Guitar Chord Bible Over 500 Illustrated Chords For Rock Blue

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Guitar Chord
Bible
Job:10-84145/84319 Title:The Guitar Chord Bible(GUP)-Batch 3

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Guitar Chord
Bible
Over 500 illustrated chords for rock, blues,
soul, country, jazz, and classical
Phil Capone
)-Batch 3 Job:10-84145/84319 Title:The Guitar Chord Bible(GUP)-Batch 3

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Contents F# 122
Introduction 6
G 140
How to use this book 8
The fingerboard 10
Ab 158
Section 1: Chord
A 176
Directory 12
C 14 Bb 194
C# 32 B 212
D 50
Section 2: Chord
Supplements 230
Eb 68 Rock 232
E 86 Blues to Jazz 236
Soul, Funk,
F 104
and Reggae 248
Index and Credits 254

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I NTRODU CTION
The object of this book is to provide a complete, self-contained chord
reference for guitarists at every level of ability; however, it is also an ideal
aid for tutors who will hopefully find the logical and systematic concept of
our “bible” very helpful in many teaching scenarios. In fact, during my
many years of teaching guitar, I have frequently been asked by students
which chord book they should buy, and frankly, there are none that I
have felt I could wholeheartedly recommended—hence the birth of this
wonderful book. Organised into keys and ascending chromatically from
C to B, there are five different chord shapes for all of the commonly
encountered chord types in each key. These five shapes span the entire
fingerboard and so work on many levels—the student being free to
choose the most manageable voicing, the more experienced player
picking a chord for ease of change in a sequence, or perhaps to provide
a greater choice of harmonic texture in an accompaniment. The
supplementary section, whilst not intended to provide a comprehensive
reference, will nonetheless provide a useful resource for those situations
when stylised chords from specific genres are required, and includes the
more frequently used chords types from the worlds of rock, blues, jazz,
soul, funk, and reggae. All this content is wrapped in a very “user friendly”
package with clear labeling, color coding, and a photograph of every
chord shape supplementing the standard chord box format. The spiral
bound design allows you to fold the book flat for ease of use while
practicing, and has also been designed with travel in mind—the compact
dimensions allow the book to fit easily into your guitar case or gig bag.
Happy practicing!

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How to use this b o ok

This glossary of icons and symbols has been designed to enhance your
learning experience by enabling you to get the chords off
the page and onto your guitar as quickly as possible.
3
2
1 E MA
JO R 87
Features
or, EM)
3 E (E maj, Emaj
AJOR
1 -3 - 5
86 - B
E - G#
E M “guitar frien
dly” key. The
chord that
on
lowest note be
can
1
the original root position have revolved 3 1

E major is the lowest
1) Title The key (e.g. E) and the guitar
played on
is an E and E major. Many gre
the guit ar is s in
at riffs
this key —the blue
position note Kidd And The Pira
sy intro of
tes’ Shakin’
G#
B
2
4
open first
around the Joe and
Johnny most reso
nant E
E
chord type (e.g. MAJOR) Jimi Hen
Over
drix’s Hey
are
mples. 1
One of the or voicing.
just two exa open, six-string E
maj
G#
or, EM)
All the
the guitar:
chords on
appear at the top of every unit. 4 E (E maj, Emaj
5
- 3 -1
- B
E - G#
) 1
Chords are grouped into three E maj, Emajor, EM

1 E (E
3 - 5
3
1 -
basic chord types: major, minor, E - G#
- B
2
1
E
B
E
3
3
7
3 G#
and dominant seventh (7). E

B 1
)
Emajor, EM
E
maj,
G#
B
5 E (E
2) Introduction E
3 - 5
1 -
E - G#
- B
4 or, EM) 1
A short description of the 2 E (E maj, Emaj 3

1
1
5
- 3 - 1 G# 9
- B
E - G# B
chord, giving an insight into 1 E

G#
the sound, voicing and position

2
E
B 4 3
E
of the chord. Well-known uses 5 G#
8
of particular chords are
7
commented on here. 6
3) Fingerboard 5) Chord sub-heading 7) Fingerboard

diagram The chord type is described in location
Each chord is clearly more harmonic detail (e.g. E6, A number below the first fret
annotated on a chord box Emin7, E13). The most widely of the chord box indicates
with color-coded symbols used description is followed by which section of the guitar
indicating fingering and commonly used alternatives. fingerboard the box relates
root-note location. = major seventh to—“1” indicates first fret and
4) Chord numbering = half diminished higher numbers indicate the
= diminished chord is played higher up
Each chord is numbered from
one to five, with one being the 6) Harmonic spelling the neck.
lowest available voicing and The harmonic spelling of each 8) Chord photograph
five being the highest available chord is given numerically A photograph of the chord
voicing. This allows for a quick (1 - 3 - 5), and in note names encourages correct fretting
selection of chords required (E - G# - B). This provides technique and shows what to
in a specific area of the extra reference material for do with fingers not introduced
fingerboard (or fretboard). more advanced players. If you in the chord. Both acoustic and
are just beginning, feel free to electric guitars are shown, as
ignore it! this book applies to both.

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Chord symbols
Open string not sounded in chord.
Open string sounded in chord.
Open string root note sounded in chord (e.g. an

E note in an E chord).
1 Indicates fingerboard finger positioning (the number

indicates which finger should be used) and also 4
that the fretted note is a root note.
1 Indicates fingerboard finger positioning where the 3

1
note is not the root note of the chord. 2
Finger numbers
1 A line crossing two or more strings denotes a Standard hand fingering has been
1 barre, where two or more strings are fretted used throughout.
1 simultaneously with one finger.
(2) Alternative fingerings are occasionally provided

next to the blue and red symbols. These are
sometimes preferable for a quicker change to a
particular chord shape.
Anatomy of the guitar
1) Body 2
1
2) Neck
3) Headstock
4) Frets
5) Nut or “zero fret”
6) Bridge 3
7) Strings 4
5
6

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The fingerb oard

Finding notes on the fingerboard is not easy; even accomplished
players can be sketchy on this knowledge if they have learnt primarily
“by ear.” This easy-to-use diagram is intended to help you locate any
note on the fingerboard—fast! Remember that after the twelfth
fret the entire fingerboard repeats an octave higher
(starting with the open string note name).
D Fingerboard repetition
12th fret is the same as open strings
G
then note name repeats, e.g. fret 13
B is the same as fret 1.
10 9
11
12
13
15 14
17 16
19 18
20

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Fret 1 Fret 2 Fret 3 Fret 4 Fret 5
6-F 6 - F#/Gb 6-G 6 - G#/Ab 6-A

5 - A#/Bb 5-B 5-C 5 - C#/Db 5-D
4 - D#/Eb 4-E 4-F 4 - F#/Gb 4-G
3 - G#/Ab 3-A 3 - A#/Bb 3-B 3-C
2-C 2 - C# 2-D 2 - D#/Eb 2-E
1-F 1 - F#/Gb 1-G 1 - G#/Ab 1-A
Fret 6 Fret 7 Fret 8 Fret 9
6 - A#/Bb 6-B 6-C 6 - C#/Db

5 - D#/Eb 5-E 5-F 5 - F#/Gb
4 - G#/Ab 4-A 4 - A#/Bb 4-B
3 - C#/Db 3-D 3 - D#/Eb 3-E
2-F 2 - F# 2-G 2 - G#/Ab
1 - A#/Bb 1-B 1-C 1 - C#/Db
1
2
3
4
5
6 E
7
8 A
D
Fret 10 Fret 11 Fret 12 G
6-D 6 - D#/Eb 6-E B
5-G 5 - G#/Ab 5-A E
4-C 4 - C#/Db 4-D
3-F 3 - F#/Gb 3-G Open strings
2-A 2 - A#/Bb 2-B When a string is included in a
1-D 1 - D#/Eb 1-E chord without being fretted it is
called an "open string."
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CHORD
DIRECTORY
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C C MA J O R
C major is an important key since it is the starting point from
which all other keys are derived. On the keyboard a C major
scale is the easiest scale to play since it comprises only white
keys or “natural” notes. 1 A favorite chord for beginners and a
full sounding resonant voicing that features in many famous
songs and riffs. 3 A first inversion of C with its third (E) as the
lowest note.
1 C (Cmaj, Cmajor, CM)

1 - 3 - 5
C - E - G
3 2
C 1
E
G 1
C
E

1 - 3 - 5
C - E - G
1
C
3
G 3
C 3 3
E
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C MAJOR 15
3 C (Cmaj, Cmajor, CM) C

1 - 3 - 5
C - E - G
1
3 1
E 1
G
C 5
E

1 - 3 - 5
C - E - G
1
C
3
G 4 2
C 1
E 8
G
C

1 - 3 - 5
C - E - G
C 2
G 10
4 3
C
E
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C C MA J O R
A classic “ending” chord that’s been used by everyone from
Louis Armstrong to The Beatles, the sixth can also be used as
a substitute for a basic major chord. 2 A resonant five-string
chord with a doubled root (C) that’s perfect for endings. 5 High
register, four-string voicing great for creating choppy, syncopated
rhythm parts.
1 C6 (Cmaj6, Cmajor6, CM6)

1 - 3 - 5 - 6
C - E - G - A
4 2
C 3 1
E
A 1
C

1 - 3 - 5 - 6
C - E - G - A
1
3
C
3
G
C 3
E 3
A

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C MAJOR 17
3 C6 (Cmaj6, Cmajor6, CM6) C

1 - 3 - 5 - 6
C - E - G - A
1
3 1
A
C 5
E
4
C

1 - 3 - 5 - 6
C - E - G - A
3 2
1
C
4 8
E
A
C

1 - 3 - 5 - 6
C - E - G - A
1
C 3
G 10
4
A
E

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C C MA J O R
The jazziest and coolest of all major chords, the major seventh
chord isn’t just for jazz—it features in plenty of rock songs too.
1 This wonderfully jangly, open major seventh voicing is great for
strummed acoustic guitar work. 4 A popular jazz voicing that also
works well when used in strummed rhythm parts.
1 Cmaj7 (C, Cmajor7, CM7)

1 - 3 - 5 - 7
C - E - G - B
3 2
C
E
G 1
B
E

1 - 3 - 5 - 7
C - E - G - B
1
C 3 2
1
G
4 3
B
E
G

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C MAJOR 19
3 Cmaj7 (C, Cmajor7, CM7) C

1 - 3 - 5 - 7
C - E - G - B
1
1
1
G
C 5
E 3
B

1 - 3 - 5 - 7
C - E - G - B 1
C 3
4 2
B
E 8
G

1 - 3 - 5 - 7
C - E - G - B
C 3
G 10
3
B
E

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C C MA J O R
Csus (C suspended)
Suspended chords “spice up” a chord sequence or static chord
vamp and work well with similarly voiced major chords.
Csus4: 1 An open suspended chord with a doubled root (C).
Csus2: 2 The ubiquitous sus2 barre chord voicing, favored by
many rock guitarists during the 1980s.
1 Csus4
1 - 4 - 5
C - F - G
3
4 1
C
F
G 1
C
2 Csus4
1 - 4 - 5
C - F - G
1
3
C
G 3
C 3
4
F

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C MAJOR 21
1 Csus2 C
1 - 2 - 5
C - D - G
3
C 1
D
G 1
C
2 Csus2
1 - 2 - 5
C - D - G
1
C 3
4 1
G
C 3
D
G
3 Csus2
1 - 2 - 5
C - D - G
3 1
C
G 10
4
C
D

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C C MINOR
The relative minor of Eb major, C minor is a common key for
minor blues progressions and is frequently used by many
guitarists. 1 This tricky open shape is more prevalent in classical
music but sounds great played fingerstyle or arpeggiated with a
pick. 4 Versatile full six-string barre played at the eighth fret.
1 Cm (Cmin, Cminor, C—)

1 - b3 - 5
C - Eb - G
2
4
C 1
Eb
G 1
C

1 - b3 - 5
C - Eb - G
1
3
C
4 2 1
G
C 3
Eb
G

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C MINOR 23
3 Cm (Cmin, Cminor, C—) C

1 - b3 - 5
C - Eb - G
2 1
1
Eb
G
C 5
4
G

1 - b3 - 5
C - Eb - G
1
3
C
G 4
1
C
Eb 8
G
C

1 - b3 - 5
C - Eb - G
C 3
2 10
G
4
C
Eb

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24
C C MINOR
Minor sixth chords can be used as a substitute for a minor chord
when more texture and color is required. Minor seventh chords
are frequently used as static vamp chords (especially for funk
and fusion) or to precede a dominant seventh whose root note is
a fifth away (i.e. as the second chord in a II - V - I progression).
1 Cmin6 (Cminor6, Cm6, C—6)

1 - b3 - 5 - 6
C - Eb - G - A
2
1
C
3
A 4
Eb 7
G

1 - b3 - 5 - 6
C - Eb - G - A
1
C 3
2 1O
G
A
EB

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C MINOR 25
1 Cmin7 (Cminor7, Cm7, C—7) C

1 - b3 - 5 - b7
C - Eb - G - Bb
1
C 3
2 1
G
Bb 3
Eb
G

1 - b3 - 5 - b7
C - Eb - G - Bb
2
3
C
3
Bb
Eb 8
G

1 - b3 - 5 - b7
C - Eb - G - Bb
C 3 2
G 2 10
Bb
Eb

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26
C C7
No self-respecting blues guitarist should leave home without
these five essential dominant seventh chords! 1 An open C7
voicing that is equally suited to fingerstyle or strummed rhythms.
3 High register, four-string inversion with the fifth (G) as the
lowest note—great for adding bite to a choppy rhythm guitar part.
1 C7 (Cdom7)
1 - 3 - 5 - b7
C - E - G - Bb
3 2
C 1
E 4
Bb 1
C
E
2 C7 (Cdom7)
1 - 3 - 5 - b7
C - E - G - Bb
1
C 3
1
G
4 3
Bb
C
E

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C7 27
3 C7 (Cdom7) C
1 - 3 - 5 - b7
C - E - G - Bb
1
1
1
G
2 5
C
E
Bb
4 C7 (Cdom7)
1 - 3 - 5 - b7
C - E - G - Bb
1
C 3
G 2
1
Bb
E 8
G
C
5 C7 (Cdom7)
1 - 3 - 5 - b7
C - E - G - Bb
3 2
C
G 10
4
Bb
E

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28
C C7
C7#5 chords are “tension creating” dominant seventh chords
and are most frequently used in a perfect cadence scenario, i.e.
when a dominant chord (V) resolves to its tonic (I). C7#5: 2 Try
playing this chord followed by Fmaj7, shape 4 on page 109.
C7sus: 1 The C7sus chord creates less tension and has a more
“open” sound and works well when paired with a similarly voiced
C7 chord—e.g. this chord followed by C7, shape 2 on page 26.
1 C7#5 (C7aug, C7+)

1 - 3 - #5 - b7
C - E - G# - Bb
1
2
1
Bb
E
G# 1
C
2 C7#5 (C7aug, C7+)

1 - 3 - #5 - b7
C - E - G# - Bb
1
2
C
3
Bb 4
E 8
G#

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C7 29
1 C7sus (C7sus4) C
1 - 4 - 5 - b7
C - F - G - Bb
1
C 3
1
G
Bb 3
4
F
G
2 C7sus (C7sus4)
1 - 4 - 5 - b7
C - F - G - Bb
1
C 3
G
Bb 4 1
F 8
G
C
3 C7sus (C7sus4)
1 - 4 - 5 - b7
C - F - G - Bb
C 3 2
G 10
Bb
4
F

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30
C C7
A selection of dominant sevenths with various “color tensions”
added to create harmonic interest. C7#9 This is often referred
to as the “Hendrix chord” since Jimi frequently used #9 chords
in his compositions. C13: 1 and 2 These chords are not only
great for jazzers—they are also used in funk and all related
dance styles.
C9 (Cdom9)
1 - 3 - 5 - b7 - 9
C - E - G - Bb - D
2 1
C 3
E
3 2
Bb
D
G
C7#9
1 - 3 - 5 - b7 - #9
C - E - G - Bb - D#
2 1
C 3
E
Bb 4 2
D#

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C7 31
C7b9 C
1 - 3 - 5 - b7 - b9
C - E - G - Bb - Db
2 1
C 3 1
E
Bb 2
Db
1 C13
1 - 3 - 5 - b7 - 9 -13
C - E - G - Bb - D - A
1
3
Bb 4 2
E
A 1
C
2 C13
1 - 3 - 5 - b7 - 9 -13
C - E - G - Bb - D - A
1
2
C
3
Bb
E
4 8
A

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32
C#/Db MAJOR
C# major is an infrequently used key due to the key signature
C# containing no less than seven sharps (every scale note is
sharpened). This makes it an unpopular key for sightreading.
1 A four-string inversion with the third (E#) as the lowest note.
5 Another four-string chord, this is a high register, root position
voicing—great for second guitar rhythm parts.
1 C# (C#maj, C#major, C#M)

1 - 3 - 5
C# - E# - G#
1
3
2 1
E#
G# 1
C#
E#

1 - 3 - 5
C# - E# - G#
1
3
C#
3
G#
C# 3 4
E#

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C#/Db MAJOR 33

1 - 3 - 5
C# - E# - G#
C#
1
3 1
E# 1
G#
C# 6
E#

1 - 3 - 5
C# - E# - G#
1
3
C#
G# 4 2
1
C#
E# 9
G#
C#

1 - 3 - 5
C# - E# - G#
C# 2
G# 11
4 3
C#
E#

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C#/Db MAJOR
Sixth chords are so called because they add the interval of a
C# sixth to the basic major triad, hence the 1 - 3 - 5 - 6 harmonic
spelling of these chords. 1 Warm and jazzy four-string voicing
with muted outer strings. 4 This four-string sixth voicing is ideally
suited for blues rhythm guitar.
1 C#6 (C#maj6, C#major6, C#M6)

1 - 3 - 5 - 6
C# - E# - G# - A#
4 2
C# 3 1
E#
A# 2
C#

1 - 3 - 5 - 6
C# - E# - G# - A#
1
C# 3
G# 3
C# 4
3
E#
A#

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C#/Db MAJOR 35

1 - 3 - 5 - 6
C# - E# - G# - A#
C#
1
3 1
A#
C# 6
E#
4
C#

1 - 3 - 5 - 6
C# - E# - G# - A#
3 2
1
C#
4 9
E#
A#
C#

1 - 3 - 5 - 6
C# - E# - G# - A#
1
C# 3
G# 11
4
A#
E#

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C#/Db MAJOR
The smooth sounding major seventh chord can be used in many
C# musical situations; from sweet jazz comps to distorted rock jangle,
this chord will add color to any progression. 1 A big stretch is
required for the lowest C#maj7 on the neck. Try omitting the 4th
finger if you find it tricky. 5 This chiming, four-string major seventh
chord can sweeten any chord progression.
1 C#maj7 (C#, C#major7, C#M7)

