LO?) :HER eR) Cat PSE ras a riesPicture Chord Encyclopedia INTRODUCTION The Picture Ghord Encyclopedia is designed to serve two purposes: first, it’s a reference guide to chords; second, its a collection of popular guitar sounds. Use it when you're learning a new song and you come across chord that's unfamiliar to you, Use it when you're composing your own ‘music and looking for “just the right chord.” Use itto explore the guitar fretboard, to improve your chord playing, to increase your under- standing of chord theory or just to discover new and unusual sounds, The applications are almost limitless ‘The Picture Ghord Encyclopedia is a comprehensive source for chords, for all playing styles and levels. One word of warning, though: it does not contain every guitar chord in existence; no book could, It does contin five easy-to-play voicings of 44 chord qualities for each of the twelve musical keys, All totaled, thats 2,640 chords at your fingertips! These chords and ther fingerings have been chosen for their playabiliy and their practicality, ensuring a wealth of usable fingerings for any musical situation. So, whether you're a beginner looking for your first C major chord, or a bucding jazz guitarist searching for a new voicing for C7}5(#9), you'll ind what you're looking for here. Enjoy! CONTENTS How to Use This Book . : ii The Chords Choosing the Best Voicing ........ e i Db 3 Chord Construction... : iv D cman sm 5 wilt Cet & Eb eccscsesseeesseeneees seven 7 How Does a Chord Get Its Name? iv : . ra How Do I Build a Chord? v Heo 133 What About Other Keys? y 6 55 Triads . . Ab “77 Sevenths a A. -199 Extended Chords ....... cee Bb soa 221 Inversions & Voicings a wil B sass Sanus countess ronnie AB ISBN 0-7935-8491-4 HAL*LEONARD® CORPORATION ‘Cop © 2000 by HAL LEONARD CORPORATION Irrational Copy Secured Al Fights Reserved For at works contsne herein: Vist Hal Lsonard Ono at penameanetniesHOW TO USE THIS BOOK The Picture Ghord Encyclopedia contains 2640 chord voicings and over 500 unique chord types. To help you find your way tothe chord you need, all the chords are organized first by root (C, C D, Bb, E ec.) and then by quality or type (major, minor, seventh, et.) Each chord is identified by its symbol: Bsus By its fll name: 6 suspended fourth And by ts spelling: e ¢ F G root ‘Then, you are given a choice of five voicings, which are presented in chord frames and photos. Ina chord frame, the six vertical lines represent the six strings on the guitar, from low E to high E, moving left to right, The horizontal lines represent the frets: Xs tell you a string should not be played or should be muted. O' indicate an open sting Y ° <— A barre (pronounced like “bar is shown ‘A dark, thick lie represents the nut on the guitar. —> TTT tee oes eae strings al he sume tie. Black dots indicate the notes tobe played, aswell 2s ther lotion on the freboard. Numbers tll 00 you what ngs to use ote th strings. Think of your left-hand fingers as being numbered 1 through crGcer t Note names appear below each string to help you understand the voicing. ‘Chords above the fifth fret use a fret number (e ., “5 fr") to the right ofthe chord frame. This tells you to move your hand up to that fret to position your fingers. ‘= One of the goals ofthis book is to provide “playable” chord fingerings. The fingerings in this book were chosen for their ease of play and transition between other chords in a progression. Ifyou feel more comfortable with an alternate fingering, feel fre to use it. Remember, these fingerings are only recommended. There is no single right way to play these chordsCHOOSING THE BEST VOICING Any chord can have a numberof different voicings. A voicing refers to how the notes ofthe chord are arranged—which corresponds to ‘where the chord is played on the guitar, and how is fingered. Each chord quality inthis book i presented with five different voicings, ‘Typically, the first chord voicing presented is inthe lowest postion on the fretboard. The res ofthe voicings gradually move up the neck. ‘Within these sets of voicings, you will encounter open chords, barre chords, broken-set chotds, and adjacentset chords: Le Open Chords xe Open chords occur within the first five frets of the guitar and contain atleast one open siting. These chords are often the most appropriate choice for strumming purposes. They're also typically the easiest voicings to learn when you're a beginner, Barre Chords Barre chords can occur anywhere on the neck and serve as a type of “all: purpose” chord voicing; that is, they can be strummed, plucked, or played fingerstyle, and can be used in almost any musical setting Barre chords require you to lay a finger at across fret and press down all the indicated strings simultaneously This can be challenging for a beginning guitarist. If you find these chords to be especialy dificult at first, don’ give up. Just keep practicing, and be patient. Broken-Set Chords Broken-set chords also provide good, multipurpose chord voicings. These chords ‘contain a bass note on the fith or sith string and two or three notes on the higher strings, ‘with atleast one interior string muted, or not played. These often work best in a jazz oF blues setting especially when playing solo. Adjacent-Set Chords Adjacent-set chords contain notes on the middle or top four strings. These chords also ‘work well within th jazz or blues idioms, especially for chord-melody techniques or when playing with another instrument that provides a bassline. ‘Ukimately, which chord voicing you choose will depend on either your playing level or the situation at hand. Musically speaking, if you'r playing a chord sequence high on the neck, a chord voiced down low would probably sound out of place. Likewise, ifyou're playing a progression of open chords, jumping