e EXPLANATION OF MUSICAL NOTATION F 2» Cma9—a A Chord symbol aT B Fret number c © Finger number D Chord construction (intervals) E Chord notation F Number next to chord form indicates the corresponding example progression. F a Coad Co Dm G? nt saan 2 7 Eo Ea at oe EXPLANATION OF MUSICAL SYMBOLS « CHORD NAME SYMBOL Ma s major m= minor Maz = major 7 dim = diminished augmented == flatted (6) CHORD CONSTRUCTION (INTERVALS) SYMBOLS R= root b7 = dominant seventh 7 = major seventh + FINGERING SYMBOLS ——~ = barre the string+ Keyboard Analysis: Oya Gma « Have a friend play the root note in the bassin order to hear the complete {Ie chord, — CHORD FORMS 4 G 8) HR © 4) Hee oy \¢ep $e@ BASIC MAJOR EXAMPLES ‘* © Have a friend play the root note in the bass in order to hear the complete chord. RoRS SWOT SRR = aires RSPR R573» G Em? 7 4 7 i RasR REPS Raed E358 Rees aa35 RISER ah40) SSR 935073 35R3 35RS SRS ReRES Am RISSTS Em? Am? 5 He RESIS0) G Gma? Go Gmar BRS? E> Dsus D? 3507bm7 Go? Ress 7 RIS BSP7 22CMA9 Cc 3eMAJOR 7 + Keyboard Analysis: Cuyq Guar = CHORD FORMS 0 CMa?» Cmar? 2) Cua) Coma 3 5a 5) Cm? Gua? 7) Gaa?—8) Gar 2 307 9 Gua? 0 Gna?) Ga? a) Gna? oy 5 5 4 a RST SS SS ee Gms? a) Gua?) Gaia? 6) Ga 30 3 2 2 z 7a5 373551) Gma? 1) GMAT) GMA? 20) Gna? ? 7 7a 3783 3373 20 CMa? — 22) CMa? 2) CMa? 2) Coma a 25) Gma? 26) Gana? ? 3 7K as 3? >oe MAJOR 7 EXAMPLES ‘¢ © Have a friend play the root note in the ‘bass in order to hear the complete chord. Om? » Coma? ts SRS? b& Dm? HEDm? G7 373 Levey 9 Gmw7 Go Am9 D4 RIGORAm? 10) Gua? 5 SOS 1) Gana? Ge Am? Or > a a 50a 5 ag $f =i Ba Cay HA se is 12) Ga? Gano Am? o” 13) GMa? G 3 1) Ga? Ge Amu D7 3 3935 RFE15) Gua? 207 46) 1) Gma? Bm? SSR RITER 19) Goa? 7358 Ama Ds oss a20) Gama? 3 2) CMa? SA SIRS Sees 22) Cma? Dm9 BREC 24) Cma? Co 4 373520 Gma? Ge 3oe MAJOR 6 « Keyboard Analysis: Cc 6 G 6 ‘¢ © See Ma7 and Ma9 for examples. The Aumbers for the Ma6 chords do not correspond to the example numbers. CHORD FORMS a Go » Co 2 Go 266 » Ge ? sonyMAJOR 9 * Keyboard Analysis: Cig Gma9 CHORDFORMS » Cag a9 Cua) Cmag 5) Cnn) Cad ? PA 3 3 Te 2 oe & = = 1) Gmad 7 ay rs im) om 1) Cmad ine MAJOR 9 EXAMPLES ‘* © Have a friend play the root note in the bass in order to hear the complete chord. 0 Cmag Co Ge # Cmag Co Dm9 G?5) Cmad Co Dm G? 0 Cmaa Co Dm9 aA Ra7e G70) 8) Gmag Ge Am? 4Ama 10) GMA9 1H 7959 C35 vress4 1) Gad E09 Am? D7 one 6 5 37 Cary ‘Bos R5b7R 12) Gmad Ge Am9 scorn = oes TE Gor Am? 0749 4 1) mad Ge Am9 2 scat FE HH thea Sas S552 SS}8) Guna Ge Am4 D9 yes R5GR 59 1a CMA9 Co Dmu 6? sor 7 ret 335 SeRe ase eae wo Cmad Co G7 3e MAJOR 6/9 “Heromstownis: Cunsly Grin i CHORD FORMS ' Gel9 2 Cola » 66/9 4) G6/9 5) G6l9 t 2 ? 