1 - 3 - 5 - 7
C# - E# - G# - B#
1
4 3
C#
E# 1
G# 1
B#
E#

1 - 3 - 5 - 7
C# - E# - G# - B#
1
C# 3 2
1
G#
B# 4 4
E#
G#

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C#/Db MAJOR 37

1 - 3 - 5 - 7
C# - E# - G# - B#
C#
1
1
1
G#
C# 6
3
E#
B#

1 - 3 - 5 - 7
C# - E# - G# - B#
1
C# 3
4 2
B#
E# 9
G#

1 - 3 - 5 - 7
C# - E# - G# - B#
C# 3
G# 11
3
B#
E#

032-049_84145 10/27/05 4:05 PM Page 38
38
C#/Db MAJOR
C#sus (C# suspended)
C# Suspended chords are often used to create harmonic ambiguity
since they contain no third and are neither major nor minor.
C#sus2: 2 A high four-string voicing that’s great for biting rhythm
parts. C#sus4: 2 Create a big sound with this six-string sus4
voicing—this works well when mixed with C# major, shape 4 on
page 33.
1 C#sus2
1 - 2 - 5
C# - D# - G#
1
3
C#
4 1
G#
C# 4
D#
G#
2 C#sus2
1 - 2 - 5
C# - D# - G#
3 1
C#
G# 11
4
C#
D#

032-049_84145 10/27/05 4:05 PM Page 39
C#/Db MAJOR 39
1 C#sus4
1 - 4 - 5
C# - F# - G#
1
C#
3
C#
G# 3
C# 4
4
F#
2 C#sus4
1 - 4 - 5
C# - F# - G#
1
2
C#
G# 3
4 1
C#
F# 9
G#
C#
3 C#sus4
1 - 4 - 5
C# - F# - G#
3
C#
G# 11
4
C#
4
E#

032-049_C32930 11/11/05 11:38 AM Page 40
40
C#/Db MINOR
The key of C# minor (which contains four sharps) is the relative
C# key of E major (a very common guitar key) and is frequently
encountered. 1 This shape requires a big stretch between the
third and fourth fingers—if you find this difficult, omit the top note.
3 A four-string inversion played on the inner strings with the
minor third as the lowest note.
1 C#m (C#min, C#minor, C#—)

1 - b3 - 5
C# - E - G#
2 1
E 3
G# 1
C#
4
G#

1 - b3 - 5
C# - E - G#
1
3
C#
4 2 1
G#
C# 4
E
G#

032-049_C32930 11/11/05 11:38 AM Page 41
C#/Db MINOR 41

1 - b3 - 5
C# - E - G#
C#
2 1
1
E
G#
C# 6
4
G#

1 - b3 - 5
C# - E - G#
1
3
C#
G# 4
1
C#
E 9
G#
C#

1 - b3 - 5
C# - E - G#
C# 3
2
G# 11
4
C#
E

032-049_84145 10/27/05 9:32 PM Page 42
42
C#/Db MINOR
Adding the sixth or the flattened seventh is a great way to
C# introduce some color to a basic minor chord. C#min6: 1 This
resonant chord has its root played separately on the sixth
string—notice that the first and fifth strings should be muted.
C#min7: 1 Versatile minor 7th voicing with a doubled 5th (G#).
1 C#min6 (C#minor6, C#m6, C#—6)

1 - b3 - 5 - 6
C# - E - G# - A#
2
1
C#
3
A# 4
E 8
G#

1 - b3 - 5 - 6
C# - E - G# - A#
1
C# 3
G# 2 11
A#
E

032-049_84145 10/27/05 9:32 PM Page 43
C#/Db MINOR 43

1 - b3 - 5 - b7
C# - E - G# - B
1
C#
3
C#
2 1
G#
B 4
E
G#

1 - b3 - 5 - b7
C# - E - G# - B
2
3
C#
3
B
E 9
G#

1 - b3 - 5 - b7
C# - E - G# - B
3 2
C#
2 11
G#
B
E

032-049_84145 10/27/05 9:34 PM Page 44
44
C#7/Db7
A dominant seventh can be used as a static chord (e.g. the first
C# chord of a blues), or as a “going home” cadence chord. C#7
can resolve to either F# major or F# minor. 1 This four-note
seventh voicing is a favorite among fingerstyle guitarists who
often add the low fifth (G#) on the sixth string to create an
alternating bassline.
1 C#7 (C#dom7)
1 - 3 - 5 - b7
C# - E - G# - B
3 2
C# 1
4
E#
B 2
C#
2 C#7 (C#dom7)
1 - 3 - 5 - b7
C# - E - G# - B
1
C# 3
1
G#
4 4
B
E#
G#

032-049_84145 10/27/05 9:34 PM Page 45
C # 7/ D b 7 45
3 C#7 (C#dom7)
1 - 3 - 5 - b7
C# - E - G# - B
C#
1
1
1
G#
C# 2 6
E#
B
4 C#7 (C#dom7)
1 - 3 - 5 - b7
C# - E - G# - B
1
C# 3
G# 2
1
B
E# 9
G#
C#
5 C#7 (C#dom7)
1 - 3 - 5 - b7
C# - E - G# - B
3 2
C#
G# 11
B 4
E#

032-049_84145 10/27/05 9:36 PM Page 46
46
C#7/Db7
Adding a sharpened fifth to a dominant seventh chord creates
C# tension and heightens the “pull” back to the home chord in a
perfect (V–I) cadence. C#7#5: 1 Dark and moody inversion with
the flattened seventh (B) in the bass. C#7sus: 3 High register,
four-string suspended seventh—ideal for syncopated rhythm
work—create syncopations by “choking” the chord (releasing the
pressure of your fretting hand).
1 C#7#5 (C#7aug, C#7+)

1 - 3 - #5 - b7
C# - E# - G## - B
1
2
B 1
E#
G## 2
C#
2 C#7#5 (C#7aug, C#7+)

1 - 3 - #5 - b7
C# - E# - G## - B 1
2
C#
3
B 4
E# 9
G##

032-049_84145 10/27/05 9:36 PM Page 47
C # 7/ D b 7 47
1 C#7sus (C#7sus4)
1 - 4 - 5 - b7
C# - F# - G# - B
1
C#
C# 3
1
G#
B 4
4
F#
G#
2 C#7sus (C#7sus4)
1 - 4 - 5 - b7
C# - F# - G# - B
1
C# 3
G#
4 1
B
F# 9
G#
C#
3 C#7sus (C#7sus4)
1 - 4 - 5 - b7
C# - F# - G# - B
C# 3 2
G# 11
B
4
F#

032-049_C32930 11/10/05 7:53 PM Page 48
48
C#7/Db7
Ninths create additional harmonic interest when added to a
C# dominant seventh. Altered ninth voicings (#9/b9) create tension
and heighten the resolution when used in a perfect (V–1) cadence;
natural ninth chords are frequently used as a static vamp chord in
blues and funk tunes. The jazzy thirteenth is a very versatile chord
and is used in many genres.
C#9 (C#dom9)
1 - 3 - 5 - b7 - 9
C# - E# - G# - B - D#
2 1
3
C#
E#
B 3 3
D#
G#
C#7#9
1 - 3 - 5 - b7 - #9
C# - E# - G# - B - D##
2 1
C# 3
E#
B 4 3
D##

032-049_C32930 11/10/05 7:53 PM Page 49
C # 7/ D b 7 49
C#7b9
1 - 3 - 5 - b7 - b9
C# - E# - G# - B - D
C#
2 1
C# 3 1
E#
B 3
D
1 C#13
1 - 3 - 5 - b7 - 9 - 13
C# - E# - G# - B - D# - A#
3
B 4 2
E#
A# 2
C#
2 C#13
1 - 3 - 5 - b7 - 9 - 13
C# - E# - G# - B - D# - A#
1
2
C#
3
B
E#
4 9
A#

050_067_84145 10/28/05 6:24 PM Page 50
50
D MA J O R
D major is very “guitar friendly” and many classic songs have
been written in this key. 1 Basic resonant, open four-string chord
that’s ideal for strummed rhythm work. 2 A subtle variation of the
previous chord, this four-string inversion has its third (F#) in the
bass and is more suited to “choked” rhythm work since it can be
D easily damped.
1 D (Dmaj, Dmajor, DM)

1 - 3 - 5
D - F# - A
1
D
3 2 1
A
D
F#

1 - 3 - 5
D - F# - A
1
3
F# 2 1
A 2
D
F#

050_067_84145 10/28/05 6:24 PM Page 51
D MAJOR 51

1 - 3 - 5
D - F# - A
1
D
A
3
3 D
D 3 5
F#

1 - 3 - 5
D - F# - A
1
3 1
F# 1
A
D 7
F#

1 - 3 - 5
D - F# - A 1
3
D
A 4 2
1
D
F# 10
A
D

050_067_84145 10/28/05 6:25 PM Page 52
52
D MA J O R
The sixth chord should be your first choice when choosing a
substitute for a basic major chord—the sixth interval will not clash
with a tonic melody note (unlike the 7th in a major 7th chord).
1 Since it contains two open strings, this four-string sixth chord
creates bright, jangling tones. 2 In contrast to the previous chord,
D this voicing has a warmer, jazzier sound.
1 D6 (Dmaj6, Dmajor6, DM6)

1 - 3 - 5 - 6
D - F# - A - B
1
D
2
A 1
B
F#

1 - 3 - 5 - 6
D - F# - A - B
4 2
D 3 1
F#
B 3
D

050_067_84145 10/28/05 6:25 PM Page 53
D MAJOR 53

1 - 3 - 5 - 6
D - F# - A - B
1
D
A
3
3 D
D 5
3
F#
B

1 - 3 - 5 - 6
D - F# - A - B
1
3 1
B
D 7
F#
4
D

1 - 3 - 5 - 6
D - F# - A - B
3 2
D 1
4 10
F#
B
D

050_067_C32930 11/10/05 8:11 PM Page 54
54
D MA J O R
The major seventh chord is often ignored by rock guitarists
because of its jazzy connotations, but many of rock’s pioneers
(including Jimi Hendrix, Jeff Beck, and Jimmy Page) frequently
incorporated this bright and breezy sounding chord in their work.
1 Open chords possess a resonant quality that other chords just
D don’t have and this four-string major seventh is no exception.
1 Dmaj7 (D, Dmajor7, DM7)

1 - 3 - 5 - 7
D - F# - A - C#
1
D
A 1 1
C#
F#

1 - 3 - 5 - 7
D - F# - A - C#
1
4 3
D
F# 1
A 2
C#
F#

050_067_C32930 11/10/05 8:11 PM Page 55
D MAJOR 55

1 - 3 - 5 - 7
D - F# - A - C#
1
D
A
3 2
1 D
4 5
C#
F#
A

1 - 3 - 5 - 7
D - F# - A - C#
1
1
1
A
D 7
3
F#
C#

1 - 3 - 5 - 7
D - F# - A - C# 1
3
D
4 2
C#
F# 10
A

050_067_84145 10/28/05 6:26 PM Page 56
56
D MA J O R
Dsus (D suspended)
A suspended chord temporarily “suspends” the third of a chord
by replacing it with the second or the fourth—this can then be
resolved by reverting to the major chord, or simply be left
D “hanging” to intensify the harmonic tension. Dsus2: 1 With two
of the notes in this four-string shape on open strings, this chord
will produce a full, resonant sound.
1 Dsus2
1 - 2 - 5
D - E - A
1
D
3 1
A
D
E
2 Dsus2
1 - 2 - 5
D - E - A
1
3
D
4 1
A
D 5
E
A

050_067_84145 10/28/05 6:26 PM Page 57
D MAJOR 57
1 Dsus4
1 - 4 - 5
D - G - A
D
1
D
3 1
A
4
D
G
2 Dsus4
1 - 4 - 5
D - G - A
1
3
D
A 3
D 5
4
G
3 Dsus4
1 - 4 - 5
D - G - A 1
2
D
A 3
4 1
D
G 10
A
D

050_067_84145 10/28/05 6:27 PM Page 58
58
D MINOR
Immortalised in the classic rockumentary spoof This is Spinal Tap
as “the saddest of all keys,” D minor is a very popular guitar key.
1 A simple, open four-string chord that has a dark, almost
medieval quality. 3 This versatile five-string barre chord was most
famously used in Pink Floyd’s Another Brick In The Wall to create
D a hypnotic, choked, rhythm guitar riff.
1 Dm (Dmin, Dminor, D—)

1 - b3 - 5
D - F - A
2
D 1
A 3 1
D
F

1 - b3 - 5
D - F - A
2 1
F 3
A 2
D
4
A

050_067_84145 10/28/05 6:27 PM Page 59
D MINOR 59

1 - b3 - 5
D - F - A
1
D
A
3
4 2 1 D
D 5
F
A

1 - b3 - 5
D - F - A
2 1
1
F
A
D 7
4
A

1 - b3 - 5
D - F - A
1
3
D
A 4
1
D
F 10
A
D

050_067_C32930 11/10/05 8:13 PM Page 60
60
D MINOR
Don’t be afraid to experiment with chord voicings—adding a sixth
or a seventh to a basic minor chord will help you to create a
more interesting accompaniment. Dmin6: 1 This open minor 6
voicing is a dark and evocative chord that can be strummed with
a pick, or fingerpicked for more atmospheric textures.
D
1 Dmin6 (Dminor6, Dm6, D—6)

1 - b3 - 5 - 6
D - F - A - B
2
1
D
A 1
B
F

1 - b3 - 5 - 6
D - F - A - B
2
1
D
3
4
B
F 9
A

050_067_C32930 11/10/05 8:13 PM Page 61
D MINOR 61

1 - b3 - 5 - b7
D - F - A - C
D
2 1
1 D
A 1
C
F

1 - b3 - 5 - b7
D - F - A - C
1
D 3
2 1
A
C 5
F
A

1 - b3 - 5 - b7
D - F - A - C 2
3
D
3
C
F 10
A

050_067_84145 10/28/05 6:29 PM Page 62
62
D7
Dominant seventh chords have a characteristic quality that is
used to create tension and motion. Their sound is derived from
the interval of a flattened fifth between the b7 (C), and the 3rd
(F#); this interval was actually banned during the Middle Ages
since it was feared that playing it would summon Beelzebub!
D Hence the blues being named “the devil’s music” with its
dominant seventh based harmonies.
1 D7 (Ddom7)
1 - 3 - 5 - b7
D - F# - A - C
2 1
D
3 1
A
C
F#
2 D7 (Ddom7)
1 - 3 - 5 - b7
D - F# - A - C
3 2
D 1
F# 4
C 3
D

050_067_84145 10/28/05 6:29 PM Page 63
D7 63
3 D7 (Ddom7)
1 - 3 - 5 - b7
D - F# - A - C
1
D
A
3
1 D
C 4 5
F#
A
4 D7 (Ddom7)
1 - 3 - 5 - b7
D - F# - A - C
1
1
1
A
2 7
D
F#
C
5 D7 (Ddom7)
1 - 3 - 5 - b7
D - F# - A - C
1
D 3
A 2
1
C
F# 10
A
D

050_067_84145 10/28/05 6:30 PM Page 64
64
D7
Sharpening the fifth of a dominant seventh results in a much
darker sounding chord that is often used to create extra tension
when used in a V (D7) to I (G) scenario. Dominant sevenths with
a suspended fourth create a less intense sense of anticipation—a
famous example is the sustained 7sus4 chord that starts The
D Mamas And The Papas’ 1960s classic California Dreaming.
1 D7#5 (D7aug, D7+)

1 - 3 - #5 - b7
D - F# - A# - C
1
2
C 1
F#
A# 3
D
2 D7#5 (D7aug, D7+)

1 - 3 - #5 - b7
D - F# - A# - C
1
2
D
3
C
4
F# 10
A#

050_067_84145 10/28/05 6:30 PM Page 65
D7 65
1 D7sus (D7sus4)
1 - 4 - 5 - b7
D - G - A - C
D
2 1
D
A 1
3
C
G
2 D7sus (D7sus4)
1 - 4 - 5 - b7
D - G - A - C
1
D 3
1
A
C 5
4
G
A
3 D7sus (D7sus4)
1 - 4 - 5 - b7
D - G - A - C
1
D
3
A
4 1
C
G 10
A
D

050_067_C32930 11/11/05 11:41 AM Page 66
66
D7
Ninth chords extend the dominant seventh by adding a ninth
to the chord. In guitar voicings, the fifth of the chord (A) is
often omitted. A thirteenth chord adds yet another interval to
our ninth chord resulting in a six-note chord. To make the
chord more playable, thirteenth chords often omit the fifth (A)
D and the ninth (E).
D9 (Ddom9)
1 - 3 - 5 - b7 - 9
D - F# - A - C - E
2 1
3
D
F#
C 3 4
E
A
D7#9
1 - 3 - 5 - b7 - #9
D - F# - A - C - E#
2 1
D 3
F#
C 4 4
E#

050_067_C32930 11/11/05 11:41 AM Page 67
D7 67
D7b9
1 - 3 - 5 - b7 - b9
D - F# - A - C - Eb
2 1
D
F#
3 1
D
C 4
Eb
1 D13
1 - 3 - 5 - b7 - 9 - 13
D - F# - A - C - E - B
1
3
C 4 2
F#
B 3
D
2 D13
1 - 3 - 5 - b7 - 9 - 13
D - F# - A - C - E - B
1
2
D
3
C
4 10
F#
B

068-085_84145 10/28/05 6:36 PM Page 68
68
Eb/ D# MA J O R
Since Eb is a great key for horn players (saxophone, trumpet, and
trombone), any style of music that features these instruments (e.g.
jazz, Chicago blues, soul, and funk) is more likely to favor this and
other “flat” keys. 4 A useful four-string inversion and famously
used in the intro of Jimi Hendrix’s The Wind Cries Mary (Jimi
actually extended the barre onto the fifth string so that he could
“hammer-on” the lowest note).
Eb
1 Eb (Ebmaj, Ebmajor, EbM)

1 - 3 - 5
Eb - G - Bb
2
Eb
Bb 1
4 3
Eb
G

1 - 3 - 5
Eb - G - Bb
1
3
G 2 1
Bb 3
Eb
G

068-085_84145 10/28/05 6:36 PM Page 69
Eb/D# MAJOR 69

1 - 3 - 5
Eb - G - Bb
1
3
Eb
Bb 3
Eb 3 6
G
Eb

1 - 3 - 5
Eb - G - Bb
1
3 1
G 1
Bb
Eb 8
G

1 - 3 - 5
Eb - G - Bb
1
3
Eb
Bb 4
2 1
Eb
G 11
Bb
Eb

068-085_C32930 11/10/05 8:25 PM Page 70
70
Eb/ D# MA J O R
Adding a sixth to a major triad results in a four-note chord with
more harmonic color than a basic major chord; it’s the perfect way
to add interest and a little “spice” to what might otherwise be a
bland chord sequence. 4 A light and breezy sounding chord with
the sixth (C) as its lowest note.
Eb
1 Eb6 (Ebmaj6, Ebmajor6, EbM6)