up high on the neck for a particular chord ‘would likely sound and feel awkward, ‘That said, you should become familiar with as many voicings of a chord as you can ‘They do not all sound the same, Practice switching between different voicing ofthe same ‘chord, and compare how they sound, Ifyou like, go ahead and practice a progression ‘where you jump from high to low on the neck —there really are no rules in music that cxtheheiinWHAT'S A CHORD? In order to effectively choose and utlze the chords in this book, itis important to have a basic understanding of how chords are constructed. So, what is a chord? A chord is simply defined as zbree or more notes played at the same time. Typically, ts function is to provide the harmony that supports the melody of a song. HOW DOES A CHORD GET ITS NAME? Accord gets its name from its root note. For example, the root of a G major chord is G, The remaining notes in the chord determine its quality, or type. This is indicated by the chord suffix. So, in a Bm745 chord, Bis the root, and m755 is the suffix that indicates the quality of the chord. ‘This book contains 44 chord types. Here isa summary table to help you keep track of the sufix for each chord type: CHORD CONSTRUCTION root quality oF type ‘surFO (CHORD TYPE ‘SUFFIX (cHORD TYPE no suff major mit ‘minor eleventh 5(n0 3rd) fifth (power chord) m3 ‘minor thirteenth sust suspended fourth 7 dominant seventh sust suspended second Jsush seventh, suspended fourth ad¢9 added ninth 15 seventh, fla ith 6 sixth 9 ninth “9 sixth, added ninth dust ninth, suspended fourth maj7 major seventh OS ninth a ith majo major ninth 79 seventh, flat ninth maj7#11 major seventh, sharp eleventh 79 seventh, sharp ninth ‘majl3 major thirteenth 75049) seventh, fat fifth, sharp ninth m minor nl eleventh m(add9) ‘minor, added ninth 7H seventh, sharp eleventh m6 minor sixth 13 thirteenth m6 ‘minor, flat sixth 13sus4 thirteenth, suspended fourth m9 minor sixth, added ninth + augmented m7 ‘minor seventh +7 seventh, sharp filth m7b5 minor seventh, fat fifth +9 ninth, sharp fifth ‘m(maj7) ‘minot, major seventh +749 seventh, sharp fifth, lat ninth m9 minor ninth +789 seventh, sharp fit, sharp ninth m9)5 ‘minor ninth, at 8h s diminished m9(maj7) ‘minor ninth, major seventh 7 diminished seventhHOW DO | BUILD A CHORD? All chords are constructed using intervals. An interval is the distance between any two notes. Though there are many types of interval, there are only five categories: major, minor, perfect, augmented, and diminished. Interesting, the major scale contains only major and perfect intervals: Scale degree: 1 2 3 4 5 6 7 Imterval: Root M2 9 M3. PH PS M6 MT. ‘The major scale also happens to be a great starting point from which to construct chords. For example, if we start atthe root (C) and add the interval of a major third (E) and a perfect fith (G), we have constructed a € major chord, In otder to construct a chotd other than a major chord, at least one ofthe major C minor ‘or perfect intervals needs to be altered, For example, take the C major chord you just cconsiucted, and lower the third degree (E) one half step. We now have aC minor chord: C-Eb-G. By lowering the major third by one half step, we create a new interval called a minor tied. We can further alter the chord by fating the perfect fifth (G). The chord is now a C*: GEb-Gb. The Gh represents a diminished fifth interval. ‘This leads us toa basic rule of thumb to help remember interval alterations: A major interval lowered one half step is @ minor interval. A perfect interval lowered one half step i a diminished interval Ps dims A perfect interval raised one half step is an augmented interval oe cS PS aug {© Halfsteps and whole steps ae the building blocks of intervals; they determine an intervals quality —major, minor, et. On the sultar, bal step is just the distance from one fet to the next. A whole step is equal to two half steps, or two frets. ‘WHAT ABOUT OTHER KEYS? Notice that we assigned a numerical value o each note inthe major scale, as wells labeling the intervals. These numerical values, termed scale degrees, allow us o “generically” construct chords, regardless of key. For example, a major chord consists ofthe roo (1), ‘major third (3), and perfect fifth (5). Substitute any major scale for the C major scale above, select scale degrees 1, 3, and 5, and you will ‘have a major chord forthe scale you selected D major scale D major chord Scale degree: 1 ey: 3 6 1 Interval: Root =M2 M3 PS PS. M6 MTThe chart below is a construction summary ofthe chord types in this book (based on the key of C only) using the scale degree method: ‘cHonD TYPE FORMULA NOTES Hono NAME major 135 CEG c fifth (power chord) 15 ce 6 suspended fourth 145 CRG sus suspended second 125 CDG (sus added ninth 1359 CEGD caddy sixth 1356 CEGA 06 sixth, added ninth 135-69 CEGAD 69 major seventh 135-7 CECB cmaj7 major ninth 135-79 CEGBD majo major seventh, sharp eleventh 135-7411 CEGBH (cmaj7#11 major thirteenth 135-7913 CEGBDA Cmaji3 minor 1455 CHG cm minor, added ninth 1435-9 CH-GD cm(add) minor sixth 14356 CHCA m6 minor, at sixth 1435-46 CELGAD cmb6 minor sith, added ninth 1485-69 CEb-GAD cm69 minor seventh 143547 CH-G-Bb m7 minor seventh, fa fifth 1434547 CHb-Gh-Bh m7) ‘minor, major seventh 1435-7 CEB ‘can(maj7) ‘minor ninth 1435-579 CES-GB)D m9 ‘minor ninth, fa ith 14345479 CE-Gh-BLD cm9b5 ‘minor ninth, major seventh 1435-79 CE-GBD (cm9(maj7) minor eleventh 1455-47-9-11 CEb-G-BLDE mii minor thirteenth 143-547-9113 CECB} DEA emis dominant seventh 13547 CEGB) a seventh, suspended fourth 14547 CRGBS 7sus4 seventh, fat Oth 134547 CEGLBS ons ninth 135479 CEGBL-D 9 ninth, suspended fourth 145479 CRGBLD 9sus4 ‘inh, flat fifth 13-45-47-9 CEGb-BbD Obs seventh at ninth 155-79 CEG-BH-Db on9 seventh, sharp ninth 1354749 