Increase Your

Chord
Vocabulary
The Complete Guide For
Building Chords Anywhere On
The Guitar Fretboard

Essential Chord Theory For Guitarists

Robert Sinclair BA Hons App. Music

Guitar Lessons Meath

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The Chromatic Scale
In western music the equal temperament tuning system is utilised creating 12 equal distances or intervals
between each note at a distance of a Semi-tone. The letters A to G are used in identifying these notes of
differing pitches; this results in seven notes each defined by a letter. After reaching the seventh note the letters
simply repeat this is termed as the next octave, the same is true when moving in the reverse direction. So after G
comes A and Before A comes G, if we start on any letter for example C and follow the same sequence when we
hit C again we have covered a complete octave.

The smallest distance between any two notes is a semi-tone which is one fret on the guitar two frets give a tone,
or in other words, another way of understanding this is half-tone and full-tone.

Western music is divided into 12 equal pitches each a semi-tone apart this creates the chromatic scale -a scale
is just an ordered set of pitches- the chromatic scale forms the basis for all music and all musical instruments,
every other scale is built from the chromatic scale. This type of tuning is called the ‘equal temperament tuning
system’.

The distance between any two notes is a whole tone with the exception of B-C and E-F which are semi-tones.
When a note is moved forward by one semi-tone, this note is termed as being sharpened and indicated by the ♯
symbol. When a note is moved in reverse by one sem-tone this is note is now flattened, and detailed by the
symbol ♭.

A♯ C♯ D♯ F♯ G♯

A - B-C - D - E-F - G - A

B♭ D♭ E♭ G♭ A♭

Depending on the direction travelled the note is either sharpened or flattened; so moving forward one semi-tone
from C creates a C sharp (C♯) going backwards from D will give a D flat (D♭) in practice and pitch wise C♯ and
D♭ are the same note and will sound exactly the same. This is known as an ‘Enharmonic Equivalent’ (EQ) the
same is true for all other EQ – D♯ and E♭, F♯ and G♭ etc.

How does this apply to the guitar? In standard tuning guitars have six strings in open position set at different
pitches E1 B2 G3 D4 A5 E6. By starting on open E and placing a finger on the first fret the note E is raised by
one semi-tone to F, placing a finger on the second fret of the same string raises F by one semi-tone to F# and so
the same applies to all other strings e.g. G fret one is G#, G on fret two is A and so on. This method can be
applied to all strings and depending on the starting point going forward raises the note, going backwards flattens
the note.
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The Major Scale
The distance between notes can be expressed in terms of frets, steps, tones, or intervals. Frets are an acceptable
term to use when dealing with other guitarists. Steps are a general musical term, used and understood by all
musicians. Thinking of the distance between any two notes as intervals, however, is the most concise and
universal way. This allows the distance between notes to be thought of as an independent unit of measure rather
than a series of frets or steps.

Music’s Little Ruler

The major scale is used to measure the distance between notes. For example, the distance between the first and
second notes of the major scale is two frets, one Whole Tone, Two Sem-Tones, or a “major second” interval.
The distance between the first and third notes of the major scale is four frets, Two Whole Tones, Four Sem-
Tones or a “major third” interval. There are seven notes in the major scale and thus seven intervals. An eighth
term, octave, refers to a higher or lower occurrence of the same note.

The Major scale is made up from a fixed set of intervals or pitches this being:

Tone – Tone – Semi-tone – Tone – Tone – Tone – Semi-tone

This formula when applied to any note of the Chromatic Scale produces a Major Scale. For Example:

C Major

1 2 3 4 5 6 7 8

C D E F G A A B C

T T ST T T T ST

Because the distance between E & F, B & C is only a Semitone when this formula is applied to other pitches of
the Chromatic scale sharps and flats are produced. Let’s look at the G major Scale for example.

G Major

1 2 3 4 5 6 7 8

G A B C D A E F♯ G

T T ST T T T ST

This is where key signatures originate from (a scale with one sharp F♯ indicates G Major) but more on that later.

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As can be seen there are various ways of naming notes, measuring the distance between notes and identifying
the position of notes in relation to each other and their root or tonic. When notes are arranged in a certain
fashion we refer to these as been set in a particular scale or key the formula for each scale and key is a fixed set
of intervals as with the Major scale:

Tone – Tone – Semi-tone – Tone – Tone – Tone – Semi-tone

When notes are stacked on top of each other and played at the same time this is referred refer to as a ‘Chord’ a
chord is also a fixed set of intervals or notes stacked in thirds.

From each degree of the major scale we can develop a chord and as the major scale is a fixed set of intervals so
the chords of the major scale follow a fixed pattern.