1 - 3 - 5 - 6
Eb - G - Bb - C
1
Eb 3
Bb 1
4
C
G

1 - 3 - 5 - 6
Eb - G - Bb - C
4 2
Eb 3 1
G
C 4
Eb

068-085_C32930 11/10/05 8:25 PM Page 71
Eb/D# MAJOR 71

1 - 3 - 5 - 6
Eb - G - Bb - C
1
3
Eb
Bb 3
Eb 6
3
G
C Eb

1 - 3 - 5 - 6
Eb - G - Bb - C
1
3 1
C
Eb 8
G
4
C

1 - 3 - 5 - 6
Eb - G - Bb - C
3 2
Eb 1
4 11
G
C
Eb

068-085_C32930 11/11/05 11:45 AM Page 72
72
Eb/ D# MA J O R
Adding a major seventh interval to a major triad creates a chord
that is somehow greater than the sum of its parts: mellow,
floating, cool, and sophisticated. 3 An incredibly versatile
five-string barre that sounds great just sustained, or which can
be played staccato (by “choking” the chord with your fretting
hand) to create syncopated rhythms.
Eb
1 Ebmaj7 (Eb, Ebmajor7, EbM7)

1 - 3 - 5 - 7
Eb - G - Bb - D
Eb
3
Bb 1
D 3
G

1 - 3 - 5 - 7
Eb - G - Bb - D
1
4 3
Eb
1
G
Bb 3
D
G

068-085_C32930 11/11/05 11:45 AM Page 73
Eb/D# MAJOR 73

1 - 3 - 5 - 7
Eb - G - Bb - D
1
3 2
Eb
1
Bb
4 6
D
G
Bb Eb

1 - 3 - 5 - 7
Eb - G - Bb - D
1
1
1
Bb
Eb 8
G 3
D

1 - 3 - 5 - 7
Eb - G - Bb - D 1
Eb 3
4 2
D
G 11
Bb

068-085_C32930 11/10/05 8:53 PM Page 74
74
Eb/ D# MA J O R
Ebsus (Eb suspended)
Both variations of the suspended chord (sus2 and sus4) and the
related major chord are frequently used in the same chord
sequence (e.g. Ebsus4 - Eb - Ebsus2) to create harmonic motion
without changing chords. Many great riffs have been based on this
idea—The Searchers’ Needles And Pins and Michael Jackson’s
Black Or White are just two examples.
Eb
1 Ebsus2
1 - 2 - 5
Eb - F - Bb
3 1
Eb
Bb 1
4
Eb
F
2 Ebsus2
1 - 2 - 5
Eb - F - Bb
1
3
Eb
4 1
Bb
Eb 6
F
Bb

068-085_C32930 11/10/05 8:53 PM Page 75
Eb/D# MAJOR 75
1 Ebsus4
1 - 4 - 5
Eb - Ab - Bb
Eb 3
Bb 1
4
Eb
Ab
4
Eb
2 Ebsus4
1 - 4 - 5
Eb - Ab - Bb
1
3
Eb
Bb 3
Eb 6
Ab 4
3 Ebsus4
1 - 4 - 5
Eb - Ab - Bb
3 1
Eb 4 1
Ab 11
Bb
Eb

068-085_84145 10/28/05 6:40 PM Page 76
76
Eb/ D# M I N O R
Eb minor is the relative minor of Gb major and shares the same
key signature of six flats. Sandwiched between the more “guitar
friendly” keys of D minor and E minor, Eb minor is seldom used in
rock and pop music; it is much more predominant in jazz, soul, and
funk. 5 A high register, six-string barre with a big sound and
unusual harp-like quality.
Eb
1 Ebm (Ebmin, Ebminor, Eb—)

1 - b3 - 5
Eb - Gb - Bb
Eb 3
2 1
Bb
4
Eb
Gb

1 - b3 - 5
Eb - Gb - Bb
2 1
Gb 3
Bb 3
Eb
4
Bb

068-085_84145 10/28/05 6:40 PM Page 77
Eb/D# MINOR 77

1 - b3 - 5
Eb - Gb - Bb
1
3
Eb
4 2 1
Bb
Eb 6
Gb
Bb Eb

1 - b3 - 5
Eb - Gb - Bb
2 1
1
Gb
Bb
Eb 8
4
Bb

1 - b3 - 5
Eb - Gb - Bb 1
3
Eb
Bb 4
Eb 1
Gb 11
Bb
Eb

068-085_C32930 11/10/05 8:59 PM Page 78
78
Eb/ D# M I N O R
By adding either a sixth or a seventh interval you can change the
quality of a minor chord quite significantly. A “straight” Ebm chord
has a sad but fairly plain sound; the sixth shifts the chord into
more ominous “spy movie theme music” territory, while the minor
seventh adds a breezy, light, and jazzy texture.
Eb
1 Ebmin6 (Ebminor6, Ebm6, Eb—6)

1 - b3 - 5 - 6
Eb - Gb - Bb - C
1
Eb 3
2
Bb 1
C
Gb

1 - b3 - 5 - 6
Eb - Gb - Bb - C
2
1
Eb
3
C 4
Gb 10
Bb

068-085_C32930 11/10/05 8:59 PM Page 79
Eb/D# MINOR 79

1 - b3 - 5 - b7
Eb - Gb - Bb - Db
3 2
Eb
Bb 2 1
Db
Gb Eb

1 - b3 - 5 - b7
Eb - Gb - Bb - Db
1
Eb 3
2 1
Bb
Db 6
Gb
Bb

1 - b3 - 5 - b7
Eb - Gb - Bb - Db
2
3
Eb
3
Db
Gb 11
Bb

068-085_C32930 11/10/05 9:02 PM Page 80
80
Eb7/ D#7
The dominant seventh in its simplest form is basically a major triad
with an added flattened seventh. However, the dominant seventh
performs a very different function; it is not a static chord (except in
blues progressions), but a motion chord that “pulls” to a major or
minor chord with its root a fifth lower. In classical terms, this is the
traditional perfect cadence.
Eb
1 Eb7 (Ebdom7)
1 - 3 - 5 - b7
Eb - G - Bb - Db
Eb 3 2
Bb 1
4
Db
G
2 Eb7 (Ebdom7)
1 - 3 - 5 - b7
Eb - G - Bb - Db
3 2
Eb 1
G 4
Db 4
Eb

068-085_C32930 11/10/05 9:02 PM Page 81
E b 7/ D # 7 81
3 Eb7 (Ebdom7)
1 - 3 - 5 - b7
Eb - G - Bb - Db
1
Eb 3
1
Bb
4 6
Db
G
Bb Eb
4 Eb7 (Ebdom7)
1 - 3 - 5 - b7
Eb - G - Bb - Db
1
1
1
Bb
2 8
Eb
G
Db
5 Eb7 (Ebdom7)
1 - 3 - 5 - b7
Eb - G - Bb - Db
1
Eb
3
Bb 2
1
Db
G 11
Bb
Eb

068-085_C32930 11/10/05 9:04 PM Page 82
82
Eb7/ D#7
The Eb7#5 chord has a very “dark” sound—perfect for intensifying
a V (Eb7#5) to I (Ab) resolution. It can also be used as a
chromatic passing chord to create jazzy, contemporary parallel
harmonies. Suspended fourths are sometimes added to dominant
seventh chords simply to create additional movement within a V–I
resolution (e.g. Eb7sus - Eb7 - Ab).
Eb
1 Eb7#5 (Eb7aug, Eb7+)

1 - 3 - #5 - b7
Eb - G - B - Db
1
2
Db 1
G
B 4
Eb
2 Eb7#5 (Eb7aug, Eb7+)

1 - 3 - #5 - b7
Eb - G - B - Db 1
2
Eb
3
Db 4
G 11
B

068-085_C32930 11/10/05 9:04 PM Page 83
E b 7/ D # 7 83
1 Eb7sus (Eb7sus4)
1 - 4 - 5 - b7
Eb - Ab - Bb - Db
3 2
Eb
Bb 1
Db
Ab
4
Eb
2 Eb7sus (Eb7sus4)
1 - 4 - 5 - b7
Eb - Ab - Bb - Db
1
3
Eb
1
Bb
Db 6
4
Ab
Bb
3 Eb7sus (Eb7sus4)
1 - 4 - 5 - b7
Eb - Ab - Bb - Db 1
Eb 3
Bb
4 1
Db
Ab 11
Bb
Eb

068-085_C32930 11/11/05 11:44 AM Page 84
84
Eb7/ D#7
Dominant seventh chords are often “colored” by adding additional
intervals such as ninths and thirteenths. Eb7b9 A dark sounding,
four-string voicing with muted outer strings; resolves perfectly to
Ab or Abmajor7. Eb13: 1 A thirteenth chord inversion with no fifth
or ninth and the flattened seventh in the bass.
Eb
Eb9 (Ebdom9)
1 - 3 - 5 - b7 - 9
Eb - G - Bb - Db - F
2 1
3
Eb
G
Db 3 5
F
Bb
Eb7#9
1 - 3 - 5 - b7 - #9
Eb - G - Bb - Db - F#
2 1
Eb 3
G
Db
4 5
F#

068-085_C32930 11/11/05 11:44 AM Page 85
E b 7/ D # 7 85
Eb7b9
1 - 3 - 5 - b7 - b9
Eb - G - Bb - Db - Fb
2 1
Eb 3 1
G
Db 5
Fb
Eb
1 Eb13
1 - 3 - 5 - b7 - 9 - 13
Eb - G - Bb - Db - F - C
1
3
Db 4 2
G
C 4
Eb
2 Eb13
1 - 3 - 5 - b7 - 9 - 13
Eb - G - Bb - Db - F - C
1
2
Eb
3
Db
G 4 11
C

086_103_84145 10/28/05 5:22 PM Page 86
86
E MA J O R
E major is the original “guitar friendly” key. The lowest note on
the guitar is an E and the lowest root position chord that can be
played on the guitar is E major. Many great riffs have revolved
around the open first position notes in this key—the bluesy intro of
Jimi Hendrix’s Hey Joe and Johnny Kidd And The Pirates’ Shakin’
All Over are just two examples. 1 One of the most resonant
chords on the guitar: the open, six-string E major voicing.
E
1 E (Emaj, Emajor, EM)
1 - 3 - 5
E - G# - B
2
E 3 1
B
E
G# 1
B
E

1 - 3 - 5
E - G# - B
2
E
B 2
4 3
E
G#

086_103_84145 10/28/05 5:22 PM Page 87
E MAJOR 87

1 - 3 - 5
E - G# - B
1
3
G# 2 1
B 4
E
G#
E
1 - 3 - 5
E - G# - B
1
3
E
3
B
E 3 7
G#

1 - 3 - 5
E - G# - B
1
3 1
G# 1
B
E 9
G#

086_103_84145 10/28/05 6:15 PM Page 88
88
E MA J O R
It’s an ending chord that’s been used by everyone, but the
sixth can also be used as a substitute for a basic major chord.
1 A resonant six-string open chord with a tripled root (E) that’s
perfect for endings. 3 Warm and jazzy four-string voicing with
muted open strings.
E
1 E6 (Emaj6, Emajor6, EM6)
1 - 3 - 5 - 6
E - G# - B - C#
2
E 3 1
B
E 4
G# 1
C#
E

1 - 3 - 5 - 6
E - G# - B - C#
1
E 3
B 2
C# 4
G#

086_103_84145 10/28/05 6:15 PM Page 89
E MAJOR 89

1 - 3 - 5 - 6
E - G# - B - C#
4 2
E 3 1
G#
C# 5
E
E
1 - 3 - 5 - 6
E - G# - B - C#
1
E 3
B 3
E 7
3
G#
C#

1 - 3 - 5 - 6
E - G# - B - C#
1
3 1
C#
E 9
G#
4
E

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90
E MA J O R
Although essentially a very jazzy chord, the major seventh also
features in many rock songs. 1 A huge sounding six-string major
seventh exclusive to the key of E. 3 Add extra depth to this
sweet sounding, five-string chord by including the low E on the
sixth string.
E
1 Emaj7 (E័, Emajor7, EM7)
1 - 3 - 5 - 7
E - G# - B - D#
1
E 1
B
E
3 1
B
D#
3
G#

1 - 3 - 5 - 7
E - G# - B - D#
1
4 3
E
G# 1
B 4
D#
G#

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(C59351 204) #175 DTP:174(P) Page:90
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E MAJOR 91

1 - 3 - 5 - 7
E - G# - B - D#
1
E 3 2
1
B
D# 4 7
G#
B
E
1 - 3 - 5 - 7
E - G# - B - D#
1
1
1
B
E 9
G# 3
D#

1 - 3 - 5 - 7
E - G# - B - D# 1
E 3
4 2
D#
G# 12
B

e:90 (SY) Text (AC32930-174)
(C59351 204) #175 DTP:174(P) Page:91
086_103_C32930 11/10/05 9:42 PM Page 92
92
E MA J O R
Esus (E suspended)
Suspended chords can be used to add interest to a chord
sequence or static chord vamp, and work well when used in
conjunction with similarly voiced major chords (see pages
86-87). Esus2: 2 The ubiquitous sus2 barre chord voicing.
Esus4: 1 A full sounding open chord with a doubled fifth
(B) and trebled root (E).
E
1 Esus2
1 - 2 - 5
E - F# - B
3 1
E
B 2
4
E
F#
2 Esus2
1 - 2 - 5
E - F# - B
1
E
3
4 1
B
E 7
F#
B

086_103_C32930 11/10/05 9:42 PM Page 93
E MAJOR 93
1 Esus4
1 - 4 - 5
E - A - B
2
E 3
B 4
E
A 1
B
E
E
2 Esus4
1 - 4 - 5
E - A - B
3
E
B 2
4
E
4
A
3 Esus4
1 - 4 - 5
E - A - B
1
3
E
3
B
E 7
4
A

086_103_C32930 11/10/05 9:46 PM Page 94
94
E MINOR
The relative minor of G major, E minor is a common key for minor
blues progressions and is frequently used by many guitarists.
1 Full six-string open chord with a big sound generated by a
doubled fifth (B) and a tripled root (E). 4 Lighter sounding
five-string voicing at the seventh fret; the low E string can be
included for more depth.
E
1 Em (Emin, Eminor, E–)
1 - b3 - 5
E - G - B
2
E 3
B
E
G 1
B
E

1 - b3 - 5
E - G - B
E 3
2
B 2
4
E
G

086_103_C32930 11/10/05 9:46 PM Page 95
E MINOR 95

1 - b3 - 5
E - G - B
2 1
3
G
B 4
E 4
B
E
1 - b3 - 5
E - G - B
1
3
E
4 2 1
B
E 7
G
B

1 - b3 - 5
E - G - B
2 1
1
G
B
E 9
4
B

086_103_84145 10/28/05 7:34 PM Page 96
96
E MINOR
Minor sixth voicings can be used as a substitute for a basic minor
chord, whilst minor seventh chords are great for creating funky
chord grooves. Emin6: 1 A resonant six-string, open minor sixth
with a full sound. Emin7: 3 High register, four-string inversion
with the fifth (B) as the lowest note.
E
1 Emin6 (Eminor6, Em6, E—6)
1 - b3 - 5 - 6
E - G - B - C#
2
E 3
B
4
E
G 1
C#
E

1 - b3 - 5 - 6
E - G - B - C#
2
3 1
B
4 8
E
G
C#

086_103_84145 10/28/05 7:34 PM Page 97
E MINOR 97

1 - b3 - 5 - b7
E - G - B - D
1
E 2
B
E
3 1
G
4
D
G
E
1 - b3 - 5 - b7
E - G - B - D
1
E 3
2 1
B
D 7
G
B

1 - b3 - 5 - b7
E - G - B - D
2
3 1
B
E 8
4
G
D

086_103_84145 10/28/05 7:36 PM Page 98
98
E7
These five chords are essential for any blues guitarist. 1 This is
the mother of all seventh chords! This open E7 voicing has a
doubled seventh (D) for extra bite. 5 This tight sounding four-
string E7 shape is great for funky rhythm guitar work and can
be easily “choked” by simply releasing fretting hand pressure.
E
1 E7 (Edom7)
1 - 3 - 5 - b7
E - G# - B - D
2
E 1
B
D
4 1
G#
D
E
2 E7 (Edom7)
1 - 3 - 5 - b7
E - G# - B - D
E 3 2
B 2
D 4
G#

086_103_84145 10/28/05 7:36 PM Page 99
E7 99
3 E7 (Edom7)
1 - 3 - 5 - b7
E - G# - B - D
3 2
1
E
4
G#
D 5
E
E
4 E7 (Edom7)
1 - 3 - 5 - b7
E - G# - B - D
1
E 3
1
B
D 4 7
G#
B
5 E7 (Edom7)
1 - 3 - 5 - b7
E - G# - B - D
1
1
1
B
2 9
E
G#
D

086_103_84145 10/28/05 7:38 PM Page 100
100
E7
Like C7#5 chords, E7#5 chords are “tension creating” dominant
seventh chords and are most frequently used in a perfect
cadence scenario, i.e. when a dominant chord (V) resolves to its
tonic (I). E7#5: 2 A versatile four-string voicing that was famously
used as the opening chord in Chuck Berry’s No Particular Place
to Go. E7sus: 1 A doubled root (E) and fifth (B) result in a big,
chiming sound.
E
1 E7#5 (E7aug, E7+)
1 - 3 - #5 - b7
E - G# - B# - D
1
2
D 1
G#
B# 5
E
2 E7#5 (E7aug, E7+)

1 - 3 - #5 - b7
E - G# - B# - D
3
4 2
D
G# 12
B#
E

086_103_84145 10/28/05 7:38 PM Page 101
E7 101
1 E7sus (E7sus4)
1 - 4 - 5 - b7
E - A - B - D
2
E
B 3
D
A 1
B
E
E
2 E7sus (E7sus4)
1 - 4 - 5 - b7
E - A - B - D
E 3 2
B 2
D
4
A
3 E7sus (E7sus4)
1 - 4 - 5 - b7
E - A - B - D
1
3
E
1
B
D 7
4
A
B

:100 (SY) Text #175 DTP:174(P) Page:101
086_103_C32930 11/11/05 12:14 PM Page 102
102
E7
A selection of dominant sevenths with various “color tensions”
added to create harmonic interest. E7#9 This shape, often
referred to as the “Hendrix chord,” is actually the first chord of
the Purple Haze verse sequence. E13: 2 A funky five-note
thirteenth chord that also includes the ninth for extra
harmonic color.
E
E9 (Edom9)
1 - 3 - 5 - b7 - 9
E - G# - B - D - F#
2 1
3
E
G#
D 3 6
F#
B
E7#9
1 - 3 - 5 - b7 - #9
E - G# - B - D - F##
2 1
E 3
G#
D
4 6
F##

086_103_C32930 11/11/05 12:14 PM Page 103
E7 103
E7b9
1 - 3 - 5 - b7 - b9
E - G# - B - D - F
2 1
E 3 1
G#
D 6
F
E
1 E13
1 - 3 - 5 - b7 - 9 - 13
E - G# - B - D - F# - C#
3
D 4 2
G#
C# 5
E
2 E13
1 - 3 - 5 - b7 - 9 - 13
E - G# - B - D - F# - C#
2 1
E 3
G# 3
D 6
F#
4
C#