CEGBD-DE 7g seventh a ith, sharp ninth 1345-67-49 CEG)-BL-DE 7549) eleventh 15-47-9411 CG-BLDE cul seventh, sharp eleventh 13547411 CHOBE cman thirteenth 143547. CEGB DA 3 thirteenth, suspended fourth 1-45-47. CEGBLDA C13sus4 ‘augmented | 13-45 CEGE C+ seventh, sharp fifth 1.34557 CEGEBL C47 ninth, sharp fifth 13-4547-9 CEGEBL-D 9 seventh, sharp fifth, flat ninth 13-45-5749 CEGEBL-D coho seventh, sharp fifth, sharp ninth 13-4547-49 CEGEBL-DE cg diminished 1345 CBb-G c diminished seventh 14345447 CEL-G) Bb ev‘TRIADS: ‘The most basic chords inthis book are called triads. A triad is a chord that is made up of ony three notes. For example, a simple G major chord is triad consisting ofthe notes G, B, and D. There are several types of triads, including major, minor, diminished, augmented, and suspended. All ofthese chords are constructed by simply altering the relationships between the root note and the interval. G major G minor G diminished G augmented M3 PS m3 PS m3 dims M3 augs ‘SEVENTHS ‘To create more intresting harmony, we can take the familiar triad and add another interval: the seventh. Seventh chords are comprised of four notes: the three notes of the triad plus 2 major or minor seventh interval. For example, if we use the G major triad (G-B-D) and add a ‘major seventh interval (F4), the Gmaj7 chord is formed. Likewise, if we substitute the minor seventh interval (F) forthe Ff, we have a new ‘seventh chord, the G7. This is also known as a dominant seventh chord, popularly used in blues and jazz music. As with the triads, seventh chords come in many types, including major, minor, diminished, augmented, suspended, and others. G major triad Gmaj7 or EXTENDED CHORDS Extended chords are those that include notes beyond the seventh scale degree. These chords have a rich, complex harmony that is very ‘common in jazz music. These include ninths, elevenths, and thireenth chords. For example, if we take a Gmaj7 chord and add a major ninth interval (A), we get a Gmaj9 chord (G-B-D-Ff-A). We can then add an additional interval, a major thirteenth (E), to form a Gmaj13 chord (G-B-D-F}-A-E). Note that the interval of a major eleventh is omited, This is because the major eleventh sonically conflicts with the major third interval, creating a dissonance. Gmai Gmaj13 Mo M3 By the way, you may have noticed that these last two chords, Gmaj9 and Gma)13, contain ive and six notes, respectively; however, we ‘only have four fingers inthe left hand! Since the use of a barre chord or open-sring chord isnot always possible, we ofien need to choose the four notes ofthe chord that are most important to play. The harmonic theory that underlies these choices is beyond the scope ofthis book, but not to worr—it has already been done for you where necessary. Below are two examples to demonstrate these chord “trimmings.” Gmajo Gmaj9 (four notes) Gmaj13 Gmaj13 (four notes) Generally speaking, the root, third, and seventh are the most crucial notes to include in an extended chord, along with the uppermost extension (ninth, thirteenth, etc.).‘This brings us to our last topic. Though a typical chord might consist of only three or four notes—a C trad, for example, consists of just ‘root, third, and fifth; a G7 chord consists ofa roo, third, fifth, and seventh—these notes do not necessarily have to appear in that same ‘order, from bottom to top, in the actual chords you play. inversions are produced when you rearrange the notes of a chord: c ar ro9t Ist 2nd root Ist 2nd 3rd position inversion inversion position inversion inversion inversion Practically speaking, on the guitar, notes ofa chord are often inverted (rearranged), doubled (used more than once), and even omitted to create different voicings. Each voicing is unique and yet similar—kind of like different shades ofthe same color ceacece Once agai, the possible voicings of a chord are many. The voicings in this book were chosen because they are some of the most popular, useful, and attractive chord voicings playable on the guitar.(Cno 3rd) fitth (power char) xx x0 is str acac xxx e tr 9° eac xx x 1 9 c; xx a = en +0 990 wo 9 eae # | peveeCadd3 C added ninth go —e « aed th ° HH ae ceEGoG Ls cEACE 8 ate OT [Ow cacoCmaj7_ un C sixth, atided ninth Cmsler soventh 6) ae oe root 3rd sth 7thCmaj8 cus) Cmaj7?11 (ew7e11) € major ninth C major seventh, sharp eleventhCmaj13 cans, C major thirteenth ze $0 c of o root td sth ACGBE THe 8 x x ot eo 9 a cac xx tote BGCE iteCm(add9) C minor, added ninth Oi paces CMB caine, cs) C minor sixth safe BACGCmb6 ccs, cnins) cm6/9 C minor, flat sixth minor sixth, added ninth oO] ets ae °o ° c sg co & c 8 G a o root Sed Sth 8th root \drd sth «= gth th ° ate Qu wEGCE DACcCECM7 ccuinr,c7 CM755 e705), coms minor seventh C minor seventh, flat firthCm(maj7) m2 CMI coins, cs) C minor, major seventh C minor ninth ° c of © 8 «© root Grd Sth 7th thCM9>5 cass, caina's) minor ninth, tat ftth Cm9(maj7) ccns-7,c+7 C minor ninth, major seventh aD 00s ofr” OT jm “oe 6 ttCMT 21, cain) C minor eleventh C13 c:2, cna) C minor thirteenth OrC7 (Cdom7) E root 3rd 6 sth B Th CcGBeE C7sus4 crus) C dominant seventh, suspended fourthC745 (€7-5, Cdom7)5) dominant seventh, fat fith OBE x x x oe ate 0/6] | 690 6/96 @ce J EBOG st 0 | 01010 |« 9 9 BEG eaBeao ie 6 ‘tr O | |» o| 90 COBE cEBDCBSUS4 (cssus) C ninth, suspended fourth — te? 2 ° c Ff co & o root ath Sth wth sm @] ow BDF x Oo] ]* BOG OJ ow DGB F C95 (C8-5, Cxlomd;5) G ninth, fiat fttn ; o—] ° © eee ee Ip root ard Sth 7th th @ceEBDC759 crs, caon7:9) c7#9 (C7+9, Ciom7:9) dominant seventh, flat ninth dominant seventh, sharp ninthC7 5($9) cx, ciom7.sesn C dominant seventh, fat fifth, sharp ninth FG B root rd Sth «7th 8th 6/6] |» 2 ® 00 Jw 0] [Ou ERO @ C11 C eleventh Ce fe a root 3rd Sth 7th 00 | JoC7411 ccr11,céonz0 C dominant seventh, sharp