2 5 C15? 56 & = g #= © Gola » Cel a Go/9 » Cela 4 2 opp 5 CCC 70heMAJOR 6/9 EXAMPLES ‘¢ © Have a friend play the root note in the ‘bass in order to hear the complete Boosa D) Gor Desa ~ oh 2 5 GOs Ctse 2 Cola Col Bola 5 Fo Cola seas CT5R ese aos crse 3 Am? Gdim Gola Gdim soe Re “GE” . za a BPseSR Case nee 09 Nola Gols +H 3a 25) GMAd Gol Ama Dis 5 5 Q 7 3574 3569 TBF F318 3) Gol D7t+9) 8) Ge/a Cola Gola Cela A 2 - - GTsR 9) Omit G9 1 7h ras aut“3 Gola Grola Gels 2 G45R GSR CIR Gtefq — Aol Mora Bosa a(t 5 rz 6 GTEReMAJOR 755 + Keyboard Analysis: Cuan’ Cmar ‘¢ © Used mostoftenas an ending > chord and in chorded solos. CHORD FORMS d Cor — nn Cour gy Coane a 2 oA ?e@MAJOR 7)5 EXAMPLES © * Have a friend play the root note in the bass in order to hear the complete chord. Eb7 Omit Dima? = Coane) oat 4 300 $14 H Oe ca = 2 Dm Ge Cmare 3m 3 OTT Praise 3 Dm? REPT O08) Goan? ? Ss ‘bans? Res HSS I]Coad Ebma? Abna7 Dhar? = Coma 8) RETS ea57eMAJOR 7+ 5 + Keyboard Analysis: Cyyyo(t5) Gar? © © Usedmostofteninadeceptive ‘cadence or as an ending chord. 2 i CHORD FORMS 2 CmA749) — 2 Gma7 49) 7 97 [it ‘ eteMAJOR 7 + 5 EXAMPLES ‘¢ © Have a friend play the root note in the bass in order to hear the complete chord. > Cmad Coa t9) cma? Ar(%) a 7 5 Om9 Dm God 9 eab7 7S 7359 Rares SS 558566} 2 Gmad Gears? Gma? Eis) 9 1 77g 8 Ras Gy Am? Am9 Oot» scum 4 aa 5 RSS W759 Ra SS)@ MAJOR 9)5 + Keyboard Analysis: Cnag? Cm? ¢ © Used most often as an ending ; chord. CHORD FORMS DCmaae) — 2) Cage? ? MAJOR 955 EXAMPLES © © Have a friend play the root note in the bass in order to hear the complete chord Dm Gt Congo) 7 se aareal FI Hf ‘HE 2) Oma 3 PSP7eH 90 355R TeasePASSING MAJOR CHORDS (Ascending) Major chords are typically passed from the ninth, root or the fifth of the chord. An ascending passing major chord will be passed from the fifth of the chord up. ‘A descending passing major chord will be passed from the ninth or root of the chord down. Use the passing chord sequences to substitute for a single chord. ‘¢ © Have a friend play’the root note in the bass in order to hear the complete chord. 1») Gna? Ge Goa 2 R357 RIG 2) Gma? Ge RECR Gmad Ge 9 eart4) Gua Ge Gmag Ge R357 RGR R374 RSeeapap ae BR. sees a G — BES BIS RS 13) GMa? G poaersaise Bok Bask 0 G G+ Go Gt 36 3e5R 18) CMa? c Cmag 41) GMa? Te 20CMAI Cc Cmaa c 4 2) Ga? Ge Guar Go 3| aa CMa? Ce Co aRa6 2» G er Goa? aRas R36 7 FRSCsa) Goa? G Gma9 G 3e PASSING MAJOR CHORDS (Descending) ‘* © Have a friend play the root note in the bass in order to hear the complete chord. Gma? Em Em? “ae 5 I RSER 735R : ce 5 3) Gund Ge Goa? Ge 9H 8 7 oD gees He HHH