:102 (SY) Text (AC32930-174) #175 DTP:174(P) Page:103
104_121_C32930 11/11/05 12:16 PM Page 104
104
F MA J O R
Due to a lack of open chord shapes, F major is not a particularly
“guitar friendly” key; it is, however, frequently used since it is a
popular key with vocalists and horn players. 1 The lowest full-six
string barre shape on the neck has a big sound but requires
a strong fretting hand. 4 Another useful barre, this time a
four-string variant, and frequently used by rock guitarists.
1 F (Fmaj, Fmajor, FM)

1 - 3 - 5
F F - A - C 1
3
F
C 4 2
1
F
A 1
C
F

1 - 3 - 5
F - A - C
2
F
C 3
4 3
F
A

104_121_C32930 11/11/05 12:16 PM Page 105
F MAJOR 105

1 - 3 - 5
F - A - C
1
3
A 2 1
C 5
F
A

1 - 3 - 5
F - A - C
1
F
3
F
3
C
F 3 8
A

1 - 3 - 5
F - A - C
1
3 1
A 1
C
F 10
A

104_121_84145 10/28/05 6:37 PM Page 106
106
F MA J O R
Sixth chords add the interval of a sixth to the basic major triad,
hence the 1 - 3 - 5 - 6 harmonic spelling of these chords. 1 Four
string, root position voicing ideal for funky blues rhythm guitar.
3 Mellow and jazzy four-string chord with muted outer strings.
1 F6 (Fmaj6, Fmajor6, FM6)

1 - 3 - 5 - 6
F F - A - C - D
3 2
1
F
4 1
A
D
F

1 - 3 - 5 - 6
F - A - C - D
1
F
3
C 3
4
D
F

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Page107
107
F MAJOR 107

1 - 3 - 5 - 6
F - A - C - D
4 2
3 1
F
A
D 6
F

1 - 3 - 5 - 6
F - A - C - D
1
F
F 3
C 3
F 8
A 3
D

1 - 3 - 5 - 6
F - A - C - D
1
3 1
D
F 10
A
4
F

:106 (SY) Text 03-C61432 (204) #175 DTP:110(P) Page:107
104_121_C32930 11/11/05 12:17 PM Page 108
108
F MA J O R
The smooth sounding major seventh chord adds color to any
progression. 1 This four-note, high register open major seventh
sounds great when picked and is famously used in the intro of
Led Zeppelin’s epic Stairway To Heaven. 3 A piano style “closed”
five-string voicing with doubled third.
1 Fmaj7 (F, Fmajor7, FM7)

1 - 3 - 5 - 7
F F - A - C - E
3 2 1
F
A 1
C
E

1 - 3 - 5 - 7
F - A - C - E
3
F
C 3
E 3
A

104_121_C32930 11/11/05 12:17 PM Page 109
F MAJOR 109

1 - 3 - 5 - 7
F - A - C - E
1
4 3
F
A 1
C 5
E
A

1 - 3 - 5 - 7
F - A - C - E
1
F
3 2
F
1
C
E 4 8
A
C

1 - 3 - 5 - 7
F - A - C - E
1
1
1
C
F 10
A 3
E

104_121_84145 10/28/05 6:39 PM Page 110
110
F MA J O R
Fsus (F suspended)
Suspended chords can be used to create harmonic ambiguity;
with no third they are neither major nor minor. Fsus2: 1 A first
position five-string voicing that makes use of the open third
string. Fsus4: 1 You can create a big sound with this six-string
sus4 voicing—it works well when resolved to F major, shape 1 on
page 104.
1 Fsus2
1 - 2 - 5
F F - G - C
3
C 4 1
F
G 1
C
2 Fsus2
1 - 2 - 5
F - G - C
1
F 3
4 1
C
F 8
G
C

104_121_84145 10/28/05 6:39 PM Page 111
F MAJOR 111
1 Fsus4
1 - 4 - 5
F - Bb - C 1
2
F
C 3
4 1
F
Bb 1
C
F
2 Fsus4
1 - 4 - 5
F - Bb - C
F
1
F 3
C 3
4
F
4
Bb
3 Fsus4
1 - 4 - 5
F - Bb - C
1
F 3
C 3
F 8
4
Bb

:110 (SY) Text #175 DTP:110(P) Page:111
104_121_84145 10/28/05 6:40 PM Page 112
112
F MINOR
The key of F minor (which contains four flats) is the relative key
of Ab major and is more prevalent in jazz and related genres
since it is a good key for horn players. 1 A big full sound can be
achieved with this low six-string barre, but it needs plenty of
fretting hand strength. 5 A four-string inversion played on the
inner strings with the minor third as the lowest note.
1 Fm (Fmin, Fminor, F—)

1 - b3 - 5
F F - Ab - C 1
F
3
C 4
1
F
Ab 1
C
F

1 - b3 - 5
F - Ab - C
F 3
2 3
C
4
F
Ab

104_121_84145 10/28/05 6:40 PM Page 113
F MINOR 113

1 - b3 - 5
F - Ab - C
2 1
3
Ab
C 5
F
4
C

1 - b3 - 5
F - Ab - C
1
F
3
F
4 2 1
C
F 8
Ab
C

1 - b3 - 5
F - Ab - C
2 1
1
Ab
C
F 10
4
C

:112 (SY) Text #175 DTP:110(P) Page:113
104_121_C32930 11/11/05 12:18 PM Page 114
114
F MINOR
Adding the sixth or the flattened seventh to a basic minor
triad is a great way to introduce some color to an otherwise
plain sounding chord. Fmin6: 1 This four-string inversion
with the fifth (C) in the bass has a spooky, ominous quality.
Fmin7: 3 An incredibly versatile minor 7th voicing with a
doubled 5th (C).
1 Fmin6 (Fminor6, Fm6, F—6)

1 - b3 - 5 - 6
F F - Ab - C - D
2 1
C 3
F
4 1
Ab
D

1 - b3 - 5 - 6
F - Ab - C - D
1
F 3
2 3
C
D
Ab

104_121_C32930 11/11/05 12:18 PM Page 115
F MINOR 115

1 - b3 - 5 - b7
F - Ab - C - Eb
1
F
3
C
1
Eb
Ab 1
4
Eb
F

1 - b3 - 5 - b7
F - Ab - C - Eb
F
1
3 2
F
C 2 3
Eb
Ab

1 - b3 - 5 - b7
F - Ab - C - Eb
1
F 3
2 1
C
Eb 8
Ab
C

104_121_C32930 11/11/05 10:16 AM Page 116
116
F7
A dominant seventh can be used as a static chord (e.g. the first
chord of a blues), or as a “going home” cadence chord. F7 can
resolve to either Bb major or Bb minor. 1 The lowest F7 shape
on the neck has a big sound but requires a strong fretting hand.
3 This four note seventh voicing is a favorite among fingerstyle
guitarists who often add the low fifth (C) on the sixth string to
create an alternating bassline.
1 F7 (Fdom7)
1 - 3 - 5 - b7
F F - A - C - Eb
1
F 3
C 2
1
Eb
A 1
C
F
2 F7 (Fdom7)
1 - 3 - 5 - b7
F - A - C - Eb
3 2
F
C 3
Eb
4
A

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F7 117
3 F7 (Fdom7)
1 - 3 - 5 - b7
F - A - C - Eb
3 2
F 1
A 4
Eb 6
F
4 F7 (Fdom7)
1 - 3 - 5 - b7
F - A - C - Eb
1
F
3
F
1
C
Eb 4 8
A
C
5 F7 (Fdom7)
1 - 3 - 5 - b7
F - A - C - Eb
1
1
1
C
2 10
F
A
Eb

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118
F7
Adding a sharpened fifth to a dominant seventh chord creates
tension and heightens the “pull” back to the home chord in a
perfect (V–I) cadence. F7#5: 2 A dark and moody inversion with
the flattened seventh (Eb) in the bass. F7sus: 2 This high
register, four-string root position chord is ideal for syncopated
rhythm work (try “choking” the chord by releasing the pressure of
your fretting hand for a staccato sound).
1 F7#5 (F7aug, F7+)

1 - 3 - #5 - b7
F F - A - C# - Eb 1
2
F
3
Eb 4
A 1
C#
2 F7#5 (F7aug, F7+)

1 - 3 - #5 - b7
F - A - C# - Eb
1
2
Eb 1
A
C# 6
F

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F7 119
1 F7sus (F7sus4)
1 - 4 - 5 - b7
F - Bb - C - Eb
1
F
3
C
4 1
Eb
Bb 1
C
F
2 F7sus (F7sus4)
1 - 4 - 5 - b7
F - Bb - C - Eb
F
1
F 3 2
C 3
Eb
4
Bb
3 F7sus (F7sus4)
1 - 4 - 5 - b7
F - Bb - C - Eb
1
F
3
1
C
Eb 8
4
Bb
C

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120
F7
Ninths can create additional harmonic interest when added to a
dominant seventh. Altered ninth voicings (#9/b9) create tension
and heighten the resolution when used in a perfect (V–1)
cadence; natural ninth chords are frequently used as a static
vamp chord in blues and funk tunes. The jazzy thirteenth is a very
versatile chord and is used in many genres.
F9 (Fdom9)
1 - 3 - 5 - b7 - 9
F F - A - C - Eb - G
2 1
F 3
A
Eb 3 7
G
C
F7#9
1 - 3 - 5 - b7 - #9
F - A - C - Eb - G#
2 1
F 3
A
Eb
4 7
G#

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F7 121
F7b9
1 - 3 - 5 - b7 - b9
F - A - C - Eb - Gb
2 1
F 3 1
A
Eb 7
Gb
1 F13
1 - 3 - 5 - b7 - 9 - 13
F - A - C - Eb - G - D
1 F
2
F
3
Eb
4 1
A
D
2 F13
1 - 3 - 5 - b7 - 9 - 13
F - A - C - Eb - G - D
1
3
Eb 4 2
A
D 6
F

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122
F#/Gb MA J O R
Not an obvious guitar key with its lack of open chords (and six
sharps in the key signature), F# is nonetheless a popular key in
the rock genre due to the low open E, which can be incorporated
into chord-based riffs. 1 Full six-string barre with a big sound,
which is ideal for strummed rhythms. 3 Four-string inversion with
its third (A#) in the bass—great for “choked” rhythm work since it
can be easily damped.
1 F# (F#maj, F#major, F#M)

1 - 3 - 5
F# - A# - C# 1
3
F# F#
C# 4 2
1
F#
A# 2
C#
F#

1 - 3 - 5
F# - A# - C#
F#
2
C# 4
4 3
F#
A#

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F#/Gb MAJOR 123

1 - 3 - 5
F# - A# - C#
1
3
2 1
A#
C# 6
F#
A#

1 - 3 - 5
F# - A# - C#
1
F#
3
3
F#
C#
F# 3 9
A#

1 - 3 - 5
F# - A# - C#
1
3 1
A# 1
C#
F# 11
A#

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124
F#/Gb MA J O R
This chord is a good substitute for a basic major chord, since the
sixth interval will not clash with a tonic melody note (unlike the
7th in a major 7th chord). 1 A bright but warm high register
voicing that is great for “choked” soul and funk comps. 4 A full
sounding five-string voicing that makes an ideal ending chord.
1 F#6 (F#maj6, F#major6, F#M6)

1 - 3 - 5 - 6
F# - A# - C# - D#
F# 3 2
1
F#
4 2
A#
D#
F#

1 - 3 - 5 - 6
F# - A# - C# - D#
1
3
F#
C# 4
D# 4
A#

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F#/Gb MAJOR 125

1 - 3 - 5 - 6
F# - A# - C# - D#
4 2
3 1
F#
A#
D# 7
F#

1 - 3 - 5 - 6
F# - A# - C# - D#
1
F# 3
3
F#
C#
F# 9
3
A#
D#

1 - 3 - 5 - 6
F# - A# - C# - D#
1
3 1
D#
F# 11
A#
4
F#

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126
F#/Gb MA J O R
Although the major seventh chord is often ignored by rock
guitarists because of its jazzy connotations, this bright, breezy
sounding chord actually works well in rock. 1 Subtle “closed”
piano-style four-string voicing. 5 A bright, high-register inversion
with the fifth (C#) in the bass.
1 F#maj7 (F#, F#major7, F#M7)

1 - 3 - 5 - 7
F# - A# - C# - E#
F# 4 3 2 1
F#
A# 1
C#
E#

1 - 3 - 5 - 7
F# - A# - C# - E#
3
F#
C# 4
E# 3
A#

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F#/Gb MAJOR 127

1 - 3 - 5 - 7
F# - A# - C# - E#
1
4 3
F#
A# 1
C# 6
E#
A#

1 - 3 - 5 - 7
F# - A# - C# - E#
1
F#
3 2
1
F#
C#
E# 4 9
A#
C#

1 - 3 - 5 - 7
F# - A# - C# - E#
1
1
1
C#
F# 11
3
A#
E#

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128
F#/Gb MA J O R
F#sus (F# suspended)
A suspended chord temporarily “suspends” the third of a chord by
replacing it with the second or the fourth—this is then resolved by
reverting to the major chord, or simply left “hanging” to intensify
harmonic tension. F#sus2: 1 Bright and percussive four-string
shape ideal for crisp rhythm work. F#sus4: 2 Ideal for static chord
vamps when partnered with F# major, shape 2 on page 122.
1 F#sus2
1 - 2 - 5
F# - G# - C#
F# 3 1
F#
C# 4
4
F#
G#
2 F#sus2
1 - 2 - 5
F# - G# - C#
1
3
F#
4 1
C#
F# 9
G#
C#

122-139_84145 10/29/05 1:00 AM Page 129
F#/Gb MAJOR 129
1 F#sus4
1 - 4 - 5
F# - B - C# 1
2
F#
C# 3
4 1
F#
B 2
C#
F#
2 F#sus4
1 - 4 - 5
F# - B - C#
3
F#
F#
C# 4
4
F#
4
B
3 F#sus4
1 - 4 - 5
F# - B - C#
1
3
F#
C# 3
F# 9
4
B

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130
F#/Gb M I N O R
Since it is the relative minor of A major, F# minor chords occur in
many songs. There are no open chord shapes for this key so these
five shapes are essential weapons to include in your chord armoury!
1 A big, full sound can be achieved with this low six-string barre,
but it needs plenty of fretting hand strength. 4 A less tricky shape,
this five-string barre is quite easy to play and great for percussive
rhythm work.
1 F#m (F#min, F#minor, F#-)

1 - b3 - 5
F# - A - C# 1
3
F# F#
C# 4
1
F#
A 2
C#
F#

1 - b3 - 5
F# - A - C#
F# 3
2 4
C#
4
F#
A#

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F#/Gb MINOR 131

1 - b3 - 5
F# - A - C#
2 1
A 3
C# 6
F#
4
C#

1 - b3 - 5
F# - A - C#
1
F# 3
4 2 1
F#
C#
F# 9
A
C#

1 - b3 - 5
F# - A - C#
2 1
1
A
C#
F# 11
4
C#

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132
F#/Gb M I N O R
Experimenting with chord voicings by adding a sixth or a seventh
to a basic minor chord will help you to create more exciting
accompaniments. F#min6: 1 A dark and evocative four-string
shape with muted outer strings. F#min7: 2 A light and breezy,
high register, four-string chord voicing.
1 F#min6 (F#minor6, F#m6, F#-6)

1 - b3 - 5 - 6
F# - A - C# - D#
2 1
F# C# 3
F#
A 4 2
D#

1 - b3 - 5 - 6
F# - A - C# - D#
3 1
F#
C# 2 4
D#
A

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F#/Gb MINOR 133

1 - b3 - 5 - b7
F# - A - C# - E
1
F# 3
C#
1
E
A 2
4
E
F#

1 - b3 - 5 - b7
F# - A - C# - E
3 2
F#
F#
C# 2 4
E
A

1 - b3 - 5 - b7
F# - A - C# - E
1
F# 3
2 1
C#
E 9
A
C#

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134
F#7/Gb7
The dominant seventh chord is the most powerful chord in
Western music; built on the fifth step of the major or harmonic
minor scale it resolves onto its tonic chord (e.g. F#7 resolves to
B or B minor). Composers skilfully manipulate this resolution
tendency to create harmonic movement. 3 The classic four-note
seventh chord with doubled root and omitted fifth based on an
open C7 shape.
1 F#7 (F#dom7)
1 - 3 - 5 - b7
F# - A# - C# - E
F# 3 2 1
F#
A# 1
C#
E
2 F#7 (F#dom7)
1 - 3 - 5 - b7
F# - A# - C# - E
3 2
F#
C# 4
E 4
A#

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F # 7/ G b 7 135
3 F#7 (F#dom7)
1 - 3 - 5 - b7
F# - A# - C# - E
3 2
F# 1
A# 4
E 7
F#
4 F#7 (F#dom7)
1 - 3 - 5 - b7
F# - A# - C# - E
1
F#
3
1
F#
C#
E 4 9
A#
C#
5 F#7 (F#dom7)
1 - 3 - 5 - b7
F# - A# - C# - E
1
1
1
C#
2 11
F#
A#
E

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136
F#7/Gb7
Sharpening the fifth of a dominant seventh results in a much
darker sounding chord, which is often used to create extra
tension when the chord is used in a V (C#7) to I (F#) scenario.
Suspending the fourth creates a less intense sense of
anticipation. F#7#5: 1 A jazzy four-string voicing with muted first
and fifth strings. F#7sus: 3 A tight and funky chord—great for
rhythm work when paired with F#7, shape 4 on page 135.
1 F#7#5 (F#7aug, F#7+)

1 - 3 - #5 - b7
F# - A# - C## - E 1
F# F#
3
4
E
A# 2
C##
2 F#7#5 (F#7aug, F#7+)

1 - 3 - #5 - b7
F# - A# - C## - E
1
2
E 1
A#
C## 7
F#

122-139_C33930 11/11/05 11:26 AM Page 137
F # 7/ G b 7 137
1 F#7sus (F#7sus4)
1 - 4 - 5 - b7
F# - B - C# - E
1
3
F#
C#
E 4 1
B 2
C#
F#
2 F#7sus (F#7sus4)
1 - 4 - 5 - b7
F# - B - C# - E
3 2
F#
F#
C# 4
E
4
B
3 F#7sus (F#7sus4)
1 - 4 - 5 - b7
F# - B - C# - E
1
F# 3
1
C#
E 9
4
B
C#

122-139_C34211 11/18/05 3:39 PM Page 138
138
F#7/Gb7
Ninth chords add extra color to the dominant seventh by
adding a ninth to the chord. The thirteenth chord stacks another
interval onto the ninth chord which results in a six-note chord.
F#9 Five-string, high register voicing perfect for funk guitar
styles. F#13: 1 Deep and jazzy four-string chord with muted
first and fifth strings.
F#9 (F#dom9)
1 - 3 - 5 - b7 - 9
F# - A# - C# - E - G#
2 1
F# F# 3
A#
E 3 8
G#
C#
F#7#9
1 - 3 - 5 - b7 - #9
F# - A# - C# - E - G##
2 1
F# 3
A#
E 4 8
G##