eleventh ° co 8& co & root 3rd Sth 7th Pr C1 3 (Cdom13) C thirteenth Fe Co ae aith root 3rd Sth 7th x ° 8 9 BEGCH cnet BEACC13sus4 crssus) C+ cam, cesy C thirteenth, suspended fourth C augmentedC+7 crs C+9 xis, cox) C dominant seventh, sharp fifth C ninth, sharp fifthC4759 corsa C dominant seventh, sharp fifth, flat ninth cB oD root Sid 5th 7th «8th OO] aw D Gee C+749 crsc9 C dominant seventh, sharp fifth, sharp ninth to te e og s po root 3rd 8th th th @ | O GB Ee tate © BDF Gt¢° (C dim) C diminished SS © cs f a he 1x FX ° o/6 wcee x 4x O]« e o aoce « x O]™ 8 ° cee x x O11 OT | ue o e sce a Pa x x Oi @]» et oo comeCHE cmos C-sharp fitth (power chord) oO 2 o Oh GF cao CG ct CF Gt ctCi SUS4 (cisus) Cisus2 (cesada2) C-sharn suspended fourth C-sharp suspended second xx xx 6 tite 0] [On 9 ° cl Gi ch FE Ch G Cf DFChadd3 C-sharp added ninth co ot root 3rd Sth sth ch OE: GDF ofr Ct Et At GtC26/9 coams C-sharp sixth, added ninth Cimaj7 cam i 3 § z 3 ch Ef aj OF CH Gb Bt atC2maj9 cms) Cemaj7311 away C-sharp major ninth C-sharp major seventh, sharp eleventh fA, wa = wot? 3 te 234 x 9 a. guraaoeaeee ZA a8 a a: 4.8 2 O |] 00s: ch} Ef BF DE ch OE} Fe BECemaj13 cans C-sharp major thirteenth A bo. te. to of & » mR oe SRR SR cH EF AE BE Cem cmc: C-sharp minorC#m(adds) C-sharp minor, added ninth E ‘sr to c ge gt sh x “a - o | 2 2 2 = — Gi ct oO 7 Onn CME ccimns,c-s) C-sharp minor sixth o oF root sre Qo Cac EAC Ar Ss” es a ae cht AECimb6 (C#-(:8), Cémin;6) C4m6/9 C-sharp minor, flat sixth C-sharp minor sixth, added ninth ee ee ¢ of @ w root isd 5th 6th root \drd oth 6th th 6 7 x x xx 00% OT] | x 0/00 A EF aS of E At OF @ | ww GGaAE DAG ECEM7 cceminr, c:-7 Cim7>5 (C2-78), Cémin7-5) C-sharp minor seventh C-shanp minor seventh, lat fith to ao ©£ o 8 root ard th thCém(maj7) (cim(+7)) C-sharp minor, major seventh to cc f£ G BF root Sd Sth 7th ak za 000: @ | er xx o 9 890 ct Gt BE ate ae Cim9 (Céming, c#-8) C-sharp minor ninth a OO GB ECm9(maj7) (C#m9+7, C:-9+7) C-sharp minor ninth, major seventh 00"CHIT ce, c:mim1 C-sharp minor eleventh 4o- 20 ° te Gf og 8 mF root ir¢ Sth 7th Sth 1th oS ey Lae x x O | 81900 @ eer xix 00 [An e ons E Cim1 3 c:-13, cémims) C-sharp minor thirteenth ad £ @ root idrd Sth B ttna7 (Célom7) C-sharp dominant seventh cof a Bs root 3rd Sth 7th So a x 2 He ‘ 2 He 2 © Cae a 0 ite cas & Ci7sus4 (C#7sus) G-sharp dominant seventh, suspended fourth te cof @ 8 root 4th th i7th Ss Ss aCH705 — (o275, c20n75) cx C-sharp dominant seventh, flat fifth G-sharp ninth oe Gc of Gg 8B et a Dt root sed 5th 7th root 3rd Sth th othC#98us4 icisss) C-sharp ninth, suspended fourth —~ 000 | On DG: BOF CHESS 95, como.) C-sharp dominant ninth, fat fifth to ° root a 6 Sed 8th thCi7.9 (C27-8, Cilom7:9) C37H9 cci7+9, c:tom7-9) C-sharp dominant seventh, flat ninth C-sharp dominant seventh, sharp ninth H og 8 Db a a 8 & root ad 5th 7th ath root 3rd Sth 7th 8th ce BD & Gi B DxCE7L5(49) coz7-5c49), citom7.5c9) CHI C-sharp dominant seventh, fat fitth, sharp ninth -sharp eleventh So f oc Bs om o f og 8 om root 3rd 8th 7th 8th root 3rd Sth th ath tith 00 | Jim Or BECH7ETT 411, c:tom710) C413 (Cédom13) -sharp dominant seventh, sharp eleventh C-sharp thirteenth to Cr co # @ 8 m root Sed Sth 7th HTth root ara Sth th Sth 13th x 0 x x 9 9 9 9 ch FB Gt BE AC i —=—— x 019 | Ou 6 tr o 9 oP Be GE as che BODE AE x A °o tr 9 9 9 BG: cl FB CIE I cr B & Go a 00 ate Cr | @aree B oARCE EtC31 B3SUS4 crssu) C-sharp thirteenth, suspended fourth Cr B OF A A CE FE a OO (Ciaug, C5) Ge EtG CE te oteCi+7 (ce7#5) C-sharp dominant seventh, sharp fifth 1 CH+9 (C825, C28-+5) C-sharp ninth, sharp ntth Go Die BCi+79 (Ci745 69)) CH+719 czs5 00 C-sharp dominant seventh, sharp fit, flat ninth C-sharp dominant seventh, sharp ft, sharp ninth A 1 4 6 oe —= = eo to te oO fe ie co oe o 8 » of oe pm rt sa Bh thn ad Shy th x x oo 610 e 8 9 BD Ge B OF x x ar | Q @\90 9 epee hE BG x a 00 rte 00 | e |o Gaeo ce orc 8 xx es Bea cerns — xx 0] O | x tate 98 9 Bina We petalD conay DS conor D fifth (power chord) oo root Sth xo we) XX 0 0/06 o DADA | DA x x °o ste || DADF pao tHe 10trDsus4 os) Dsus2 cosasz) D suspended fourth D suspentied second o > os > oF root ath th root 2nd th DADE s a eT aS” oe KX A co Te 00 oo 9 ° 00 aADaD EAEAD 2 xx 00 | [60m oO] |x 00 pGoGAD DEAE x See 000 | | 2% 09 | | Or ADADE600 |» OL lm DFRAEDGE/9 —ocaies) Dmaj7_ om D sixth, added ninth O major seventh o fF A Be e€ * root 3rd Sth 6th th root 3rd sth «7th x oo xx 0 \ 9 ) DAABE DAGR Ce OL |rDmaj9 ons) Dmaj7}#11 (M7211) D major ninth ‘D major seventh, sharp eleventhDmaji13 coms DM comin,o» D major thirteenth D minor o J & 8B 6 ee root sth 7th oth 3th root ded thDm(add9) DME conins, 0-0) D minor, added ninth D minor sixth el Se - Sa 13tr @ | 1% 9° - | 7 EADF wae yDm}6 040) onins) D minor, flat sixth Dm6/9 o 2 fw 8 root rd Sth oth 8m = a XX ° FeEAD DFBEDM7 07,onn7 DM7>5 075,007) ‘D minor seventh ‘D minor seventh, flat fifth o SS SSS o o root ed Sth oot irdaDm(maj7)_ om Dm9 09, omns) ‘D minor, major seventh D minor ninth DACFCE <== x x xitre an He a a ‘ 9DM9}5 (on05, onins.5) D minor ninth, fat ftth [oe Oo Dm9(maj7) cons, 09. ‘D minor ninth, major seventh tr DAGFAEDM11 011, omin) i & i > oF Ae root Sed Sth 7th eG sth 1th iy, DM13 013,onima) D minor thirteenth AQAA DGCcFA | 00000 | w DGCFAE ACEBED7 (oion7) D7sus4 a7sus) D dominant seventh dominant seventh, suspended fourthD7b5 «075, ouon7.5) DS D dominant seventh, fit ith D ninth oi + — oo o fF wo ow hh @is 26 root ed th thy wot om hh athDISUS4 cassis) D ninth, suspended fourth o > root Co ath A oc sth rth e sth DACGAE D9,5 (09-5, Bdom3-5) z WODRCE cEA Ste titeD749 «07, oson7.9) ‘D dominant seventh, flat ninth DRCE te co THe Onn D7#9 107+0, oaon7:8) DRC & ras 600 eADAC DRC Ee tr viteD7>5(#9) (07-5(+8), Ddom7:5(¢9)) D dominant seventh, flat fifth, sharp ninth 1% ae