3 rdomisy ‘A dominant seventh, sharp eleventh 1 A thirteenth aie AGO EA13SUS4 caissus) A thirteenth, suspended fourth A DGB FE 12 A+ (nau, a5 ‘Aaugmented GCeAEg 104A+9 05,1045) Aninth, sharp fitth A ct root sed 5th 7th AGG BE str aneA+759 ozs5c9y Adominant seventh, sharp fifth, flat ninth bo o o A co of oo root 3rd Sth H7th @ | a Lae : a ‘cl a f te | y A+749 azssis» Adominant seventh, sharp fifth, sharp ninth to 00x 9 co eG @ | 9 BEGG a1 AGG BEAe (Agim) cBAC A°7 (asim, A diminished seventh oe ae root igrd Sth (7th ABGCEBL (B>maj) BLS (B) no 3rd) B-flat major B-flat fifth (power chord) F BF Bb ° a 9 9 BF BD x x OL] 9 (3) BD FBB}Sus4 ess B-flat suspended fourth é to? B BS F root 4th 5th B}SUS2 csauz) B-flat suspended second ~— oot 2nd FB) BB) Be FB te creeB}6/9 saws) Bhmaj7 (M7) B-flat sixth, added ninth B-flat major seventh x96 oars 1 ot Os i oe gMiETe aie. ae : O01] e716] o 6 soeers a Abe x xx 090 | Oo ° or e 600 TCHR = x x x @ [| im 99 | 10% o o wate ale earBhmaj9 ems) B-flat major ninth Bhmaj7#11 ew B-flat major seventh, sharp eleventh oo B oD F A root 3rd Sth 7th th ARMA. a bv F A root 3rd Sth 7th E ith 6 | | Ou BDADEBLmaj13 (8.13) BLM mins.) B-flat minor B-flat major thirteenth oo B® oD oF A 8 root Sd Sth «7th «Sth, 13th tr trBhm6 omne,s-2) B-flat minor sixth B O fF @ root id Sth 6th | O90 | i ‘ ; OL] wm 610] ™228 BhMb6 10), emins) B-flat minor, flat sixth B Db F & root rd Sth 36th a 000 | 1 9 Bh DS G@ BOF xx OO: 9 FROG BLm6/9 B-flat minor sixth, added ninth & root > sera BOBGCBhm7 7,5min7 B-flat minor seventh B oD oF w root \drd Sth 7th BLM7/5 o-75,5mn5) B-flat minor seventh, flat fifth bo ofr Qs BF Ab Dy °o tr BDA BF ‘A Db FS Be BRADBhm(maj7) «+m BLm9 es, s:mina) B-flat minor, major seventh B-flat minor ninth oO RN root rd Sth 7th «th ° et oo BFAD x x x x 00 | om ° ‘tf 9 @/00 BOFA BDAC x x xx 13tr 8 it CX) DAC FB}M955 mss, amina.s) B-flat minor ninth, flat fifth str vr BLm9(maj7) (Bsm3+7, B-8+7) B-flat minor ninth, major seventh ° ee 4 le eo Oe Se rte ot root Sed Sth 7th Oth vite Mtr DACEBom e-11,5.mn1 B-flat minor eleventh BLM18 .-13, mins) B-flat minor thirteenth - BEAD 6 Or BOA CE ADG CF BOACG tite afrBb7 tom7) BL7sus4 7s) B-flat dominant seventh B-flat dominant seventh, suspended fourth 0 | Don Ci a FBD BABEB}7| 5 (87-5, B-dom7;5) bo ° ye ° = G= eo 3 D % root 3rd 5th 7th Dew root ard Sth 7th th ABD BOACEB/9sus4 sau) B}9)5 95, ndona5) Bellat ninth, suspended fourth B-flat ninth, flat fifth ———<—<——— eo 2 oO a & root 4th Sth 7th Sth BEA CF AAA236 Bb7}9 79, s.00n79) Bb7#9 —(w.7+9, saonz9) Beflat dominant seventh, ttat ninth B-flat dominant seventh, sharp ninth bo bo bo eB > FF oo a Dp fF w& root rd sth (bth th root 3rd Sth th 49th x0 0 | BDAGFE x 6 tr 9 DAG B xx Oo] lm CY) Bo AG Ke 8 | & a FAD x x ° vate 6/0 ° DA CcB 5(#9) (B}7-5(+9), B-dom7,5(+8)) B-flat dominant seventh, flat fifth, sharp ninth bo #2 B oD FR A o root Sd 5th W7th_— 8th Bb11 B-flat eleventh cco 7 ce eae eee root sd 5th 7th th 11thB 11 (8.7411, Bydom7#11) Brflat dominant seventh, sharp eleventh be DoF A oe root ard Sth 7th HTth ° tr BEAD BL13 (Bitiom13) B FO root