122-139_C34211 11/18/05 3:39 PM Page 139
F # 7/ G b 7 139
F#7b9
1 - 3 - 5 - b7 - b9
F# - A# - C# - E - G
2 1
F# 3 1
A#
E 8
G
1 F#13
1 - 3 - 5 - b7 - 9 - 13
F# - A# - C# - E - G# - D#
1
2
F#
3 F#
E
A# 4 2
D#
2 F#13
1 - 3 - 5 - b7 - 9 - 13
F# - A# - C# - E - G# - D#
3
E 4 2
A#
D# 7
F#

140-147_C32944 11/15/05 11:40 AM Page 140
140
G MA J O R
Each key has its own distinct musical characteristic and flavor;
Albert Lavignac describes G major as a “rural, merry” key in his
famous book, Music and Musicians, written in 1905. Perhaps this
explains why it is such a popular key for folk and country music.
The three primary chords (G, C, and D) of G major are also all
available as open shapes—making this an appealing key for
beginners, songwriters, and fingerpickers alike.
1 G (Gmaj, Gmajor, GM)

1 - 3 - 5
G - B - D
1
2 1
(3) (2)
G
B
2
D
G (4) 3 1
G B
G

1 - 3 - 5
G - B - D 13
1
3
3
3
G
D 4 2
2 1
G
B 3
D
G

140-147_C32944 11/15/05 11:40 AM Page 141
G MAJOR 141

1 - 3 - 5
G - B - D
1
1
2 2
G
D 5
4
4 3
G
B

1 - 3 - 5
G - B - D
1
1
3
22 1
B
D 7
G
B G

1 - 3 - 5
G - B - D
1
3
G
D 3
G 3 10
B

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142
G MA J O R
The sixth interval is often added to a major chord to create extra
harmonic interest; the sixth is a benign interval that can be safely
added to a major chord since it harmonizes a sustained tonic
melody note; this makes it a great chord for a final cadence
(ending). 1 This six-note, resonant chord contains four open
strings—perfect for that “big” ending.
1 G6 (Gmaj6, Gmajor6, GM6)

1 - 3 - 5 - 6
G - B - D - E
2 1
(3) (2)
G
B
D
G 1
G B
E

1 - 3 - 5 - 6
G - B - D - E
3 2
1
G
B 4 3
E
G

140-147_C32944 11/15/05 11:41 AM Page 143
G MAJOR 143

1 - 3 - 5 - 6
G - B - D - E
1
3
G
D 5
E 4
B

1 - 3 - 5 - 6
G - B - D - E
4 2
G 3 1
B
E 8
G
G

1 - 3 - 5 - 6
G - B - D - E
2
1
G
3
D
E 9
4
B

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144
G MA J O R
The warm and jazzy major seventh chord is a firm favorite with
jazz guitarists worldwide; it is also frequently used in more
mainstream genres such as pop, rock, funk, and fusion, where it
adds texture and depth, particularly when used as a sustained
chord (e.g. Red Hot Chili Peppers’ Under The Bridge) or as a
funky vamp chord (Bill Withers’ Lovely Day).
1 Gmaj7 (G, Gmajor7, GM7)

1 - 3 - 5 - 7
G - B - D - F#
2
G
D
1 1
G
G B
F#

1 - 3 - 5 - 7
G - B - D - F#
4 3 2 1
G
B 2
D
F#

140-147_C32944 11/15/05 11:42 AM Page 145
G MAJOR 145

1 - 3 - 5 - 7
G - B - D - F#
3
G
D 5
F# 3
B

1 - 3 - 5 - 7
G - B - D - F#
1
4 3
G
B 1
D 7
F#
B G

1 - 3 - 5 - 7
G - B - D - F#
1
3 2
G
1
D
F# 4 10
B
D

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146
G MA J O R
Gsus (G suspended)
Suspended chords are traditionally used to “mask” the identity
of a major chord. This creates tension that resolves when the
chord is followed by a similar major voicing. However, in more
contemporary styles, the suspended chord (especially the sus2)
is used unresolved to create harmonic ambiguity. Gsus2: 2 This
works well followed by G major, shape 5 on page 141.
1 Gsus2
1 - 2 - 5
G - A - D
2
G
1
D
3 1
A
4
G D
G
2 Gsus2
1 - 2 - 5
G - A - D
1
G 3
4 1
D
G 10
A
D

140-147_C32944 11/15/05 11:43 AM Page 147
G MAJOR 147
1 Gsus4
1 - 4 - 5
G - C - D
3
G
1
D
G 1
C 4
G
2 Gsus4
1 - 4 - 5
G - C - D 1
2
G
D 3
4 1
G
C 3
D
G G
3 Gsus4
1 - 4 - 5
G - C - D
1
3
G
D 3
G 10
4
C

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148
G MINOR
G minor is often described as the most melancholic of minor
keys; for guitar players, the total absence of an open chord
shape would suggest that it is a “guitar unfriendly” key. However,
being the relative minor of Bb major makes this a great key for
horn players and so it frequently occurs in genres that feature
horns (jazz, latin, soul, and funk).
1 GM (Gmin, Gminor, G–)

1 - b3 - 5
G - Bb - D
2
G
3
D
Bb 4 1
G D

1 - b3 - 5
G - Bb - D 1
3
G
D 4
1
G
Bb 3
D
G

148-157_C32944 11/15/05 11:46 AM Page 149
G MINOR 149

1 - b3 - 5
G - Bb - D
G 3
2 5
D
4
G
Bb

1 - b3 - 5
G - Bb - D
2 1
Bb 3
D 7
G
D
4
G

1 - b3 - 5
G - Bb - D
1
G 3
4 2 1
D
G 10
Bb
D

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150
G MINOR
The minor sixth chord is a much darker sounding chord than
its basic minor cousin; by way of contrast the minor seventh
has a lighter, breezier texture that gives it a happy, optimistic
quality. Gmin6: 1 Low register, deep voicing with a full sound.
Gmin7: 1 Six-string, full sounding chord that is ideal for
strummed chord rhythms.
1 Gmin6 (Gminor6, Gm6, G–6)

1 - b3 - 5 - 6
G - Bb - D - E
2
G 1
3
E
Bb 4 1
G D

1 - b3 - 5 - 6
G - Bb - D - E
1
G 3
2 5
D
E
Bb

148-157_C32944 11/15/05 11:47 AM Page 151
G MINOR 151

1 - b3 - 5 - b7
G - Bb - D - F 1
3
G
D
1
F
Bb 3
D
G

1 - b3 - 5 - b7
G - Bb - D - F
1
3
G 1
Bb 4
F 8
G
G

1 - b3 - 5 - b7
G - Bb - D - F
1
G
3
2 1
D
F 10
Bb
D

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152
G7
Male vocalists love to sing the blues in G; consequently many
famous blues songs have been written in this key. This is also a
great key for fingerstyle blues since the three primary chords
(G7, C7, and D7) are all playable as open shapes. 1 Six-string
open voicing with a big sound—great for a quick change to an
open C or C7 chord.
1 G7 (Gdom7)
1 - 3 - 5 - b7
G - B - D - F
3 2
G
B
1
D
G 1
G B
F
2 G7 (Gdom7)
1 - 3 - 5 - b7
G - B - D - F 1
3
G
D 2
1
F
B 3
4
F
G

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G7 153
3 G7 (Gdom7)
1 - 3 - 5 - b7
G - B - D - F
3 2
G
D 5
4
F
B
4 G7 (Gdom7)
1 - 3 - 5 - b7
G - B - D - F
3 2
G 1
B 4
F 8
G
G
5 G7 (Gdom7)
1 - 3 - 5 - b7
G - B - D - F
1
3
G
1
D
F 4 10
B
D

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154
G7
Dominant seventh chords with a sharpened fifth are the
ultimate perfect cadence chords (e.g. G7#5 to C) and really
don’t work too well as a static sound—they imply harmonic
movement. By contrast, a suspended seventh chord also
suggests movement but less dramatically than its sharpened
fifth cousin, and so is frequently left unresolved to create static,
ambiguous harmonic backdrops.
1 G7#5 (G7aug, G7+)

1 - 3 - #5 - b7
G - B - D# - F
2
D#
G 1
G B
F
2 G7#5 (G7aug, G7+)

1 - 3 - #5 - b7
G - B - D# - F 1
2
G
3
F 4
B 3
D#

148-157_C32944 11/15/05 11:49 AM Page 155
G7 155
1 G7sus (G7sus4)
1 - 4 - 5 - b7
G - C - D - F
3 1
F
G 1
4
C
G
2 G7sus (G7sus4)
1 - 4 - 5 - b7
G - C - D - F
1
3
G
D
4 1
F
C 3
D
G G
3 G7sus (G7sus4)
1 - 4 - 5 - b7
G - C - D - F
1
G 3
1
D
F 10
4
C
D

148-157_C32944 11/15/05 11:50 AM Page 156
156
G7
This selection of “spicy” dominant seventh chords are not just
used for jazz, but also occur in many more “mainstream” genres
and can be used to add a twist and extra depth to an otherwise
predictable chord sequence. G13: 1 This big, resonant chord
gets its full sound from the two high open strings that contrast
with the deep bass note on the sixth string.
G9 (Gdom9)
1 - 3 - 5 - b7 - 9
G - B - D - F - A
2 1
G
4 3 4
B
G F
A
G7#9
1 - 3 - 5 - b7 - #9
G - B - D - F - A#
2 1
G
3 4
B
F 4
A#

148-157_C32944 11/15/05 11:50 AM Page 157
G7 157
G7b9
1 - 3 - 5 - b7 - b9
G - B - D - F - Ab
2 1
1
G
B
3 4
F
Ab
1 G13
1 - 3 - 5 - b7 - 9 - 13
G - B - D - F - A- E
3
G
4 2
F
A 1
B
E G
2 G13
1 - 3 - 5 - b7 - 9 - 13
G-B-D-F-A-E
2 1
3
G
B 3
F 9
A
4
E

158-165_C32944 11/15/05 11:54 AM Page 158
158
Ab MA J O R
From a guitarist’s perspective, Ab major has none of the
resonance of E, A, or G major since only the seventh of the
scale (G) can be played as an open string—consequently, there
are no open chord shapes in this key. However, it should not
be dismissed as an infrequently encountered key. Professional
guitarists are equally proficient in every key; listen to ex-Steely
Dan sideman Larry Carlton soloing effortlessly in Ab on Don’t
Give It Up (from his 1987 solo album Last Nite).
1 Ab (Abmaj, Abmajor, AbM)

1 - 3 - 5
Ab - C - Eb
1
4 3 1
Ab
C
Eb
Ab 1
Ab
1 - 3 - 5
Ab - C - Eb 1
3
Ab
Eb 4 2
1
Ab
C 4
Eb
Ab

158-165_C32944 11/15/05 11:54 AM Page 159
Ab MAJOR 159

1 - 3 - 5
Ab - C - Eb
Ab 2
Eb 6
4 3
Ab
C

1 - 3 - 5
Ab - C - Eb
1
3
C 2 1
Eb 8
Ab
C
Ab
1 - 3 - 5
Ab - C - Eb
1
3
Ab
3
Eb
Ab 3 11
C

158-165_C32944 11/15/05 11:55 AM Page 160
160
Ab MA J O R
Sixth chords are simply major chords with the interval of a sixth
added for extra harmonic texture. To transform a basic Ab major
chord to a “sixth,” a single F note is added to the basic voicing.
3 Concise four-note shape with no doubled notes but the third
raised an octave for a resonant sound. 5 This is an identical
voicing to 3, but since it is played higher up the neck and on
lower strings, it has a fuller sound.
1 Ab6 (Abmaj6, Abmajor6, AbM6)

1 - 3 - 5 - 6
Ab - C - Eb - F
2
1
Ab
F 4 3
C 3
Eb
Ab
1 - 3 - 5 - 6
Ab - C - Eb - F
3 2
1
Ab
C 4 4
F
Ab

158-165_C32944 11/15/05 11:55 AM Page 161
Ab MAJOR 161

1 - 3 - 5 - 6
Ab - C - Eb - F
1
3
Ab
Eb 6
F 4
C

1 - 3 - 5 - 6
Ab - C - Eb - F
4 2
3 1
Ab
C
F 9
Ab
Ab
1 - 3 - 5 - 6
Ab - C - Eb - F
2
1
Ab
3
Eb
F 10
4
C

158-165_C32944 11/15/05 11:56 AM Page 162
162
Ab MA J O R
Major seventh chords play a big part in the bossa nova sound
that was created by the legendary composer Antonio Carlos
Jobim in the early 60s. The “summery” sound of these chords is
perfect for the subtle rhythms and jazzy textures of a style with
Latin-American roots. With melodies frequently featuring horn
players, Ab is a common key for this genre.
1 Abmaj7 (Ab, Abmajor7, AbM7)

1 - 3 - 5 - 7
Ab - C - Eb - G
1
1
1
Eb
Ab 1
3
C
G
Ab
1 - 3 - 5 - 7
Ab - C - Eb - G
1
Ab 3
4 2
G
C 4
Eb

158-165_C32944 11/15/05 11:56 AM Page 163
Ab MAJOR 163

1 - 3 - 5 - 7
Ab - C - Eb - G
3
Ab
Eb 6
G 3
C

1 - 3 - 5 - 7
Ab - C - Eb - G
1
4 3
Ab
C 1
Eb 8
G
C
Ab
1 - 3 - 5 - 7
Ab - C - Eb - G
1
3 2
Ab
1
Eb
G 4 11
C
Eb

158-165_C32944 11/15/05 11:57 AM Page 164
164
Ab MA J O R
Absus (Ab suspended)
Composers frequently use suspended chords to create harmonic
ambiguity since the addition of the second (Bb) or fourth (Db)
“suspends” the third of the chord and disguises its tonality.
Absus2: 1 A high register four-note voicing with the second
as the top voice of the chord. Absus4: 1 Unusual four-string
inversion with the fifth in the bass.
1 Absus2
1 - 2 - 5
Ab - Bb - Eb
3 1
Ab
Eb 6
4
Ab
Bb
Ab
2 Absus2
1 - 2 - 5
Ab - Bb - Eb
1
Ab 3
4 1
Eb
Ab 11
Bb
Eb

158-165_C32944 11/15/05 11:57 AM Page 165
Ab MAJOR 165
1 Absus4
1 - 4 - 5
Ab - Db - Eb
1
1
2 1
Eb
Ab 1
Db
4
Ab
2 Absus4
1 - 4 - 5
Ab - Db - Eb
1
2
Ab
Eb 3
4 1
Ab
Db 4
Eb
Ab
Ab
3 Absus4
1 - 4 - 5
Ab - Db - Eb
1
3
Ab
3
Eb
Ab 11
4
Db

166-175_C32944 11/15/05 12:18 PM Page 166
166
Ab M I N O R
The key of Ab minor has a key signature containing seven
flats, as it is the relative minor key of Cb major and this makes
it an unlikely guitar key. However, the chord of Ab minor could
easily be encountered as a passing chord or as a temporary
modulation within a song so it is well worth familiarizing yourself
with these voicings.
1 Abm (Abmin, Abminor, Ab–)

1 - b3 - 5
Ab - Cb - Eb
2 1
4 1
Ab
Cb
Eb
Ab 1
Ab
1 - b3 - 5
Ab - Cb - Eb
1
Ab
3
Eb 4
Ab 1
Cb 4
Eb
Ab

166-175_C32944 11/15/05 12:18 PM Page 167
Ab MINOR 167

1 - b3 - 5
Ab - Cb - Eb
Ab 3
2 6
Eb
4
Ab
Cb

1 - b3 - 5
Ab - Cb - Eb
2 1
Cb 3
Eb 8
Ab
4
Eb
Ab
1 - b3 - 5
Ab - Cb - Eb
1
Ab 3
4 2 1
Eb
Ab 11
Cb
Eb

166-175_C32944 11/15/05 12:19 PM Page 168
168
Ab M I N O R
A great way to “spice up” a basic Ab minor chord is to add the
sixth (F) or the flattened seventh (Gb). Abmin6: 2 A four-note,
mid-register voicing with the third raised an octave—ideal for
syncopated funk rhythms. Abmin7: 2 A simple four-note chord
containing a doubled root but no fifth, ideal for arpeggiated
chord sequences.
1 Abmin6 (Abminor6, Abm6, Ab–6)

1 - b3 - 5 - 6
Ab - Cb - Eb - F
2
Ab 1
3
F
4 3
Cb
Eb
Ab
1 - b3 - 5 - 6
Ab - Cb - Eb - F
1
Ab 3
2 6
Eb
F
Cb

166-175_C32944 11/15/05 12:19 PM Page 169
Ab MINOR 169

1 - b3 - 5 - b7
Ab - Cb - Eb - Gb 1
Ab
3
Eb
1
Gb
Cb 4
Eb
Ab

1 - b3 - 5 - b7
Ab - Cb - Eb - Gb
1
3
Ab 1
Cb 4
Gb 9
Ab
Ab
1 - b3 - 5 - b7
Ab - Cb - Eb - Gb
1
Ab 3
2 1
Eb
Gb 11
Cb
Eb

166-175_C32944 11/15/05 12:19 PM Page 170
170
Ab7
Although you are unlikely to encounter a blues in Ab, a blues in
the key of Eb is fairly common, particularly in jazz and funk styles.
Since Ab7 is the second chord of an Eb blues, there is a good
chance you will need at least one of these five handy shapes at
some point.
1 Ab7 (Abdom7)
1 - 3 - 5 - b7
Ab - C - Eb - Gb
1
1
1
Eb
2 1
Ab
C
Gb
Ab
2 Ab7 (Abdom7)
1 - 3 - 5 - b7
Ab - C - Eb - Gb
1
Ab
3
Eb 2
1
Gb
C 4
4
Gb
Ab

166-175_C32944 11/15/05 12:19 PM Page 171
Ab7 171
3 Ab7 (Abdom7)
1 - 3 - 5 - b7
Ab - C - Eb - Gb
3 2
Ab
Eb 6
Gb 4
C
4 Ab7 (Abdom7)
1 - 3 - 5 - b7
Ab - C - Eb - Gb
3 2
Ab 1
C 4
Gb 9
Ab
Ab
5 Ab7 (Abdom7)
1 - 3 - 5 - b7
Ab - C - Eb - Gb
1
3
Ab
1
Eb
Gb 4 11
C
Eb

166-175_C32944 11/15/05 12:20 PM Page 172
172
Ab7
These two types of seventh chord not only sound different but
also perform very different musical tasks. Adding a sharpened
fifth to a dominant seventh chord heightens the “pull” back to
the home chord in a perfect (V–I) cadence. A suspended
dominant seventh chord has a more static quality and can be
alternated with its related seventh shape to create harmonic
movement, e.g. a repetition of Ab7 could be replaced by
Ab7sus - Ab7 - Ab7sus - Ab7.
1 Ab7#5 (Ab7aug, Ab7+)