el oe as AC F OeD7#11 (07411, Ddom7#11) D13 corms) 0 dominant seventh, sharp eleventh 0 thirteenthD18sus4 D+ (O13sus) (Cau, 05) D thirteenth, suspended fourth D augmented ° é —= = = to = 4 a root th Sth itn sth 18th ot Sd ih pecGasBe FED FE AS trD+7 ors D+9 005,005) Odominant seventh, sharp fifth D ninth, sharp fitthD+7b9 wr59 D+729 rsa ‘D dominant seventh, sharp fifth, flat ninth D dominant seventh, sharp fitth, sharp ninth L _| DARCE A DRC EA x x tte Olm 9 AEF BAD FC x Ol» 98 ‘oe 9 9° ROB A CHAE x 9 sor O | 13 9 9 CR AE AC FD°7 oaim7 ‘D diminished seventh ts > oF root iS i8th rth DADE Our o FADE o FADb emay Etlat major & oc B root sed th 0909 | & 9 5B6BEG ° 00m: ° 990 5BBeEGe Ee Eb5 cenosn Erflat fitth (power chord) xx ¢ site oo BBE pois 00 134 aEbsus4 caus EbSus2 esau) Eat suspended fourth Eflat suspended secondOJ BOB F 6 cs & c root 3rd th thB maj7 em Erflat major seventh @ | nwB maj7}11 (EM7i11) Eat major seventh, sharp eleventh oo FBREGOD oneE,maj13 cma ELM cemin,e Etat major thirteenth E-flat minor co B&B Dp F ¢ 5 oS BF root sd Sth 7th = 9th 13th root iSrd th BGaoac 99 | iw BGCFrBD BGBGEm(add9) Effat minor, added ninth E,Mm6 cemns,e-0) Eat minor sixth 00 | um BGs F 5 root a sara oe sth 6th xx BBC x O16] |x 98 ceae ci 8th SROARS ar titeiT E,m(maj7) cm Eflat minor, major seventh ELm9 emis, e-0) lat minor ninth # fa 5 sth Bo root SraBm95 (Em8-5, Emind.5) Erflat minor ninth, fat fifth E,m9(maj7) cens+7, 5-4 Erflat minor ninth, major seventh BD GD F tte e CY BBOGBS FEom11 -11,eminr Erflat minor eleventh Em13 e-13, emma) Erflat minor thirteenth 5 root BD a ard Sth th BADGB F vr an tr aitB7 ctomn Eflat dominant seventh E,7sus4 crus) Etat dominant seventh, suspended fourth BBDGRE 6 Qe 00 |» 690 o|o eoGS BEAD He 670] [Om 6 9 6 9° 9EL7}5 (67-5, Baom7:5) Eg Elat dominant seventh, fat ftth 5 oo Bb oD mi grime ee root sd 5th 7th root 3rd Sth «7th th @ | ror 0190] 0] 1 DG a BBOGE FE9sus4 css) E955 cos, c40mas) Erflat ninth, suspended fourth Erflat ninth, flat firthB79 79,c00n79) E-flat dominant seventh, flat ninth E739 (749, e0on7-9 Eflat dominant seventh, sharp ninth ateB7,5(#9) (B7-5(+9), Bxlom7,5(38)) B11 E-flat dominant seventh, flat fitth, sharp ninth Esflat eleventh @ Bh OD Fecy B71 1) e711, e00n7) E-flat dominant seventh, sharp eleventh B13 coms E-flat dominant thirteenth 5 6 BD ° root 3rd 5th 7th sth 13thB13sus4 crsss B+ camecs E-flat thirteenth, suspended fourth Eflat augmentedB+7 cx Eflat dominant seventh, sharp fitth ae B+9 coscsn Eflat ninth, sharp fifth be) ion Th em ey root 3rd Sth th th oA l« a Tc = a GDOFBEB+79 e759 B+739 crs E-flat dominant seventh, sharp fifth, flat ninth flat dominant seventh, sharp fifth, sharp ninthB° cam E-fat diminished a root rd 8th O | 10% a @ BF 5 DG BH ed 6 @ Be Doe &EBEGBE 12Esus4 sus) E suspended fourth ° = ° e A 8B root ath th 00] Jo BEAE RBEBE _—_——_ xx 09 | 100m @ |] im 9 9‘tte °° 11EG/9 cesadus) Emaj7_ am E sixth, added ninth Emajor seventh ce o@ 8 o root ard Sth 7th $2 e og 8B «& root aed Sth ih eEGichRH BE © oGeEmaj7#11 aman Emajor seventh, sharp eleventh to eee peat x GO) O] 9 8 60 oo BAG £ Dota xx xx OT] o tate ° E oh oF Ft = a ot obEmaj13 ans) E major thirteenth fe p to? = 1 =< i 5 oF root ad Sth hth 1th t oo 9 © Gt ct FB pb te Ow oe 9900 eGee 0 | [060m EBEGBEeGacsr atteEm>6 cco) eins) Em6/9 Eminor, flat sixth E minor sixth, added ninth to ots = ° fo 2 eo 8 ei ee oe 2 ooEBDG EM7>5 75, emus) tr 1mEm(maj7) cm Em cnns,es) E minor, major seventh minor ninth to ° © . ¢ 8 » root rd sth root i3rd Sth th th eEsBoGDFEm9>5 nos, enina.s) Em9(maj7) cus+7,e8+7 minor ninth, fat firth minor ninth, major seventh FE oo B&B Dp e oo 8 oo root isrd Sth 7th oth root ord sth «7th ath oe si | ste 91007 |x —RDGDREm11 Em13 (E11, Emint1) (E-18, Emin13) Eminor eleventh Eminor thirteenth a A oe 1° o ad 4 = 7 © fe oc 8 pf «A eo 8 2» # @ rot ah ih ath ra hhh oh oo000 EGDRA e EADGB x x @ | ©1900 EADGE dominant seventh e @ B root ard sth th E7sus4 was) E dominant seventh, suspended fourth se A 8B oD root ath sth 7th ° Ox EBDADEE75 (E7-5, Elom7,5) dominant seventh, fat fitth & oo ‘th 7th s ss E root 4 10 a ors xx BE GD tr air — GD FE ateE9sus4 sus) E9b5 cx, tdona5) Eninth, suspended fourth Eninth, flat fit @ | 0 Ca 9 9 9 5 DAA oe BD x x xx °° Quan Om EAD F DGB FE7;9 (E7-8, Edom7;8) E dominant seventh, tat ninth & ot root 3rd E729 cer+s, ctom70 E dominant seventh, sharp ninth a 8 sed sth o inn 1 ofr — BOG BF titeE755(28) s1+2), eaonnsesn Eddominant seventh, flat fifth, sharp ninth == El eg o root Sra Sth > itn Fe ‘th ae taf BE GHD FeE7#11 (E7+11, Ettom7211) E13 ccuoma) E dominant seventh, sharp eleventh E thirteenth E GD Fc He — il ER DGB DE Go 018 | 00x EA DGB EE13Sus4 crssus) E thirteenth, suspended fourth E+ caus, ce5y E augmented to = 4 ot Fo. —— | Qe. e A 8 0 f a root 4th th th th 413th at BEGEE+7 os E+9 is.a5 Eseventh, sharp fifth Eninth, sharp firth e @ of oD root ard HSth «th th 0 100 |x 0707)» Gt D FH BEE+7}9 crs» E+749 ccscoy E dominant seventh, sharp fitth, flat ninth Edominant seventh, sharp fifth, sharp ninth By e ot Bt ob root Sed 5th 7th x x 61 Oj om 9 9 EGD Fe EG D RB Z 09 | 9 Bi E GED eee xx ° tate o 12 CX?) e D Gta F D Gt Bt FeE° cam E°7 cin E diminished E diminished seventh BEGR heoeFO ema F fifth (power chord) OO sat Aa RACE FCFFsus4 cus) F suspended fourth a F root ath Sth Fsus2 (Poade2) F suspended second Fe root cs 2nd c sth rFeBCE tr OO: LAS(FBadit8) Fmaj7 am F sixth, added ninth F major seventh FACEFmaj7#11 (e711) F major seventh, sharp eleventh °o FREAC x x 0 | vx 90Fmaj13 ans) F major thirteenth Fiminor ° 4 o oe o a ¥ o o eo eo FoA cc &£& @ 0» . root st) Sih Thoth 18th rot id Sh 131 00 a0Fim(add 9) F minor, added ninth af ytFmb6 606, rninsy F minor, flat sixth Fm6/3 F minor sixth, added ninth Fo oA cD root 3rd Sth 6th l = 8 6 tite DAC EF ° we tit ADGCFFIn7 2,Fminz FIM7>5 75, rmnz- F minor seventh F minor seventh, flat fitth = = i F oA c 6 root ord Sth 7thFin(maj7) — em-+m Fm9 9,Fmins) F minor, major seventh F minor ninthF955 ns, rmns:s) F minor ninth, fat fifth a oo & root rd Sth 7th G sth Fm9(maj7) ns+7,-s+7 F minor ninth, major seventh OO | 13 EACGFIM 11, Fmint) F minor eleventh bo to o Os row co 6 root rd sth Mh Sth tty " FIN13 13, rnin) F minor thirteenth aed 3 & a go 3 8. 