Major – minor – minor – Major – Major – minor – Diminished

Each chord takes its name from the degree of the major scale to which it relates or originates. Chords are
numbered using roman numerals; upper case for major, and lower case for minor and diminished. So chord (iii)
is always minor and chord (IV) always major and so on. To see how this works in practice the following table
outlines the degrees of the C major scale, and the notes of this scale stacked in 3rds on top of each degree.

For Example: C Major chord taken from the first degree of the C Major scale the next note a 3 rd apart is E and a
3rd from E is G stack these notes together one on top of the other and it produces a C Major chord.

I ii iii IV V VI vii°
C Major Scale
Root C D E F G A B

Third E F G A B C D

Fifth G A B C D E F

So the seven main triads (3 note chords) we get in C major are as follows:

C Major – D minor – E minor – F Major – G Major – A minor – B diminished

By applying the formula 1 3 5 from every degree of a scale, this produces a triad chord (a chord of three notes).
Each chord is specifically related to this scale, we refer to these chords as “Diatonic” belonging to a particular
scale. As such the scale fits perfectly with each chord. This relationship is called the Scale/Chord relationship.

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Some of these chords are minor, some major, some diminished and others augmented, so what defines these
chords and gives them their particular characteristics? What makes a chord minor or major? This lesson will
show how chords are constructed. To begin with we will use the basic C major scale. Each note in this scale is
numbered, the numbers are important it is from these numbers that we create our formulas.

Major Chord Construction

1 2 3 4 5 6 7
C Major Scale
C D E F G A B

Chords are constructed by stacking notes with an interval of a third on top of each other

1 = root.
3 = 3rd above root.
5 = 3rd above 3 or a 5th above root.

There are two kinds of thirds or 3rds - minor 3rds and major 3rds

Minor Third Interval of 3 semi-tones Symbol = ♭3

Major Third Interval of 4 semi-tones Symbol = 3

It is the type of third used in a chord that defines whether it is Major or Minor; a major chord uses the major
3rd above the root, and a minor chord uses a minor 3rd above the root.

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By stacking 3rds on top of the Root or the 1 - including the 1st note the notes given are C E G

1 3 5

C E G

This creates a C major chord or a C major triad (a 3 note chord)

 From C to E is a major 3rd (4 semi-tones)

 From E to G is a minor 3rd (3 semi-tones)
Every major chord has this structure: first a major third, then a minor third. A chord like this is called major
because there is a major 3rd (4 semi-tones) between the root and the 3rd.

The formula for a major chord = 1 3 5

Minor Chord Construction

By stacking thirds on top of the second note “D” the number (2) of the C major scale. This second note of the
major scale now becomes “1”, because it the root of our new chord:

1 ♭3 5

D F A

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This creates a D minor chord or a D minor triad (a 3 note chord)

 From D to F is a minor 3rd (3 semi-tones)

 From F to A is a major 3rd (4 semi-tones)
Every minor chord has this structure: first a minor third, then a major third. A chord like this is called minor
because there is a minor 3rd (3 semi-tones) between the root and the 3rd.

The formula for a minor chord = 1 ♭3 5

It is important to note that a ♭3 is one semi-tone lower than a 3rd unless indicated a 3rd is always counted as a
“Major 3rd”.

Diminished Chord Construction

The next type of chord is the “Diminished Chord” which gets its name from the inclusion of the flattened fifth
or in other words “Diminished 5th” The diminished chord is a type of minor chord, as it also includes the
“Minor 3rd” This chord is built from the seventh degree of the “Major Scale”

By stacking thirds on top of the seventh note “B” the number (7) of the C major scale. This seventh note of the
major scale now becomes “1”, because it the root of our new chord:

1 ♭3 ♭5

B D F

This creates a B diminished chord or a B diminished triad (a 3 note chord)

 From B to D is a minor 3rd (3 semi-tones)

 From D to F is a minor 3rd (3 semi-tones)
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Every diminished chord has this structure: first a minor third, then a minor third. A chord like this is called
diminished because there is a minor 3rd (3 semi-tones) between the root and the 3rd and a minor 5th or ♭5
between root and the 5th.

The formula for a diminished chord = 1 ♭3 ♭5

As the “Major Scale” is a fixed pattern, or a fixed set of intervals, so the chords created from each degree are
also fixed. The following table details this fixed set of chords. This is the same for all major scales the only
thing that changes is the name of the scale, and the note from which the scale starts. This is known as the “Root
or Tonic”. All the chords that relate to a particular scale are termed as “Diatonic” or belonging to this scale.