ard Sth S7th BFADGS AD GB BDAC GB>13Sus4 er38us) B-flat thirteenth, suspended fourth °o > 8S F A Cc @ root 4th Sth Mth = Sth_ 13th 6 str a8 a i? @ | 1 OOn: BEACG Bb+ am, 55) B-flat augmented | iin BD FBBb+7 ora B-flat dominant seventh, sharp fifth be Baka 05% mg BROARB tf Bb+9 wis, n9+0 B-flat ninth, sharp fifth titeBL+7}9 wrs9 Bat dominant seventh sharp fifth at ninth te = ADRS ° 12m _| BD ALC) FE BL+749 cirssesy B-flat dominant seventh, sharp fitth, sharp ninth te t= Ry Sth Ft th B® oD root ard no} BD A Ct FE 00 tr ofr tateBb° (Baim) BL°7 (B-dim7) B-flat diminshed B-flat diminished seventh Orr FOB DS Fb BF) Ab DbBS wma B fifth (newer chord) BF root sth ate 6 sat BRBBsus4 (Bsus) B suspended fourth e oF 4th Sth BERB at ofr tite Bsus2 (BSadd2) B suspended second Boo root 2nd ifr acre ate 600 ctr B CtB added ninth bo oe root aed Sth thBmaj9 ems Bmaj7#11 ewan B major ninth 8 major seventh, sharp eleventh x x 8 Oe ir " e ° 00 of B DE AY Ct FE AP 8 AS DE OEE x x x x Om '} ofr e 9 oi B DE At Ci BE At OF - x x x 00001 9 tit ° | “saqnao DE FE AY EFBmaj13 ms) BM Gain, B major thirteenth to B minor 0 ofr ofr e @| 600 6 ae a RFE OO 0 at 6 B Di G Ab DF BOFRBBm(add9) BME Gnine, 2) —to—to— oe a p FF @ root 3rd sth ath °o tite 0 [0 | BD RG BoG BFBmb6 c.00, amin) Bm6/9 B minor, flat sixth B minor sixth, added ninth G B D Fe Gt ae Ak ones, ah ae x_000 aioe Ba x 0 Tr CHEK:) miavela z x @ | 9 00 one Dae o Ona x x x @ | ow Oo 8 98 9 o o ene aoe x < i 000 | ia 0 tt 8 9 9 rae am waar ulBm7 7, nian B op F A root fad Sth 7th BRAD BM7}5 75, enin7.5) B minor seventh, ftat firth - strBm(maj7) em Bm9 3, smn) B minor, major seventh B minor ninth ; : Ce root isrd Sth 7th x ooo e9 9 BRAD eee 8 Ber 69 9 BOD FE AE tm, hee root rd Sth 7th Sth | 1 SSS See 9 e 9 BRAD FB BDoAG xx x x 0 tr 3 ‘at 9 9 0/9 r % : rc 00 Jun 0 12H" 600 ena a aieBMm9}5 cones, snina.s) B minor ninth, flat fifth ° DoF A ot root rd = 6th «7th oth Bm9(maj7) —coms+7,0-0+7) B minor ninth, major seventh BOD ASCEBm11 e-11,.mim0 Bm13 413, emima) fe RO Ee A a root ‘Grd Sth «7th «Sth 11th root Kird Sth «7th oth 13th @ | O00 00 FA x 016] | uw BEAD B AD@B7 (Bdom7) _——__ a B oo oF oA root 3rd Sth = i7th B7sus4 rss) B dominant seventh, suspended fourth = root th ahB9SUS4 Goss) B95 1025, siona.5) B ninth, suspended fourth B ninth, flat fifth BF oF A of root 4th «= Sth 7th thB79 7s, biom7.s) B7#9 7+8,s0on7:9) B dominant seventh, flat ninth B dominant seventh, sharp ninthB7>5(#9) — 7-5¢+9),péomzs5t:9» B11 B dominant seventh, flat fifth, sharp ninth B eleventh “eo ° oso = = Bb oF A te a of fF A 5 root rd Sth «7th 8th root ard 8th 7th Sth 11thB7#11 (B7+11, Buom7#11) B dominant seventh, sharp eleventh ct sth 13th BRA DG 6 tte GOP A B OOF x x eo @ | 1a AGBB13sus4 iss) B+ aus, 45) B B thirteenth, suspended fourth ‘augmented = te AEGBE BOF BB+7 rs) B dominant seventh, sharp fifth ot root 3rd mR OA ‘sth 7th _} AFB B+9 ois, 2045) Brninth, sharp fifth A Dt Fe ctB+7}9 erssa B dominant seventh, sharp fifth, flat ninth ADE C B+729 crsscon B dominant seventh sharp ith, sharp ninth “©FEOF 13tr B°7 cam B diminished seventh 01 6 |»