3F7Sus4 ss) F dominant seventh, suspended fourth CrAB FOES str CrBEF755 75,75) F9 F dominant seventh, fat fifth F ninthF9SUS4 cross) F955 35, ruonas) Finth, suspended fourth F ninth, flat fifth Fo B6B ABGGFF797, Fonz. F dominant seventh, flat ninth > © cGAaB a or F749 7+, raon79) F dominant seventh, sharp ninth ° 8 (3) ot cea x x 8 1h 98 FAB G x 12 AB GC F 01019) im FCB AC GF 75(28) (F745 (+8), Fotom75(49)) F dominant seventh, tat fifth, sharp ninth ABGO a [ 000 | Ox FeBACF7#11 (F711, Flom7#11) FI3 crtoma) F dominant seventh, sharp eleventh F thirteenth o = — s o eo FoA ¢ & op ew el ae Ye Op root sd Sth th Htith root Std Sth 7th sth 13th BFASBFISSUS4 Gissus) F thirteenth, suspended fourth Fe (rau, res» F augmented FOO root 3rd ct in BFeD ° Os 5 DFS —— 0000 | « 9 teF+7 ws F dominant seventh, sharp fitth: rFoA Gc 6 root ad th 7th F+9 crsis,ro+5) F ninth, sharp firth BAGG GaGFAS ofrF759 crs» F+729 esscan F dominant seventh, sharp fith, flat ninth F dominant seventh, sharp fifth, sharp ninthFo cram F diminished AOFMote tite FS ena F-sharp tfth (power chord) é 2 foo rot Sh Se xxx — Rar xx x °o 9 9 | RGF x xx 8 eo RGR CK 0 ° cr GF xx ate 144Fisus4 rss) FHSUS2 cresau F sharp suspended fourth F sharp suspended second A ot od root 2nd Sih 4 ois: Foot root ath Sth | e 00 ° AGF 8 FEGE FE G: Gt xx xx 00 [Jam ° vit ch FOB FE6000 | oan A x 0/6 60 ‘AS DF FE CEF46/9 (P28 add 8) Fémaj7 (ra) F-shanp sixth, added ninth F-sharp major seventh tA Ch a oe og root ard sth th th root 3rd th 7thFimaj7#11 (rest) F-sharp major seventh, sharp eleventhFemaj13 cans) sharp major thirteenth FEM cermin sharp minor FE ¢ root ard th oot FO Th 9th 13th root idrd th 1m cA FEFem(add3) F-sharp minor, added ninth — a @aR GA FA CLG es x , o oo AGGG sot ae DAC OF arFREMLB 00, r:mins) Fsharp minor, flat sixth Fem6/9 F-sharp minor sixth, added ninth Bo A ‘rath FE ot ofr AAAAR DAG 9/190 FA Dt at xi o 9 9Fem7 7, rimnn Fi 755-75, r:mn7-5) F-sharp minor seventh F-sharp minor seventh, flat fit 0] jimFem(maj7)— eam+m Fem ¢:-0,rmins) F-sharp minor, major seventh F-sharp minor ninth HA ot 2 ee root irq Sth 7th root idrd oth th athFim9b5 (Fém9-5, Féming.5) F-sharp minor ninth, tat ftth Fem9(maj7) — c:ns+7,r-9+n F-sharp minor ninth, major seventh a o¢ 8 @ root gra Sth 7th thFAM11 11, e¢min) FRm13 13, r:mina) F-sharp minor eleventh F-sharp minor thirteenth 00047 (Fédom7) F-sharp dominant seventh xx ° sS FAL GE E vag ne aa ie Hy GRADE FE7SUS4 cri7su0) F-sharp dominant seventh, suspended fourth eo ° ae aD 00 Li RB EFE7>5 (F275, Fidom7:5) Fg Fsharp dominant seventh, fat fifth F-sharp ninth oN oc .& FE root aed ath 7th rootFESSUS4 Gissus) Fsharp ninth, suspended fourth SS FB ck gt root 4h Sth 7th th FR oEGB F 955 (F£8-5, Fedoms5) G@ceA trFE7L9 (F#7-8, Fedom7;9) Fsharp dominant seventh, flat ninth (F#7+8, Fedom7#8) 13tFE7L5(#9) (FS7-G(+8), Fedom7/5¢8)) F-sharp dominant seventh, flat fifth, sharp ninth xO @cE A EGC 0010 xx ° Re EA 00) /6 9 FB E At CE TT 9 AMER B x 000 | O»F 11 (F#7+11, Fedom7$11) F-sharp dominant seventh, sharp eleventh io Roo ce root 3rd th th faith a ge a Y ERE FB oe FEI3 crisomsy F-sharp thirteenth or E vin a on oF 38th At Ob Tt vatFE13SUS4 cits) FRA crsaus, 25) Fsharp thirteenth, suspended fourth F sharp augmented AB Got Rot ge root 4th 5th 7th Sth 13th root Sed 5thFE+7 eas) F-sharp dominant seventh, sharp fifthFA +759 ezss09 FE +749 (F:7+5(9) F-sharp dominant seventh, sharp fifth, flat ninth F-sharp dominant seventh, sharp fifth, sharp ninth o x zO- A oA oo © «@ a ae root ard Sth 7th 9th root ard th th thFo aim FE°7 sain F-sharp diminished F-sharp diminished seventh HOA oe root rd 8th ROB A crRACG (Gmaj) 65 (65 no 3ra) G fifth (nower chord) a o |% ° a op sea sth root 5th Zo 0, [00 6 08 ote epaesGsus4 sus) Gsus2 sanz) 6 suspended fourth 6 suspended second cs c op oc A oD root ath sth root 2nd 5th (2) 9 99 ecoG @oGao x x ey ° +f ° 12h 9° eoec DADGco 8 bp aA Bo eit le root ard Sth oth root ard sth th Ss oo 00 ——e GeoGBeE xx xx Ca ADGB = aa x 14te ADGBG6/9 coaws) Gmaj7 (eM7) G sixth, added ninth 6 major seventhGmaj9 ews) & major ninth cs 8 Dp root sed Sth 7th AAAS ADGBF ate Gmaj7#11 (eM7:11) major seventh, sharp eleventh ecrBeaDGmaj13 cms) major thirteenth 00o™ e9 9 CeERB x x ° 10% afr EADG BF 6 QiorGm(add9) GME 6, cnn) G minor, added ninth 6 minor sixth o & root Sard Sth th tite 0 ate 9 oBEGD x x x ° 12 tat 9° 9 BOADG G@ EBDGMb6 08) cmins) Gm6/9 G minor, flat sixth minor sixth, added ninthGM7 7, cau 6 minor seventh FROG GM7}5 75, cmin75) minor seventh, fat fifthGm(maj7) m+ Gm9 >, cnins) minor, major seventh 6 minor ninth — Te co 8 oo F 6 male root rd sth 7th root iSrd sth 7th th ote Cy Oi GpFRBDG95 ccnos, snno.s) minor ninth, fat fifth & = = om DF root rd 5th 7th Gm9(mMaj7) cns+7,69+ 6 minor ninth, major seventh o &® bp F root SSrd 5th 7th ADF Bb o tr CIBE:) CRRA 2 OO 9o BDRADGM11 ce, enim) G minor eleventh Q@creD G13 1s, cnn) G minor thirteenth \l¢G7sus4 c7sus) dominant seventh, suspended fourth eel xx pGer pGacrG7b5 cers, cdonzs) G dominant seventh, tat firth GDFeB6915 (68-5, Gdom8,5) 6 ninth, suspended fourth G ninth, fat fifth cs c Dp F aA 5B oD oF A root 4th sth 7th Sth root 3d 15th 7th oth a J DFAS x ° oe BO OADF —o zs oo x GcrA we oF 6/9 acrAD GBFA x x ion % OI] 3 6 @ Fac ADF SBG7)9 1678, sionz9) G7t9 (G7+8, Gdom7:8) 6 dominant seventh, flat ninth G dominant seventh, sharp ninth ——— x x x 12 0 tate 8 900 G FAB ‘ BFAD