1 - 3 - #5 - b7
Ab - C - E - Gb
1
2
Ab
3
Gb 4
C 4
E
Ab
2 Ab7#5 (Ab7aug, Ab7+)
1 - 3 - #5 - b7
Ab - C - E - Gb
1
2
Gb 1
C
E 9
Ab

166-175_C32944 11/15/05 12:20 PM Page 173
Ab7 173
1 Ab7sus (Ab7sus4)
1 - 3 - 5 - b7
Ab - Db - Eb - Gb 1
3
Ab
Eb
4 1
Gb
Db 4
Eb
Ab
2 Ab7sus (Ab7sus4)
1 - 3 - 5 - b7
Ab - Db - Eb - Gb
Ab 3 2
Eb 6
Gb
4
Db
Ab
3 Ab7sus (Ab7sus4)
1 - 3 - 5 - b7
Ab - Db - Eb - Gb
1
Ab 3
1
Eb
Gb 11
4
Db
Eb

166-175_C32944 11/15/05 12:21 PM Page 174
174
Ab7
Ninth and thirteenth chords are often wrongly assumed to
have been “invented” by jazz musicians. However, during the
Impressionist movement of the late nineteenth century, the
classical composer Claude Debussy frequently incorporated
dominant ninth and thirteenth chords in his work. These new
sounds were also sometimes left “unresolved” exactly as
they would be in the blues and jazz that followed in the
twentieth century.
Ab9 (Abdom9)
1 - 3 - 5 - b7 - 9
Ab - C - Eb - Gb - Bb
2 1
Ab
C
4 3 5
Gb
Bb
Ab
Ab7#9
1 - 3 - 5 - b7 - #9
Ab - C - Eb - Gb - B
2 1
Ab
3 5
C
Gb 4
B

166-175_C32944 11/15/05 12:21 PM Page 175
Ab7 175
Ab7b9
1 - 3 - 5 - b7 - b9
Ab - C - Eb - Gb - Bbb
2 1
Ab 1
C 3 5
Gb
BBb
1 Ab13
1 - 3 - 5 - b7 - 9 - 13
Ab - C - Eb - Gb - Bb - F
3
Ab
1
4 2 1
Gb
Bb 1
C
F
Ab
2 Ab13
1 - 3 - 5 - b7 - 9 - 13
Ab - C - Eb - Gb - Bb - F
2 1
Ab
3
C 3
Gb 10
Bb
4
F

176_183_C32944 11/15/05 12:24 PM Page 176
176
A MA J O R
A major is a very “guitar friendly” key; not only are most of the
open strings notes within the A major scale, but also the three
primary chords (A, D, and E) are all open chord shapes. 1 Classic
open, five-string voicing with doubled root and fifth. 2 A variation
on the previous shape that replaces the doubled fifth with a high
root note creating a more “open” sound.
1 A (Amaj, Amajor, AM)

1 - 3 - 5
A - C# - E
1
3
A 2
3
E 3
A 1
C#
E

1 - 3 - 5
A A - C# - E
1
1
A 1
E
A 2
C#
4
A

176_183_C32944 11/15/05 12:25 PM Page 177
A MAJOR 177

1 - 3 - 5
A - C# - E
1
3
A
E 4 2
1
A
C# 5
E
A

1 - 3 - 5
A - C# - E
A 2
E 7
4 3
A
C#

1 - 3 - 5
A - C# - E A
1
3
A
3
E
A 3 12
C#

176_183_C32944 11/15/05 12:25 PM Page 178
178
A MA J O R
The sixth chord has been used in every style from rockabilly
to jazz as a final cadence (ending) chord. 2 The inclusion of
the open root note on the fifth string adds extra depth to this
mid-register voicing. 5 Versatile four-note voicing with a raised
third and a solid “root plus fifth” power chord foundation.
1 A6 (Amaj6, Amajor6, AM6)

1 - 3 - 5 - 6
A - C# - E - F#
1
1
A
E
1 1
A
C#
F#

1 - 3 - 5 - 6
A A - C# - E - F#
A
3 2
F#
C# 2 4
E
A

176_183_C32944 11/15/05 12:25 PM Page 179
A MAJOR 179

1 - 3 - 5 - 6
A - C# - E - F#
1
3
A
E 7
F# 4
C#

1 - 3 - 5 - 6
A - C# - E - F#
4 2
A 3 1
C#
F# 10
A

1 - 3 - 5 - 6
A - C# - E - F# A
2
1
A
3
E
F# 11
C# 4

176_183_C32944 11/15/05 12:26 PM Page 180
180
A MA J O R
The major seventh is arguably the jazziest and coolest of all the
major chords, though it’s not just for jazz but is used in many
other styles. For a brilliant example of usage within the rock
genre, listen to the verse section of Jimi Hendrix’s Castles Made
of Sand from his outstanding 1967 album Axis: Bold as Love.
1 Amaj7 (A, Amajor7, AM7)

1 - 3 - 5 - 7
A - C# - E - G#
2 1
A
E 3
G# 1
C#
E

A 1 - 3 - 5 - 7
A - C# - E - G#
1
A 1
E 1
A 1
C#
3
G#

176_183_C32944 11/15/05 12:26 PM Page 181
A MAJOR 181

1 - 3 - 5 - 7
A - C# - E - G#
4 3 2 1
A
C# 4
E
G#

1 - 3 - 5 - 7
A - C# - E - G#
3
A
E 7
G# 3
C#

1 - 3 - 5 - 7
A - C# - E - G# A
1
4 3
A
1
C#
E 9
G#
C#

176_183_C32944 11/15/05 12:27 PM Page 182
182
A MA J O R
Asus (A suspended)
Asus2: 1 Exclusive to the key of A, this five-string shape is
perfect for country-flavored guitar—try “hammering-on” the
C# (fret 2, string 2) for a fantastic pedal-steel simulation.
Asus4: 1 Resonant open chord with doubled root and fifth
that also resolves perfectly to A major, shape 1 on page 176.
1 Asus2
1 - 2 - 5
A - B - E
1
A 2
E
A 1
B
E
2 Asus2
1 - 2 - 5
A A - B - E
1
A
4 2
A
B 4
E

176_183_C32944 11/15/05 12:27 PM Page 183
A MAJOR 183
1 Asus4
1 - 4 - 5
A - D - E
1
A 2
E
4 1
A
D
E
2 Asus4
1 - 4 - 5
A - D - E
A 3 1
A 4
D 5
E
3 Asus4
1 - 4 - 5
A - D - E A
1
A 3
E 7
4
A
4
D

184_193_C32944 11/15/05 12:31 PM Page 184
184
A MINOR
The characteristics of the key of A minor have been described
as “simple, naïve, sad, and rustic”—qualities that perfectly describe
Beethoven’s Für Elise written in Am. They could also be used
to describe The Animals’ version of the folk standard, House of
the Rising Sun, with its hypnotic cyclic Am chord sequence in
12/8 time.
1 Am (Amin, Aminor, A–)

1 - b3 - 5
A - C - E
2
A 3 1
E
A 1
C
E

1 - b3 - 5
A A - C - E
2 1
4 1
A
C
E
A 2

184_193_C32944 11/15/05 12:31 PM Page 185
A MINOR 185

1 - b3 - 5
A - C - E
1
3
A
E 4
1
A
C 5
E
A

1 - b3 - 5
A - C - E
A 3
E 2 7
4
A
C

1 - b3 - 5
A - C - E A
2 1
C 3
E 9
A
4
E

184_193_C32944 11/15/05 12:31 PM Page 186
186
A MINOR
Sometimes a basic minor chord just doesn’t add enough “color”—
can you imagine Monty Norman’s atmospheric James Bond
Theme without the classic accompaniment featuring minor sixth
chords? Similarly, the Doobie Brothers’ 70s classic Long Train
Runnin’ opens with a distinctive minor seventh vamp that just
wouldn’t work if it had been based on a straight minor chord.
1 Amin6 (Aminor6, Am6, A–6)

1 - b3 - 5 - 6
A - C - E - F#
2
A 3 1
E
4 1
A
C
F#

1 - b3 - 5 - 6
A A - C - E - F#
1
A 3
2 7
E
F#
C

184_193_C32944 11/15/05 12:31 PM Page 187
A MINOR 187

1 - b3 - 5 - b7
A - C - E - G
2
A 3 1
E
A 1
4
C
G

1 - b3 - 5 - b7
A - C - E - G
1
3
A
E
1
G
C 5
E
A

1 - b3 - 5 - b7
A - C - E - G A
1
3 2
A
E 2 7
G
C

184_193_C32944 11/15/05 12:32 PM Page 188
188
A7
Since A major is one of the commonest keys for guitar-led blues,
these five A7 shapes really are essential for any self-respecting
blues player. For a brilliant example of how good blues-rock can
sound in this key listen to Jimmy Page’s blistering riffs and use
of seventh chords in Led Zeppelin’s classic Rock and Roll from
their untitled fourth album.
1 A7 (Adom7)
1 - 3 - 5 - b7
A - C# - E - G
2
(1)
A
E 3
(2)
G 1
C#
E
2 A7 (Adom7)
1 - 3 - 5 - b7
A A - C# - E - G
1
A 1
E 1
A 1
2
C#
G

184_193_C32944 11/15/05 12:32 PM Page 189
A7 189
3 A7 (Adom7)
1 - 3 - 5 - b7
A - C# - E - G 1
A 3
E 2
1
G
C# 5
4
G
A
4 A7 (Adom7)
1 - 3 - 5 - b7
A - C# - E - G
3 2
A
E 7
G 4
C#
5 A7 (Adom7)
1 - 3 - 5 - b7
A - C# - E - G A
2
1
3
C#
G 10
4
A
E

184_193_C32944 11/15/05 12:33 PM Page 190
190
A7
Below are two very useful dominant sevenths with the fifth of the
chord sharpened—commonly described as “sharp five” seventh
chords. The sharpened fifth is seldom doubled (unlike the natural
fifth) since it has such a strong sound. On the page opposite
there are three “suspended seventh” voicings—these chords are
often simply referred to as “seventh sus” chords, since a
suspended second dominant seventh is an anomaly.
1 A7#5 (A7aug, A7+)

1 - 3 - #5 - b7
A - C# - E# - G 1
2
A
3
G 4
C# 5
E#
2 A7#5 (A7aug, A7+)

1 - 3 - #5 - b7
A A - C# - E# - G
1
2
G 1
C#
E# 10
A

184_193_C32944 11/15/05 12:33 PM Page 191
A7 191
1 A7sus (A7sus4)
1 - 4 - 5 - b7
A - D - E - G
2
(1)
A
E
G 4 1
(3)
D
E
2 A7sus (A7sus4)
1 - 4 - 5 - b7
A - D - E - G 1
A
3
E
G 4 1
D 5
E
A
3 A7sus (A7sus4)
1 - 4 - 5 - b7
A - D - E - G A
1
A 3 2
E 7
G
4
D

184_193_C32944 11/15/05 12:34 PM Page 192
192
A7
Here are five dominant sevenths with either the ninth or
thirteenth (often also including the ninth) added; these are
“color tones” that are added to a basic seventh chord to create
additional harmonic interest. A9 Versatile four-note ninth
voicing with a bright and breezy sound. A13: 1 The inclusion
of the open root note on the fifth string adds weight to this
complex five-string chord.
A9 (Adom9)
1 - 3 - 5 - b7 - 9
A - C# - E - G - B
2 1
A
4 3 6
C#
G
B
A7#9
1 - 3 - 5 - b7 - #9
A A - C# - E - G - B#
2 1
A
3 6
C#
G
4
B#

184_193_C32944 11/15/05 12:34 PM Page 193
A7 193
A7b9
1 - 3 - 5 - b7 - b9
A - C# - E - G - Bb
2 1
A 1
C# 3 6
G
Bb
1 A13
1 - 3 - 5 - b7 - 9 - 13
A - C# - E - G - B - F#
1
A
4 3 1
G
B 2
C#
F#
2 A13
1 - 3 - 5 - b7 - 9 - 13
A - C# - E - G - B - F# A
2 1
3
A
C# 3
G 11
B
4
F#

194-201_C32944 11/15/05 12:37 PM Page 194
194
Bb MA J O R
Horn players (saxophone, trumpet, and trombone) love the key of
Bb. So you are most likely going to need to use this key when
playing in styles that feature these instruments (e.g. jazz, Chicago
blues, soul, and funk). 1 The lowest shape on the guitar neck in
this key is in second position with its root on the fifth string.
1 Bb (Bbmaj, Bbmajor, BbM)

1 - 3 - 5
Bb - D - F
1
3
Bb
F 3
Bb 3 1
D

1 - 3 - 5
Bb - D - F
Bb D
3 1
1
F
Bb 3
D

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Bb MAJOR 195

1 - 3 - 5
Bb - D - F 1
3
Bb
F 4 2
1
Bb
D 6
F
Bb

1 - 3 - 5
Bb - D - F
Bb 2
F 8
4 3
Bb
D

1 - 3 - 5
Bb - D - F
1
3 Bb
D 2 1
F 10
Bb
D

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196
Bb MA J O R
Playing the blues in Bb is extremely common in the jazz world
and often “freaks out” the novice guitarist who would probably be
more comfortable playing in A just a half-step (one fret) away.
George Gershwin’s I Got Rhythm is one of the most frequently
used chord sequences in jazz (usually with an original melody as
in Charlie Parker’s Anthropology) and is normally played in Bb
with the first chord played as Bb6.
1 Bb6 (Bbmaj6, Bbmajor6, BbM6)

1 - 3 - 5 - 6
Bb - D - F - G
1
3
Bb
F
G 4 1
D

1 - 3 - 5 - 6
Bb - D - F - G
4 2
Bb Bb
D 3
1
G
Bb 3

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Bb MAJOR 197

1 - 3 - 5 - 6
Bb - D - F - G
3 2
1
Bb
D 4 6
G
Bb

1 - 3 - 5 - 6
Bb - D - F - G
1
3
Bb
F 8
G 4
D

1 - 3 - 5 - 6
Bb - D - F - G
4 2
Bb 3 1 Bb
D
G 11
B

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198
Bb MA J O R
Since the key of Bb is predominantly used in jazz, and the major
seventh is used more widely than a straight major chord in the
genre, these five shapes are absolutely essential stuff for the
aspiring jazz guitarist. 1 The lowest shape of Bbmaj7 is at the
first fret. 3 Sweet and light-sounding “closed” piano style
voicing—great for post-bop style comping.
1 Bbmaj7 (Bb, Bbmajor7, BbM7)

1 - 3 - 5 - 7
Bb - D - F - A
1
Bb 3 2
1
F
A 4 1
D
F

1 - 3 - 5 - 7
Bb - D - F - A
Bb 1
1
F
Bb 3
3
D
A

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Bb MAJOR 199

1 - 3 - 5 - 7
Bb - D - F - A
4 3 2 1
Bb
D 5
F
A

1 - 3 - 5 - 7
Bb - D - F - A
3
Bb
F 8
A 3
D

1 - 3 - 5 - 7
Bb - D - F - A
1
Bb
4 3 Bb
D 1
F 10
A
D

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200
Bb MA J O R
Bbsus (Bb suspended)
Suspended chords are frequently used in ballads and slow tempo
tunes where additional harmonic movement may be required.
Bbsus2: 1 and Bbsus4: 1 Experiment by substituting a whole
bar of Bb major for one beat on these chords; arpeggiating the
chords with a pick or fingerstyle will sound cool too.
1 Bbsus2
1 - 2 - 5
Bb - C - F
1
3
Bb
4 1
F
Bb 1
C
F
2 Bbsus2
1 - 2 - 5
Bb - C - F
Bb
Bb 3 1
F 8
4
Bb
C

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Bb MAJOR 201
1 Bbsus4
1 - 4 - 5
Bb - Eb - F
1
3
Bb
F 3
Bb 1
4
Eb
2 Bbsus4
1 - 4 - 5
Bb - Eb - F 1
2
Bb
F 3
Bb 4 1
Eb 6
F
Bb
3 Bbsus4
1 - 4 - 5
Bb - Eb - F
Bb
Bb 3
F 8
4
Bb
4
Eb

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202
Bb M I N O R
Bb minor is the relative minor of Db major and shares the same
key signature containing five flats. It is infrequently encountered
in rock and pop music due to the lack of open chord shapes in
this key. However, it is used widely in genres dominated by horns
and/or horn sections such as jazz, soul, and funk. 3 Full six-string
minor shape with a big, resonant sound.
1 Bbm (Bbmin, Bbminor, Bb–)

1 - b3 - 5
Bb - Db - F
1
Bb 3
F 4 2 1
Bb 1
Db
F

1 - b3 - 5
Bb - Db - F
2 1
Bb Db
1
F
Bb 3
4
F

202-211_C32944 11/15/05 12:42 PM Page 203
Bb MINOR 203

1 - b3 - 5
Bb - Db - F
1
Bb
3
F 4
Bb 1
Db 6
F
Bb

1 - b3 - 5
Bb - Db - F
Bb 3
2 8
F
4
Bb
Db

1 - b3 - 5
Bb - Db - F
1
2
Bb
Db 3
F 10
Bb
4
F

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204
Bb M I N O R
The major sixth and minor seventh intervals are frequently used
to change the quality of a minor chord. A straight Bbm chord has
a sad but fairly plain sound; adding the sixth makes the chord
sound darker and more ominous, while the minor seventh
transforms it into a lighter, jazzy sounding chord.
1 Bbmin6 (Bbminor6, Bbm6, Bb–6)

1 - b3 - 5 - 6
Bb - Db - F - G
1
Bb 3
F 2
G 1
Db

1 - b3 - 5 - 6
Bb - Db - F - G
Bb 1
Bb 3
2 8
F
G
Db

202-211_C32944 11/15/05 12:43 PM Page 205
Bb MINOR 205

1 - b3 - 5 - b7
Bb - Db - F - Ab
1
Bb 3
2 1
F
Ab 1
Db
F

1 - b3 - 5 - b7
Bb - Db - F - Ab
1
Bb 3
F
1
Ab
Db 6
F
Bb

1 - b3 - 5 - b7
Bb - Db - F - Ab
2
Bb
Bb 3
2 8
F
Ab
Db

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206
Bb7
You are most likely to encounter the Bb7 chord in one of two
musical situations: as the tonic chord in a Bb7 blues, or as
the dominant chord in the key of Eb. 2 A high register chord
played quite low on the neck that’s great for syncopated rhythm
work. 5 This high register, four-note voicing is great for “chips”
rhythm playing or when you need extra bite to cut through the
rhythm section.
1 Bb7 (Bbdom7)
1 - 3 - 5 - b7
Bb - D - F - Ab
1
Bb 3
1
F
Ab 4 1
D
F
2 Bb7 (Bbdom7)
1 - 3 - 5 - b7
Bb - D - F - Ab
Bb 1
1
F
2 3
Bb
D
Ab