GG7,5(29) (G7-5(+8), Gdom7,5(¢8)) dominant seventh, flat fitth, sharp ninth BOF ALD G11 Geleventh 00a @erno174 G7}11 (6711, Gaiom7!11) G13 ccuomsy 6 dominant seventh, sharp eleventh o 8 o Ee root Sd sth 7th oth 13th sc 8 op FF Go root ard sth th ftith al ih Om @ | Oo O| 16 |e ; xx Qo tite 2 9 9 J Ger GEFAEGI3Sus4 Cissus) G+ cca, cc:5» G thirteenth, suspended fourth oe G augmented 4 oo? oe ——— o +O = ° o ° cs Fe E Gc 8 root 4th = Sth «7th Sth 13th root ord 5th GAFACE Qo 9 Ls! = GDFCEG x ° str 6] [60% 6000 | 0 GCFAEG+7)9 cers0sy G+739 (67+5(48)) dominant seventh, sharp fifth, flat ninth G dominant seventh, sharp fifth, sharp ninth to 5 op oF ow root rd #Sth_ 7th 48th 0] ao B F DAB ADB FOs DGB Oo tte tate >coo root td th ALS wna) ‘Adfat fifth (power chard) 0 tr 6 nr ABAC BABA ate 19AbSUS4 usu Afiat suspended fourth ab mB root ath Sth AbSUS2 sasez) ‘Aflat suspended second =e i= be eo a B® root 2nd Sth O01 Ca BEABAbaddd 4 oC root ard tr titeALG/9 saws) ALmaj7 am ‘Atiat sixth, added ninth Adiat major seventh | @ 9 Q 9 9 ACFBREA a oce x x BAC Fe Bea x x x 000 | Os 00 |» 9 98 9° FREAC KCB ora x 00 | | o One 9 ACrBE ABECEAbmaj9 (ama) Abmaj7#11 a) ‘flat major ninth ‘Aflat major seventh, sharp eleventhAbmaj13 wns Aclat major thirteenth 5 sth c ore ge | er Fedo FB BACG ar 131" ALM cami, a- A‘lat minor ro NEAGE CEBAG trA>m(adds) ‘Adiat minor, added ninth BEAG A,m6 (Asmin6, A,-8) ‘tat minor sixth ROGOFAGBALM6 00), amine Abm6/9 ‘Aeflat minor, flat sixth ‘Adtat minor sixth, added ninth bo ’ o 6 & A B oF 8 root Grd Sth 8th root 3rd Sth 6th th Q] @ | oo REP BEF x 000 |» On ° ROBAB BRAG x tite 6 str NEAG RH BOF EBALM7 7,01m07 ALM7}5 0-75, 0,m075) ‘Aflat minor seventh ‘Actlat minor seventh, fat fifth 0190 [On @ [J 1 BBGGE oc MEGAbm(maj7) wm ALM9 «5, n.mins) ‘Aflat minor, major seventh ‘Aftat minor ninth Age oye ore te = 4 a so 8 @ & root \Sed Sth «th th °o On eo ot anuacGos oaasgALM9L5 camo, amiss) ALm9(maj7) (Aim8+7, R847) ‘Adfat minor ninth, fat ftth Aclat minor ninth, major seventh \ @ i e690 : E OGBEG = O | 8 ‘tr 0 ‘tr ° ot . 60 9 aliens Ol] jan 3° ° > OO CBGBsct) ALMT1 1, min AbLM13 (w-13, amma ‘A-flat minor eleventh Adfiat minor thirteenth ° os o root 3rd 5th 7th = Sth 13th 00 @ FOBA REGGFA sate 00% o neater . g Oo] [Om Cy tr 0/00 aera SRT [60001 O16] ]™ | Qo (:) ° TENG es ara aeAb7 casonr AL7SUS4 7s) A-tlat dominant seventh ‘Aslat dominant seventh, suspended fourth a 5B & > 6 root ard sth th root 4th Sth 7th Qi Q Qi ABG@CE 4 BRBEGRE(07-5, Aiom7}5) A-flat dominant seventh, flat firth bo A co root 3rd Sth th ABGC 1 c 5 o root 3rd tht & GBC ABG@cs CGB EB steALSSUS4 ass) AL9b5 195, 0coms) ‘flat ninth, suspended fourth ‘tat ninth, that ith bo a 2 oe oo eo oS oc #8 o Bo root th Sth 7th oth root rath ith oth ite Ol] Jam ADG@BE BEaCcAL7b9 (A+7-8, A>dom7-9) ‘A‘lat dominant seventh, flat ninth O [QJ 0 ACGBmE AL7#9 (4748, Asdom7:9) ‘Atlat dominant seventh, sharp ninth 0 | ACGBAL75(#9) — cx7-sc+9),a.com7.ses» AL11 ‘Adlat dominant seventh, flat fitth, sharp ninth Aflat eleventh a 5 o¢ B&B oO root Srd Sth «th «th 11th ADBac seac ADBGCcEeAL7#11 (47411, Redom7#11) AL13 toms) ‘Aiat dominant seventh, sharp eleventh Atiat thirteenth 2 lle x x 9 [On 8 ‘ote 9 9 9 BoGcE ACGBFAb1T3SUS4 ctsss) A-flat thirteenth, suspended fourth ° Ab cau, acs ‘A-flat augmented a oo 8 © & F&F root 4th Sth 7th Sth 13th 0000 | « ROGBE A’ c root 3rd 48th EACAAbt7 ars ‘Adlat dominant seventh, sharp firth b BEG@CE tte AL+9 «nsis, ase Affat ninth, sharp ith y E o root 3rd 8th 7th EBREACG BCGBEAL+7b9 wresc9n ‘Aclat dominant seventh, sharp fith, flat ninth bo bo oo A oc Bh root ard 8th th ath oo 8 8 RCG@BE Ab +749 (07+5(¢8)) A-tlat dominant seventh, sharp fifth, sharp ninth 2 a oc f @ root ard 8th th x s OL] : 3s NETSAL°7 wan ‘Alat diminished seventh s o & root Srd 8th 7th OR AEA . BA Gb CHAS ee wo EbAEAG ate AS (arose Atitth (power chord)ASUS4 (asus) A suspended fourth ASUS2 (asauz) ‘A suspentied second The ADBEAG AE AGFAG/S (rsanaa) Amaj7 awn A sixth, added ninth ‘A major seventh 00 | Jim 00 |» AGRBE AGE @Amaj9 ama Amaj7#11 (ant) ‘A major ninth ‘A major seventh, sharp eleventh to a ce GB a GG £ of io root 3rd Sth «= 7th oth root sd sth 7th fItth SS ot x x C te @ | « 9 9 i=! ABE GO A Gao x x xx C} tte a 2 eo 9° 9 AGG s AD GG x x 0000 | uw 0] [Om BEAGG A Ci Gt Ct OFAmaj13 ams AM cami, a ‘A major thirteenth jo AminorAm(add9) AME amine, 1-6) ‘A minor sixthAMbE (66, anim.) ‘A minor, flat sixth ° ACFAE 00 AEACE ste 101 rate Oo] |» ACHEAM7 07,1n07 AM755 075, aninrs5) ‘A minor seventh A minor seventh, flat fit x x x 010 [Ow O16] |= 9 AEGCE ABGCAm(maj7) am AM (45, anina) ‘A minor, major seventh ‘A minor ninth A c f& @ < G-ie aes root 9rd th 7th root 9rd th th th CGBeEAM9}5 (anos, amina.s) Am9(maj7) cams+7, 19:7 ‘Aminor ninth, fat fifth ‘Aminor ninth, major seventh 2 _ aa ge — 4 os o 8 ac ©. @ 8 root ied Sth th oth root iad sth hth 00x BEGC CEGBEAMT (11, anny ‘A minor eleventh A oc ©£ Gc 8 » root rd sth Wh oth tH 0 O ior ACGBD AM1T3 (13, amma) ‘A minor thirteenth a ee root (ord sth th — tor 990 CCHBE x ° ‘at 91 0 [Ox AEGGE A7sus4 (A7sus) ‘A dominant seventh, suspended fourth AEGDEA755 075, ason7ss) ‘A dominant seventh, at firth ABGG aAaGs ate AGGBEASSUS4 asus AS a05, stones) ‘Aninth, suspended fourth ‘Aint, fat fitthA719 (A7-8, Adom7,9) A7#9 1a7+8,atom7:s) Adominant seventh, sharp ninth to ° ttt AGGBE fA = eee eee = _ =e x x ° 11 e\9 ActG BA7>5(#9) (A7-5(4+8), Adom7,5(:8)) All Adominant seventh, flat fitth, sharp ninth Acleventh Aer es ae root ard sth «th «ath ttth x o00 0 Sees [em xx 00 | & ° 7h | EOC ADGc x a x oa ° Our O00 98 9/90 aGGae AGGAD — ¥ 7 ex 6 12tr 12H eo BEG Co ADGGEA7#I1 (A7+11, Adom7#11) ‘A dominant seventh, sharp eleventh to ° cof G6 oF root ord Sth bth Ath 0 10] Om ADGGE A13 atoms dete root Sid Sth ath oar A AGG BFA138US4 ansus) ‘A thirteenth, suspended fourth AO0GB F +01 12 A+ (aay, a05 A augmented x0 9 ABAGE x x eo 9 ‘ofrAGC A+9 195,195) Aninth, sharp fifth a a 8 root ard 5th 7th AGG BE ste ofr aA+7)9 zs509 A dominant seventh, sharp fifth, flat ninth bo AG GB Ee A+729 arssea» Adominant seventh sharp ith, sharp ninth fo 0 1H AGG BEAe asain APT ainzy A diminished A diminished seventh aA oc @ root rd 8th > 29 > 0 : 2p Xx O | Oe 9/90 ceac xx xx Onn 016) % e|90 9 BACE ABGC cBhac ABGCEBLS wn sra B-flat fitth (power chord) BF BOF B _| wre xx x x x 6 tr 8 tr e 9 BF BD BF Bs x s: xx O [J oO ‘sh | BD FB F BF BBbSUS4 sus Beflat suspentied fourth _——_ a +e eo Bo 6 oF root 4th sth B}SUS2 sau) Beflat suspended second crac ‘te tr 10tri £0 ae g. 2. ° Str BOF EC ( eos OT] om BFeEDGEz BLB/9 cass) Beflat sixth, added ninth 2 i: 5— 9 as eo > a c root std sth 6th oth ake s BLmaj7 (BiNI7) Belat major seventh 2 a2 o- ® oo A root ard sth 7thBhmaj9 ens) Bhmaj7#11 ews B-flat major ninth B-flat major seventh, sharp eleventhBhmaj13 om Bom mins.» B-flat major thirteenth = B-flat minor © 6 ss =BLm(add9) Betiat minor, added ninth BOFC B>M6 conno,n-2) B-flat minor sixth 20 a Oo F root 3rd th a ex as a“ — BOG BF utBLM}6 19, min) B-flat minor, flat sixth aD oF & root rd sth th — BLm6/9 Bflat minor sixth, added ninth DB OF root ard sth cs eth “” Se A “a x 000 Jam 9 BOGE F xx OO. | 2 FRO @ BocceBhm7 w7,5mnn B-flat minor seventh FADE xx o tr BFAD x O10 Jam 6/90 BOA BF BLM7}5 o.75, mn Blat minor seventh, flat fifth a sth ho a wt 8 AL Ds FL ADB BF A Db strBhm(maj7) e+ B-flat minor, major seventh ® Dp oF A root rd Sth 7th BLM9 w-s,5.mna) Beflat minor ninth DFACF pF ADF C DAC E 000 | % str itB}M9}5 nos, 5mns) Beflat minor ninth, fat fifth bo oe a ob FR w © root isrd Sth 7th oth x 9 CHB DA |] eran ir Bhm9(maj7) eno+7, 5-94 B-flat minor ninth, major seventh: ey ° 6 tte J DACEBEM11 w-11, m0) B}M13 -13,8mima) B-flat minor eleventh B-flat minor thirteenth S > F A c 6B a ph = ik oe | ee root ard Sth «th th tHth root \3rd 5th 7th th 13th x x O]« . 6160 Mi |e woe BFAD G Ox o FAD nit 3 ooh« CY 6 __ aes one |. Saareate or Fi i SLL Om or 0106 60] BOA C &Bb7 ton) B-flat dominant seventh B}7sus4 rss) B-flat dominant seventh, suspended fourth B oD oF w& root ard sth th xx 6 afr 9 9 BFAD x x ofr ° 9 BFA @ | vm BABEBb7}5 (857-5, Botlom7;5) B-flat dominant seventh, flat fifth bo a 0 mR w root sd i8th 7th eee poy Pw) root ard oth th th BDAC EB)9Sus4 su) B915 (B,9-5, Bdom8.5) B-flat ninth, suspended fourth B-flat ninth, fat fifth A Lo ‘i o Bo oF A B oD R A root ath Sth 7th Sth root Sed sth H7th oth x ——— xo ° BEA CF BoA CH DACH 2BL7}9 (B:7-8, Btlom7:9) B-flat dominant seventh, flat ninth a root > or FE sth a in “<4 “a o ‘ath bt B) (B)7+9, Bidlom728) fo B-flat dominant seventh, sharp ninth beret A 3rd Sth th B F root th ct ion a a | aa. , BDA TH otBb7b5(#9) e750), s4om75¢9 B-flat dominant seventh, flat fitth, sharp ninth be *& , - root ard Sth 7th 8th oe Ora DAGGERBS7#11 (B,7+11, Botlom7#11) B13 edomay a wn Brflat dominant seventh, sharp eleventh Bellat thirteenth bo — 6 ° ° B 0 F & £ es Se root aed Sth U7th ith root ard Sth x BEAD tr 131 1116 BOACAGB}13sus4 eras) B-flat thirteenth, suspended fourth {le Bb+ aus. sn B+flat augmented ace Qe = x OTT OOnm Beaes tafe BBEACG 6 = : @o FRBBb+7 wx Bb+9 wss,ns5) B-flat dominant seventh, sharp fifth B-flat ninth, sharp fifth ° afr o/90 11 9 9° 9° : ‘i sie S100] a eoBb+719 wrs:9 B-flat dominant seventh, sharp fith, flat ninth BL+7#9 crsscon Bellat dominant seventh, sharp fifth, sharp ninth bo B oD Ff A root 3rd th 7th a 12: ct isin 6 tr HAD BOA GFBb? wam B}°7 wan B-flat diminished seventh Beflat diminshed ® OF root grt \Sth x ° x oo oT j eT 6|e 9 ba Besar y a all arene tr 6] 10 | Om oe BAe BAB D AS xx = xx es x Or O | x "ai & DF BRADBS maw B fifth (power chord) ate C} satBsus4 cus) B suspended fourth BERB tte BSUS2 — casawz) B suspended second cB Ct 14B aided ninth Bein soe oS 8 ob oR c 2 oo Fo wot ad Sth oth rot ad hhBmaj9 ons) B major ninth B Ct Ft AS DF Bmaj7#11 aman B major seventh, sharp eleventh 00 | Di FE A EtBmaj13 ems B major thirteenth i BDRB rte ofr atBMG comne, 2) B minor sixth 5B op root Sed Sth th BoRG BoDG@ BFBmb6 @0), amn:s) B minor, flat sixth B minor sixth, added ninth to i = { ee 6 = 8 a ¢ root i ohh 8 9° Boer Boaar xx 0 THe e 9 BRBDG BD Gc x x 0 [Om | e 9 90 BRBOGe > GAG x x xx @ | or Ovo 9 9° BAG aaso x x 0900 | 1m 6 tat °o 98 9 Boas BoadBm7 7, mar BM7/5 75, 5nn75) B minor seventh B minor seventh, fat fitth ag BFAD BOFABm(maj7) eum B minor, major seventh 3 DoF root itd sth Bm9 2, snina) B minor ninth BDAGH BDAG x DAG RBM955 cons, omns:5) 1B minor ninth, flat ttth eo oe -©- ° 8B oD oF A root 3rd sth 7th Sth 0/60 °o BFADA x 0/166 Bm9(maj7) ons+7,89+7 B minor ninth, major seventh toBM11 11, 8mm) BM13 e-13, emma) B minor eleventh B minor thirteenth toB7sus4 crus) B dominant seventh, suspended fourth ——— 8 root th Sth 7th 6 ot 9 | 9 eeeB9SUS4 Goss) BSL5 5, séoms.s) B ninth, suspended fourth B ninth, flat fitth te o 4 xo? ee a g 2 ok sey bata me BAe codes Ga 09 | DA GFB79 7.9, oion7s) B dominant seventh, flat ninth B7#8 c7+8, edon7-9) BA 000 GH BDA ° tr Ol] jeB7,5(#9) (B7-5(+8), Bdom7/5(8)) B dominant seventh, flat fifth, sharp ninth oO ae B DOF A root ard sth 7th 0th BEAD F 600 [0 | XK 09 | |» 8 BEAD x 00% 98 9B7$11 co7+11, siom7s11) B13 B thirteenth Hie AGBB13sus4 crass) B thirteenth, suspended fourth to B+ (caus, a1:5» B augmented a & FR A oo root 4th 5th 7th Sih 13th BEAGG [110 Om AEGBE at 5 BOF xx Om ° BO xx O90] « BOD F x 09 | 9 Bor BB+7 ors B dominant seventh, sharp firth B+9 o0:5,20.5) B ninth, sharp ith AF B AOE ObB+7}9 crss0s B+729 crssea B dominant seventh, sharp fifth, flat ninth B dominant seventh, sharp fitth, sharp ninth =o oe c sath —s 9 BOL C Fe ° xO =e a Om oA root 3rd 8th 7th ‘ j xx ot . os 8 xx O | |i Q | ADF C © FA DFBe cum B diminished: BFAD