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Bb7 207
3 Bb7 (Bbdom7)
1 - 3 - 5 - b7
Bb - D - F - Ab 1
Bb 3
F 2
1
Ab
D 6
F
Bb
4 Bb7 (Bbdom7)
1 - 3 - 5 - b7
Bb - D - F - Ab
3 2
Bb
F 8
Ab 4
D
5 Bb7 (Bbdom7)
1 - 3 - 5 - b7
Bb - D - F - Ab
2
1 Bb
D 3
Ab 11
4
Bb
F

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208
Bb7
The Bb7#5 chord has a very “dark” sound that can be used
to heighten harmonic tension in a V (Bb7#5) to I (Eb/Ebm)
perfect cadence. Suspended seventh chords can also be used
to “spice up” a perfect cadence but in a different way: by
creating additional harmonic movement within a V–I resolution
(e.g. Bb7sus - Bb7 - Bb). This works well in ballads or mid to
slow tempo tunes.
1 Bb7#5 (Bb7aug, Bb7+)

1 - 3 - #5 - b7
Bb - D - F# - Ab
1
2
Bb
3
Bb 4
D 6
F#
2 Bb7#5 (Bb7aug, Bb7+)

1 - 3 - #5 - b7
Bb - D - F# - Ab
1
Bb Ab
2
1
D
F# 11
Bb

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Bb7 209
1 Bb7sus (Bb7sus4)
1 - 4 - 5 - b7
Bb - Eb - F - Ab
1
Bb 3
1
F
Ab 1
4
Eb
F
2 Bb7sus (Bb7sus4)
1 - 4 - 5 - b7
Bb - Eb - F - Ab
1
Bb
3
F
4 1
Ab
Eb 6
F
Bb
3 Bb7sus (Bb7sus4)
1 - 4 - 5 - b7
Bb - Eb - F - Ab
Bb
Bb 3 2
F 8
Ab
4
Eb

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210
Bb7
Dominant seventh chords can be “extended” by stacking
additional intervals such as ninths and thirteenths on top of
the basic four-note chord. Bb7#9 This voicing incorporates
the open fourth string for extra resonance. Bb13: 1 Sixth
string “root” voicing with the fifth and ninth intervals omitted
but still retaining a distinct “thirteenth” quality.
Bb9 (Bbdom9)
1 - 3 - 5 - b7 - 9
Bb - D - F - Ab - C
2
3
Bb
D 3
Ab 1
C
F
Bb7#9
1 - 3 - 5 - b7 - #9
Bb - D - F - Ab - C#
1
Bb Bb
2
4 3
D
Ab 1
C#
F

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Bb7 211
Bb7b9
1 - 3 - 5 - b7 - b9
Bb - D - F - Ab - Cb
1
2
Bb
3
D
Ab 1
Cb
F
1 Bb13
1 - 3 - 5 - b7 - 9 - 13
Bb - D - F - Ab - C - G
1
2
Bb
3
Ab
D
4 6
G
2 Bb13
1 - 3 - 5 - b7 - 9 - 13
Bb - D - F - Ab - C - G
1
Ab
3
4 2 Bb
D
G 11
Bb

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212
B MA J O R
Although only chord IV (E) is available as an open chord, and the
key signature contains five sharps, B major is nonetheless a
popular key. The lack of an open B chord does not stop the
fretted versions sounding full and resonant. 3 The big six-string,
full barre voicing that’s great for a full strummed rhythm sound.
1 B (Bmaj, Bmajor, BM)

1 - 3 - 5
B - D# - F#
1
3
B
3
F#
B 3 2
D#

1 - 3 - 5
B - D# - F#
1
3 1
D# 1
F#
B 4
B D#
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B MAJOR 213

1 - 3 - 5
B - D# - F# 1
3
B
F# 4 2
1
B
D# 7
F#
B

1 - 3 - 5
B - D# - F#
B 2
F# 9
4 3
B
D#

1 - 3 - 5
B - D# - F#
1
3
2 1
D#
F# 11
B
D#
B
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:212 (SY) Text (110)11-AC32944 #175 DTP:174(P) Page:213
212-219_C32944 11/15/05 12:50 PM Page 214
214
B MA J O R
Sixth chords add a major sixth to the basic major chord, hence
their four-note (1 - 3 - 5 - 6) harmonic spelling. The five shapes
below can be used as a substitute for any of the basic B major
chords shown on pages 212-213. 1 First position voicing with
open B-string included and doubled root for extra resonance.
3 A “closed” simple four-string voicing with no doubled notes.
1 B6 (Bmaj6, Bmajor6, BM6)

1 - 3 - 5 - 6
B - D# - F# - G#
3 1
2
B
D#
4 1
G#
B
F#

1 - 3 - 5 - 6
B - D# - F# - G#
1
B 3
F# 3
B 2
3
B D#
G#

212-219_C32944 11/15/05 12:50 PM Page 215
B MAJOR 215

1 - 3 - 5 - 6
B - D# - F# - G#
4 2 1
B
D# 3
G#
B 4

1 - 3 - 5 - 6
B - D# - F# - G#
3 2
1
B
D# 4 7
G#
B

1 - 3 - 5 - 6
B - D# - F# - G#
1
3
B
F# 9
4
G#
D#
B

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216
B MA J O R
The major seventh chord has a smooth and sophisticated sound
that is often associated with jazz but can also be used in many
other genres. 1 An unusual voicing that uses the open B-string
to add a dash of chromatic dissonance—try this chord with a lush
chorus effect. 4 Four-note “closed” voicing for a pure and simple
major seventh sound.
1 Bmaj7 (B, Bmajor7, BM7)

1 - 3 - 5 - 7
B - D# - F# - A#
2 1
B
D# 4
A# 3 1
B
F#

1 - 3 - 5 - 7
B - D# - F# - A#
1
3 2
B
1
F#
4 2
A#
B D#
F#

212-219_C32944 11/15/05 12:50 PM Page 217
B MAJOR 217

1 - 3 - 5 - 7
B - D# - F# - A#
1
1
1
F#
B 4
3
D#
A#

1 - 3 - 5 - 7
B - D# - F# - A#
4 3 2 1
B
D# 6
F#
A#

1 - 3 - 5 - 7
B - D# - F# - A#
3
B
F# 9
A#
D#
3
B

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218
B MA J O R
Bsus (B suspended)
Because they contain no third, suspended chords are frequently
used to create harmonic ambiguity, since they are technically
neither major nor minor. Bsus2: 2 High register, four-note
chord with doubled root—ideal for creating a big sound in a
twin guitar rhythm section. Bsus4: 2 Full six-string barre that
can be used with B major, shape 1 on page 213 to create
exciting rhythm parts.
1 Bsus2
1 - 2 - 5
B - C# - F#
1
B 3
4 1
F#
B 2
C#
F#
2 Bsus2
1 - 2 - 5
B - C# - F#
3 1
B
F# 9
4
B B
C#

212-219_C32944 11/15/05 12:51 PM Page 219
B MAJOR 219
1 Bsus4
1 - 4 - 5
B - E - F#
1
3
B
F# 3
B 2
4
E
2 Bsus4
1 - 4 - 5
B - E - F#
1
2
B
F# 3
4 1
B
E 7
F#
B
3 Bsus4
1 - 4 - 5
B - E - F#
B 3
F# 9
4
B
E
4 B
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220
B MINOR
The key of B minor is the relative minor key of D major (key
signature: two sharps) and is a popular guitar key. Descending
bass lines with arpeggiated chords are easy to create utilizing the
open fifth string (this works best when using shape 1 below)—
consequently many rock ballads and slower tempo songs have
been written in this key.
1 Bm (Bmin, Bminor, B–)

1 - b3 - 5
B - D - F#
1
3
B
4 2 1
F#
B 2
D
F#

1 - b3 - 5
B - D - F#
2 1
1
D
F#
B 4
4
B F#

220-229_C32944 11/15/05 12:55 PM Page 221
B MINOR 221

1 - b3 - 5
B - D - F# 1
3
B
F# 4
1
B
D 7
F#
B

1 - b3 - 5
B - D - F#
B 3
2 9
F#
4
B
D

1 - b3 - 5
B - D - F#
2 1
3
D
F# 11
B
F#
4 B

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222
B MINOR
Minor sixth chords can be used as a substitute for a simple minor
chord when extra harmonic “color” is required (especially in static
chords). Minor seventh chords can also be used to substitute a
basic minor chord but are more frequently used as the first chord
of a II - V - I progression.
1 Bmin6 (Bminor6, Bm6, B–6)

1 - b3 - 5 - 6
B - D - F# - G#
2
1
B
D
3 1
G#
B
F#

1 - b3 - 5 - 6
B - D - F# - G#
1
B 3
2 9
F#
B G#
D

220-229_C32944 11/15/05 12:56 PM Page 223
B MINOR 223

1 - b3 - 5 - b7
B - D - F# - A
B 2
D
A 3 1
B
F#

1 - b3 - 5 - b7
B - D - F# - A
1
B 3
F#
1
A
D 7
F#
B

1 - b3 - 5 - b7
B - D - F# - A
3 2
B
F# 2 9
A
D
B

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224
B7
Since B major has such a resonant sound it is hardly surprising
that many great blues have been written and played in this key.
For a perfect example of just how good a blues in B major can
sound, listen to Jimi Hendrix’s virtuoso playing on Red House
(from his seminal 1967 album Are You Experienced).
1 B7 (Bdom7)
1 - 3 - 5 - b7
B - D# - F# - A
2 1
B 3
D#
4 1
A
B
F#
2 B7 (Bdom7)
1 - 3 - 5 - b7
B - D# - F# - A
1
3
B
F# 1
A 4 2
B D#
G#

220-229_C32944 11/15/05 12:57 PM Page 225
B7 225
3 B7 (Bdom7)
1 - 3 - 5 - b7
B - D# - F# - A
1
1
1
F#
2 4
B
D#
A
4 B7 (Bdom7)
1 - 3 - 5 - b7
B - D# - F# - A
1
B
3
F# 2
1
A
D# 7
F#
B
5 B7 (Bdom7)
1 - 3 - 5 - b7
B - D# - F# - A
3 2
B
F# 9
4
A
D#
B

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226
B7
To create extra tension within a perfect cadence (V–I) a
sharpened fifth is often added to the dominant seventh chord.
Suspended dominant chords suggest less harmonic movement
and so can be used to add extra interest to static chords or
vamps. B7#5: 1 Basic open B7 chord with top voice raised a
half-step to create the “sharp five” sound. B7sus: 2 The full
six-string barre variant for when a big-sounding chord is required.
1 B7#5 (B7aug, B7+)

1 - 3 - #5 - b7
B - D# - F## - A
2 1
B 3
D#
A 1
4
B
F##
2 B7#5 (B7aug, B7+)

1 - 3 - #5 - b7
B - D# - F## - A
3
A 4 2
D# 7
B F##
B

220-229_C32944 11/15/05 12:57 PM Page 227
B7 227
1 B7sus (B7sus4)
1 - 4 - 5 - b7
B - E - F# - A
1
B 3
1
F#
A 2
4
E
F#
2 B7sus (B7sus4)
1 - 4 - 5 - b7
B - E - F# - A
1
3
B
F#
A 4 1
E 7
F#
B
3 B7sus (B7sus4)
1 - 4 - 5 - b7
B - E - F# - A
3 2
B
F# 9
A
E
4 B

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228
B7
These five shapes are all either “ninth” or “thirteen” variations
of the dominant seventh chord and have a more sophisticated
sound than the basic four-note chord. B7#9 Situated low on
the neck in first position, this four-note chord (with fifth omitted)
has a big, bluesy sound. B13: 1 Another voicing with no fifth,
this time a five-note, resonant thirteenth chord.
B9 (Bdom9)
1 - 3 - 5 - b7 - 9
B - D# - F# - A - C#
2 1
B
3
D#
A 3 1
C#
F#
B7#9
1 - 3 - 5 - b7 - #9
B - D# - F# - A - C##
2 1
B 3
D#
A 4 1
B C##

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B7 229
B7b9
1 - 3 - 5 - b7 - b9
B - D# - F# - A - C
2 1
B 3 1
D#
A 1
C
1 B13
1 - 3 - 5 - b7 - 9 - 13
B - D# - F# - A - C# - G#
2 3
B 3
D# 3
A 1
C#
4
G#
2 B13
1 - 3 - 5 - b7 - 9 - 13
B - D# - F# - A - C# - G#
1
2
B
3
A
D# 4 1
G# B

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#175 Bible(GUP)_Wire-O
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232
Ro ck
Open power chords
Power chords are basically chords that sound great when played loud
through a cranked up valve amp. No other instrument can replicate
that sound—it is truly the exclusive domain of the electric guitar. These
chords are called “five” chords because they contain no third, just a
root and a fifth. The bracketed notes in the following examples are the
root notes doubled an octave higher and can be added for an even
bigger sound if desired.
1 E5 1 - 5
E - B
1
E (1)
B
E
1
2 E5 1 - 5
E - B
1
1
E
B
3
E
B 2
4
E

232_235_C32944 11/15/05 1:02 PM Page 233
ROCK 233
A5 1 - 5
A - E
1
(1)
A
E
A 1
D5 1 - 5
D - A
1
D
(2) 1
A
D
G5 1 - 5
G-D
2
G
D
3 1
G
4
D
G

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234
Ro ck
Moveable power chords
These moveable power chord shapes can be played anywhere on the
neck; the higher register voicings (shapes 1 and 2) are less resonant
and often used in second guitar parts. Notice that shape 1 has the root
note “on top”—this is the note that determines the root name of the
chord (e.g. for B5 simply shift the shape down a half-step).
1 C5 1 - 5
C-G
1
1
8
G
C
2 C5 1 - 5
C-G
1
3
C
G

232_235_C32944 11/15/05 1:02 PM Page 235
ROCK 235
3 C5 1 - 5
C-G
1
3
C
(4)
G
C
8
4 C5 1 - 5
C-G
C 3
G (4)
C 3
5 C5 1 - 5
C-G
C 3
G 10
(4)
C

236-247_C32944 11/15/05 1:06 PM Page 236
236
Blues to Jazz
Three-note chords
The following selection of chords is comprised of only three notes—this
makes the shapes easy to fret, so they are very useful when quick
chord changes are required. You can also use these voicings when a
less “dense” sound is required (for example, when playing with a
keyboard player). Some of the voicings contain no root note: this is
often omitted when playing in a rhythm section—it’s the bass player’s
job to play the root!
1 C9 1 - 3 - 5 - b7 - 9
C - E - G - Bb - D
3 2
E
Bb
D 7
2 C9 1 - 3 - 5 - b7 - 9
C - E - G - Bb - D
3 2 9
E
Bb
D

236-247_C32944 11/15/05 1:06 PM Page 237
BLUES to JAZZ 237
1 C7 1 - 3 - 5 - b7
C - E - G - Bb
2
C
3
Bb
E 8
2 C7 1 - 3 - 5 - b7
C - E - G - Bb
2 1
C 3
E
Bb 2
3 C7 1 - 3 - 5 - b7
C - E - G - Bb
3 2
Bb
E 8
G

236-247_C32944 11/15/05 1:07 PM Page 238
238 TH R E E-NOTE CHOR DS
1 Cmaj7 1 - 3 - 5 - 7
C - E - G - B
3
C
4
B
E 8
2 Cmaj7 1 - 3 - 5 - 7
C - E - G - B
2 1
C
E 3
B 2
3 Cmaj7 1 - 3 - 5 - 7
C - E - G - B
3
C
G 4 10
B

236-247_C32944 11/15/05 1:07 PM Page 239
BLUES to JAZZ 239
1 Cmin7 1 - b3 - 5 - b7
C - Eb - G - Bb
3
4
C
Bb
Eb 8
2 Cmin7 1 - b3 - 5 - b7
C - Eb - G - Bb
1
3
C
Eb 4
Bb 1
3 Cmin7 1 - b3 - 5 - b7
C - Eb - G - Bb
1
Bb
Eb 8
G

236-247_C32944 11/15/05 1:08 PM Page 240
240
Blues to Jazz
Multifunction chords
These “multifunction” chords illustrate how one shape can be used for
more than one chord type. This works best with three- or four-note
chords; notice also that the root note is often omitted so these chords
are really for rhythm section playing only—where you can rely on a
bass player to add the root and complete the voicing.
1 Cm9 1 - b3 - 5 - b7 - 9
C - Eb - G - Bb - D
Eb 3
Bb 4 1
D
2 F13sus 1 - 4 - 5 - b7 - 9 - 13
F - Bb - C - Eb - G - D
3
Eb
Bb 4 1
D

236-247_C32944 11/15/05 1:08 PM Page 241
BLUES to JAZZ 241
1 Cm6/9 1 - b3 - 5 - 6 - 9
C - Eb - G - A - D
2
Eb
A 4 1
D
2 F13 1 - 3 - 5 - b7 - 9 - 13
F - A - C - Eb - G - D
2
Eb
4 1
A
D
3 B7#9 1 - b3 - 5 - b7 - #9
B - D# - F# - A - C##
2
D#
4 1
A
C##

236-247_C32944 11/15/05 1:09 PM Page 242
242 M U LT I F U N C T I O N C H O R D S
1 Cm7b5 (C) 1 - b3 - b5 - b7
C - Eb - Gb - Bb
3
C
4 1
Bb
Eb 7
Gb
2 Ab9 1 - 3 - 5 - b7 - 9
3
C
4 1
Bb
Eb 7
Gb
3 D7#5b9 1 - 3 - #5 - b7 - b9
D - F# - A# - C - Eb
3
C
4 1
A#
Eb 7
F#

236-247_C32944 11/15/05 1:09 PM Page 243
BLUES to JAZZ 243
1 Cm7b5 (C) 1 - b3 - b5 - b7
C - Eb - Gb - Bb
3 2
C
Gb 4
Bb 3
Eb
2 Ab9 1 - 3 - 5 - b7 - 9
3 2
C
Gb 4
Bb 3
Eb
3 D7#5b9 1 - 3 - #5 - b7 - b9
D - F# - A# - C - Eb
3 2
C
F# 4
A# 3
Eb

236-247_C32944 11/15/05 1:10 PM Page 244
244 M U LT I F U N C T I O N C H O R D S
1 Cm7b5 (C) 1 - b3 - b5 - b7
C - Eb - Gb - Bb
3
C
3 10
Gb
Bb
Eb
2 Ab9 1 - 3 - 5 - b7 - 9
3
C
Gb 3 10
Bb
Eb
3 D7#5b9 1 - 3 - #5 - b7 - b9
D - F# - A# - C - Eb
3
C
F# 3 10
A#
Eb

236-247_C32944 11/15/05 1:10 PM Page 245
BLUES to JAZZ 245
1 Cm11b5 (C) 1 - b3 - b5 - b7 - 9 - 11
C - Eb - Gb - Bb - D - F
2 1
C
Gb
Bb 3
4
F
2 Ab13 1 - 3 - 5 - b7 - 9 - 11
Ab - C - Eb - Gb -Bb - F
2 1
C
Gb
Bb 3
4
F
3 D7#5#9 1 - 3 - #5 - b7 - #9
D - F# - A# - C - E#
2 1
C
F#
A# 3
4
E#

236-247_C32944 11/15/05 1:10 PM Page 246
246
Blues to Jazz
Diminished chords
Diminished chords frequently occur as “chromatic passing chords”
primarily in blues and jazz. However, they can also be used as a
substitute for a dominant seventh “flat nine” chord (especially the
four-note shapes opposite)—just play the lowest note a half step above
the seventh chord’s root (e.g. shape 2 on page 247 could be used as
a B7b9 chord).
1 C (C7, Cdim, C diminished)

1 - b3 - b5
C - Eb - Gb
1
3 (4) 2 (3) 2
C
Eb
Gb

1 - b3 - b5
C - Eb - Gb
2 1
Eb 3 7
Gb
C

236-247_C34223 11/22/05 12:07 PM Page 247
BLUES to JAZZ 247

1 - b3 - b5 - b7
C - Eb - Gb - Bbb
2
1
C
3 1
Bbb
Eb 7
Gb

1 - b3 - b5 - b7
C - Eb - Gb - Bbb
2
1
C 3
Gb
4 2
Bbb
Eb

1 - b3 - b5 - b7
C - Eb - Gb - Bbb
3 2
C
Gb 4 10
Bbb
Eb

Page:246 (SY) Text (22) 11-AC34223 #175 DTP:59(P) Page:247
248-253_C32944 11/15/05 1:13 PM Page 248
248
Soul, Funk,
and Re ggae
All of the chords in this section are three-note voicings, and all are
played on the top three strings of the guitar. This makes them ideal
for the “chips” style of rhythm playing (short, staccato chord stabs)
made famous by the great Stax guitarist and songwriter Steve Cropper.
Many of these chords contain no root note—they will not describe the
chord correctly without a bass player playing the low root.
1 C7 (Cdom9) 1 - 3 - 5 - b7
C - E - G - Bb
1
3 3
Bb
E
G
2 C7 (Cdom9) 1 - 3 - 5 - b7
C - E - G - Bb
2 1
3 11
G
Bb
E

248-253_C34223 11/22/05 12:15 PM Page 249
SOUL, FUNK, AND REGGAE 249
C9 1 - 3 - 5 - b7 - 9
C - E - G - Bb - D
1
Bb 3
D
G
C13 1 - 3 - 5 - b7 - 9 - 13
C - E - G - Bb - D - A
1
1
Bb 3
3
D
A
C7#9 1 - 3 - 5 - b7 - #9
C - E - G - Bb - D#
3 9
E
4
Bb
D#

Page:248 (SY) Text (22) 11-AC34223 #175 DTP:59(P) Page:249
248-253_C32944 11/15/05 1:14 PM Page 250
250 SOUL, FUNK, AND REGGAE
1 C (Cmaj, C major, CM)

1 - 3 - 5
C - E - G
3 1
C 4 3
E
G

1 - 3 - 5
C - E - G
2 1
1
E 8
G
C

1 - 3 - 5
C - E - G
3 2
G 12
C
E

248-253_C32944 11/15/05 1:14 PM Page 251
SOUL, FUNK, AND REGGAE 251
1 Cmaj7 (C, C major7, CM7)

1 - 3 - 5 - 7
C - E - G - B
2
1
B 3 3
E
G

1 - 3 - 5 - 7
C - E - G - B
3 2 1
E 7
G
B

1 - 3 - 5 - 7
C - E - G - B
1
G 12
B
E

248-253_C32944 11/15/05 1:16 PM Page 252
252 SOUL, FUNK, AND REGGAE
1 Cm (Cmin, C minor, C–)

1 - b3 - 5
C - Eb - G
3 2 1
C 3
Eb
G

1 - b3 - 5
C - Eb - G
1
Eb 8
G
C

1 - b3 - 5
C - Eb - G
2
1
G 3 11
C
Eb

248-253_C32944 11/15/05
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1:16 PM
PM Page
Page 253
253
SOUL, FUNK, and REGGAE 253
1 Cm7 (Cmin7, C minor7, C–7)

1 - b3 - 5 - b7
C - Eb - G - Bb
3 2
Bb 3
Eb
G

1 - b3 - 5 - b7
C - Eb - G - Bb
3 1
Eb 4 6
G
Bb

1 - b3 - 5 - b7
C - Eb - G - Bb
2 1
1
G 11
Bb
Eb
)-Batch22
)-Batch Job:10-84145/84312Title:The
Job:10-84145/84312 Title:TheGuitar
GuitarChord
ChordBible(GUP)-Batch
Bible(GUP)-Batch22
Page:252
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(110)11-AC32944 #175 DTP:59(P)
DTP:59(P) Page:253
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254
Index
A Bsus 218–219 Cmaj7 18–19
A major 176–183 B minor 220–223 Csus 20–21
A 176–177 Bm 220–221 C minor 22–31
A6 178–179 Bmin6 222 Cm 22–23
Amaj7 180–181 Bmin7 223 Cmin6 24
Asus 182–183 B7 224–229 Cmin7 25
A minor 184–187 B7 224–225 C7 26–31
Am 184–185 B7#5 226 C7 26–27
Amin6 186 B7#9 228 C7#5 28
Amin7 187 B7b9 229 C7#9 30
A7 188 –193 B7sus 227 C7b9 31
A7 188–189 B9 228 C7sus 29
A7#5 190 B13 229 C9 30
A7#9 192 Bb major 194–201 C13 31
A7b9 193 Bb 194–195 Cm 22–23
A7sus 191 Bb6 196–197 Cmin6 24
A9 192 Bbmaj7 198–199 Cmin7 25
A13 193 Bbsus 200–201 C#7/Db7 44–49
Ab major 158–165 Bb minor 202–205 C#7 44–45
Ab 158–159 Bbm 202–203 C#7#5 46
Ab6 160–161 Bbmin6 204 C#7#9 48
Abmaj7 162–163 Bbmin7 205 C#7b9 49
Absus 164–165 Bb7 206–211 C#7sus 47
Ab minor 166–169 Bb7 206–207 C#9 48
Abm 166–167 Bb7#5 208 C#13 49
Abmin6 168 Bb7#9 210 C#/Db major 32–39
Abmin7 169 Bb7b9 211 C# 32–33
Ab7 170–175 Bb7sus 209 C#6 34–35
Ab7 170–171 Bb9 210 C#maj7 36–37
Ab7#5 172 Bb13 211 C#sus 38–39
Ab7#9 174 Beatles, The 16 C#/Db minor 40–43
Ab7b9 175 Beck, Jeff 54 C#m 40–41
Ab7sus 173 Beethoven, Ludwig van 184 C#min6 42
Ab9 174 Berry, Chuck 100 C#min7 43
Ab13 175 blues to jazz chord supplements Carlton, Larry 158
anatomy of the guitar 9 236–247 “chips” rhythm playing 206, 248
Animals, The 184 diminished chords 246–247 “choked” rhythm work 50, 122
Armstrong, Louis 16 multifunction chords 240–245 “choking” chords 72, 98, 118,
arpeggiated chords 22, 168, three-note chords 236–239 124
200, 220 bossa nova sound 162 chord numbering 8
bridge 9 chord photographs 8
B chord sub-heading 8
B major 212–219 C chord supplements
B 212–213 C major 14–21 blues to jazz 236–247
B6 214–215 C 14–15 diminished chords 246–247
Bmaj7 216–217 C6 16–17

254-256_84319 11/2/05 12:48 PM Page 255
255
multifunction chords 240–245 E7#9 102 F#/Gb major 122–129
three-note chords 236–239 E7b9 103 F# 122–123
rock 232–235 E7sus 101 F#6 124–125
moveable power chords E9 102 F#maj7 126–127
234–235 E13 103 F#sus 128–129
open power chords 232–233 Eb7/D#7 80–85 F#/Gb minor 130–133
chord types 8 Eb7 80–81 F#m 130–131
chromatic dissonance 216 Eb7#5 82 F#min6 132
chromatic passing chords 82, Eb7#9 84 F#min7 133
246 Eb7b9 85 fingerboard 10–11
“color tensions” 30 Eb7sus 83 frets 9, 10, 11
“color tones” 192 Eb9 84 fretwork diagrams 8
Cropper, Steve 248 Eb13 85 funk see soul, funk, and reggae
Eb/D# major 68–75 funky vamp chords 144
D Eb 68–69
D major 50–57 Eb6 70–71 G
D 50–51 Ebmaj7 72–73 G major 140–147
D6 52–53 Ebm 76–77 G 140–141
Dmaj7 54–55 Ebsus 74–75 G6 142–143
Dsus 56–57 Eb/D# minor 78–79 Gmaj7 144–145
D minor 58–61 Ebmin6 78 Gsus 146–147
Dm 58–59 Ebmin7 79 G minor 148–151
Dmin6 60 GM 148–149
Dmin7 61 F Gmin6 150
D7 62–67 F major 104–111 Gmin7 151
D7 62–63 F 104–105 G7 152–157
D7#5 64 F6 106–107 G7 152–153
D7#9 66 Fmaj7 108–109 G7#5 154
D7b9 67 Fsus 110–111 G7#9 156
D7sus 65 F minor 112–115 G7b9 157
D9 66 Fm 112–113 G7sus 155
D13 67 Fmin6 114 G9 156
Debussy, Claude 174 Fmin7 115 G13 157
dominant seventh chords 9 F7 116–121 Gershwin, George 196
Doobie Brothers 186 F7 116–117 “going home” cadence chords
F7#5 118 44, 116
E F7#9 120 guitar body 9
E major 86–93 F7b9 121 guitar neck 9
E 86–87 F7sus 119
E6 88–89 F9 120 H
Emaj7 90–91 F13 121 harmonic “color” 222
Esus 92–93 F#7/Gb7 134–139 harmonic spelling 8
E minor 94–97 F#7 134–135 harmonic tension 56
Em 94–95 F#7#5 136 headstock 9
Emin6 96 F#7#9 138 Hendrix, Jimi 30, 54, 68, 86,
Emin7 97 F#7b9 139 180, 224
E7 98–103 F#7sus 137 “Hendrix chord” 30, 102
E7 98–99 F#9 138
E7#5 100 F#13 139

Page:254 (SY) Text #175 DTP:59(P) Page:255
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256
I O S
icons and symbols 8 open chords 54 staccato 72, 118, 248
open strings 10, 11 static chords 44, 116, 222, 226
J static vamp chords 24, 34, 48,
Jackson, Michael 74 P 92, 120, 128, 226
jazz see blues to jazz Page, Jimmy 54, 188 Stax 248
Jobim, Antonio Carlos 162 Parker, Charlie 196 Steely Dan 158
Johnny Kidd And The Pirates perfect cadence 28, 48, 80, strings 9
86 100, 120, 208 strummed acoustic guitar 18
Pink Floyd 58 strummed rhythm work 18, 50,
L 150, 212
Lavignac, Albert 140 R sustained chords 144
Led Zeppelin 108, 188 Red Hot Chili Peppers 144 syncopation 16, 46, 72, 118,
reggae see soul, funk, and 168
M reggae
major chords 8 rock chord supplements T
Mamas And The Papas, The 64 232–235 This is Spinal Tap 58
minor chords 8 moveable power chords
234–235 W
N open power chords 232–233 Withers, Bill 144
“natural” notes 14 Searchers, The 74
Norman, Monty 186 “sharp five” sound 226 Z
nut 8, 9 zero fret 9
Cre dits
Quarto would like to thank and acknowledge the following for
supplying illustrations and photographs reproduced in this book:
page 9 Gibson Guitar Corp www.gibson.com
All other illustrations and photographs are the copyright of Quarto

Publishing plc. While every effort has been made to credit
contributors, Quarto would like to apologize should there have been
any omissions or errors—and would be pleased to make the
appropriate correction for future editions of the book.

253-254Flap_C32948
253-254Flap_C32948 11/16/05
11/16/05 3:313:31
PM PM
PagePage
253 253
Chord symbols
Open string not sounded in chord.
Open string sounded in chord.
Open string root note sounded in chord (e.g. an

E note in an E chord).
1 Indicates fingerboard finger positioning (the number 4

indicates which finger should be used) and also
that the fretted note is a root note.
1 3
1 Indicates fingerboard finger positioning where the 2
note is not the root note of the chord.
Finger numbers
Standard hand fingering
1 A line crossing two or more strings denotes a has been used throughout.
1 barre, where two or more strings are fretted
1 simultaneously with one finger.
(2) Alternative fingerings are occasionally provided

next to the blue and red symbols. These are
sometimes preferable for a quicker change to a
particular chord shape.
The fingerboard
If you’ve learned to play guitar “by ear,” then finding notes quickly on the
fingerboard can be tricky. Remember that after the twelfth fret the entire
fingerboard repeats an octave higher (starting with the open string note
name). Turn to page 10–11 for a more detailed note-locator diagram.
1
2
3
4
5
6
7
8
10 9
11
13 12
14
16 15
18 17
20 19
Job:10-84145/84319
Job:10-84145/84319 Title:The
Title:The GuitarGuitar
ChordChord Bible(GUP)-Batch
Bible(GUP)-Batch 3 3
(SY)(SY) Text (160)11-AC32948
(160)11-AC32948 #175 #175 DTP:59(P)
DTP:59(P) Page:253Flap
Page:253Flap
253-254Flap_84319 11/2/05
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11/2/05 4:08Page
PM 254
Page 254
Key
Use this handy pull-out guide as a quick
reference to the symbols and terms used in
this book.
Job:10-84145/84319 Title:TheTitle:The
Job:10-84145/84319 Guitar Chord Bible(GUP)-Batch
Guitar 3
Chord Bible(GUP)-Batch 3
(SY) Text
(SY) #175 DTP:59(P) Page:254Page:254
#175 DTP:59(P) Flap Flap
001-013_84319 11/2/05 17:25
QGCB 001-013 28/1/09 6:13 PM Page
Page 4 4 (Text plate)
A QUARTO BOOK
Published in 2006 by
CHARTWELL BOOKS, INC.
A division of BOOK SALES, INC.
276 Fifth Avenue Suite 206
New York, New York 10001
USA
Reprinted 2006, 2007 (three times ), 2008

(twice), 2009 (twice), 2010 (twice) , 2011
Copyright © 2006, 2011 Quarto Inc.
All rights reserved. No part of this publication

may be reproduced, stored in a retrieval
system, or transmitted in any form or by any
means, electronic, mechanical, photocopying,
recording or otherwise, without the permission
of the copyright holder.
ISBN-13: 978-0-7858-2083-3
ISBN-10: 0-7858-2083-3
QUAR.GUP
Digital edition: 978-1-61058-361-9

Softcover edition: 978-0-7858-2083-3
This book was designed and produced by

Quarto Publishing plc
The Old Brewery
6 Blundell Street
London N7 9BH
Project Editor Mary Groom

Art Editor Julie Joubinaux
Designer Tania Field
Photographer Martin Norris
Assistant Art Director Penny Cobb
Art Director Moira Clinch
Publisher Paul Carslake
Manufactured by Provision Pte Ltd, Singapore

Printed by Midas Printing International
Limited, China

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001-013_C32944 11/15/05 8:42 AM Page 1

Job:10-84145/84319 Title:The Guitar Chord Bible(GUP)-Batch 3

Job:10-84145/84319 Title:The Guitar Chord Bible(GUP)-Batch 3

)-Batch 3 Job:10-84145/84319 Title:The Guitar Chord Bible(GUP)-Batch 3

E 86 Blues to Jazz 236

Index and Credits 254

)-Batch 3 Job:10-84145/84319 Title:The Guitar Chord Bible(GUP)-Batch 3

Job:10-84145/84319 Title:The Guitar Chord Bible(GUP)-Batch 3

)-Batch 3 Job:10-84145/84319 Title:The Guitar Chord Bible(GUP)-Batch 3

How to use this b o ok

the original root position have revolved 3 1

Chords are grouped into three E maj, Emajor, EM

and dominant seventh (7). E

A short description of the 2 E (E maj, Emaj 3

chord, giving an insight into 1 E

the sound, voicing and position

of the chord. Well-known uses 5 G#

3) Fingerboard 5) Chord sub-heading 7) Fingerboard

Job:10-84145/84319 Title:The Guitar Chord Bible(GUP)-Batch 3

Open string not sounded in chord.

Open string sounded in chord.

Open string root note sounded in chord (e.g. an

1 Indicates fingerboard finger positioning (the number

1 Indicates fingerboard finger positioning where the 3

(2) Alternative fingerings are occasionally provided

Anatomy of the guitar

)-Batch 3 Job:10-84145/84319 Title:The Guitar Chord Bible(GUP)-Batch 3

The fingerb oard

Job:10-84145/84319 Title:The Guitar Chord Bible(GUP)-Batch 3

6-F 6 - F#/Gb 6-G 6 - G#/Ab 6-A

Fret 6 Fret 7 Fret 8 Fret 9

6 - A#/Bb 6-B 6-C 6 - C#/Db

UP)_Wire-O Job:84145/09-90538 Title:The Guitar Chord Bible(GUP)_Wire-O

(SY) Text Job:10-84145/84319 Title:The Guitar Chord Bible(GUP)-Batch 3

Job:84145/09-90538 Title:The Guitar Chord Bible(GUP)_Wire-O

1 C (Cmaj, Cmajor, CM)

2 C (Cmaj, Cmajor, CM)

Job:10-84145 Title:The Guitar Chord Bible(GUP)

3 C (Cmaj, Cmajor, CM) C

4 C (Cmaj, Cmajor, CM)

5 C (Cmaj, Cmajor, CM)

UP) Job:10-84145 Title:The Guitar Chord Bible(GUP)

1 C6 (Cmaj6, Cmajor6, CM6)

2 C6 (Cmaj6, Cmajor6, CM6)

Job:10-84145 Title:The Guitar Chord Bible(GUP)

3 C6 (Cmaj6, Cmajor6, CM6) C

4 C6 (Cmaj6, Cmajor6, CM6)

5 C6 (Cmaj6, Cmajor6, CM6)

UP) Job:10-84145 Title:The Guitar Chord Bible(GUP)

1 Cmaj7 (C, Cmajor7, CM7)

2 Cmaj7 (C, Cmajor7, CM7)

Job:10-84145 Title:The Guitar Chord Bible(GUP)

3 Cmaj7 (C, Cmajor7, CM7) C

4 Cmaj7 (C, Cmajor7, CM7)

5 Cmaj7 (C, Cmajor7, CM7)

UP) Job:10-84145 Title:The Guitar Chord Bible(GUP)

Job:10-84145 Title:The Guitar Chord Bible(GUP)

UP) Job:10-84145 Title:The Guitar Chord Bible(GUP)

1 Cm (Cmin, Cminor, C—)

2 Cm (Cmin, Cminor, C—)

Job:10-84145 Title:The Guitar Chord Bible(GUP)

3 Cm (Cmin, Cminor, C—) C

4 Cm (Cmin, Cminor, C—)