Notes Formula Chord Name Chord Symbol

1 C 135 C Major C

2 D 1 ♭3 5 D Minor Dm or Dmin or D-

3 E 1 ♭3 5 E Minor Em or Emin or E-

4 F 135 F Major F

5 G 135 G Major G

6 A 1 ♭3 5 A Minor Am or Amin or A-

7 B 1 ♭3 ♭5 B Diminished Bdim or B°

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Finding Chord Tones

There are two methods for constructing chords. The first method is explained here, the second (more practical)
method, will be looked at a later in this lesson:

The first method starts from the “Major Scale” and involves 3 steps:

1. Find the major scale of a given key. If you’re not sure how to do this, you need to refer back to the
study Major Scale Introduction Parts I and II

Example 1: to find the notes of an Em chord, firstly find the notes of the E major scale:

1 2 3 4 5 6 7
E Major Scale
E F♯ G♯ A B C♯ D♯

2. Construct the Major Chord using the chord formula 1 3 5

1 3 5

E G♯ B

3. Apply the Minor Chord Formula to the major chord. The chord formula for all minor chords is 1 ♭3 5

By applying this formula the 3rd of the E Major Chord (E G♯ B) has to be lowered by 1 semi-tone.
This would mean that the G♯ has to be lowered to G ; the other notes of the chord don’t change, so
these are the notes of the E minor chord:

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1 ♭3 5

E G B

To visualise how this looks on the guitar fretboard the following diagrams detail an E major triad built from the

7th fret on the 5th string, by lowering the 3rd (G♯) by 1 sem-tone to (G) E Major is changed to E minor

Maj7 Chord Construction

Seventh chords are chords that contain 4 or more notes

To build a seventh chord using the C Major scale as an example:

1 2 3 4 5 6 7
C Major Scale
C D E F G A B

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The construction of seventh chords follows the same principle as constructing triads; that is by stacking thirds
on top of each other. Triads were made by stacking 2 thirds on top of the root. Seventh chords are constructed
by stacking 3 thirds on top of the root.

1 3 5 7

C E G B

This creates a C major7th chord (Cmaj7) or a C major triad with an added major 3rd (a 4 note chord)

 From C to E is a major 3rd (4 semi-tones)

 From E to G is a minor 3rd (3 semi-tones)
 From G to B is a major 3rd (4 semi-tones)
Every major 7th chord has this structure: first a major third, then a minor third, then a major third. A chord
like this is called major because there is a major 3rd (4 semi-tones) between the root and the 3rd. The addition
of the major 7th is also a major 3rd (4 semi-tones) above the 5th.

The formula for a maj7 chord = 1 3 5 7

Minor 7 Chord Construction

By applying the same principal to the second note “D” the number (2) of the C major scale. This second note of
the major scale now becomes “1”, because it the root of our new chord:

1 ♭3 5 ♭7

D F A C

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This creates a D minor 7 chord (Dmin7) or a D minor triad with an added minor 3rd (a 4 note chord)

 From D to F is a minor 3rd (3 semi-tones)

 From F to A is a major 3rd (4 semi-tones)
 From A to C is a minor 3rd (3 semi-tones)
Every minor 7 chord (min7) has this structure: first a minor third, then a major third, and then a minor third.
A chord like this is called minor because there is a minor 3rd (3 semi-tones) between the root and the 3rd.The
seventh is also minor, or flattened. Every minor chord can be developed in this way – II – III – VI degrees of
the major scale.

The formula for a minor chord = 1 ♭3 5♭7

Dominant 7 Chord Construction

Although seventh chords can be constructed from every degree of the major scale, the next important chord is
the Dominant 7th. This is developed from the 5th Degree of the major scale and is often indicated by V7. By
applying the same principal to the 5th note “G” the number (5) of the C major scale. This note of the major
scale now becomes “1”, because it the root of the new chord:

1 3 5 ♭7

G B D F

This creates a D dominant 7 chord (G7) or a G major triad with an added minor 3rd (a 4 note chord)

 From G to B is a major 3rd (4 semi-tones)

 From B to D is a minor 3rd (3 semi-tones)
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 From D to F is a minor 3rd (3 semi-tones)

Every dominant 7 chord (dom7) has this structure: first a major third, then a minor third, and then a minor
third. A chord like this is called Dominant because it is built from the 5th degree of the major scale. This
degree is also named the dominant. It is constructed from a major triad with an added minor 3rd (3 semi-tones)
between the fifth and the 7th. The seventh is also minor, or flattened. This can also be applied to the Sub-
Dominant which is taken from the 4th degree of the major scale.

The formula for a Dominant 7 chord = 1 3 5♭7

m7♭5 or half diminished Chord Construction

From the seventh degree of the major scale the minor7 flat5 (m7♭5) or half diminished chord is developed, by
stacking 3rds on top of the 7th degree. This kind of diminished chord is called ½ diminished due to the fact that
a full diminished chord contains a ♭♭7 and is developed from the 7th note of the harmonic minor scale.

Applying the same principal to the 7th note “B” the number (7) of the C major scale a m7♭5 chord is created.
This note of the major scale now becomes “1”, because it the root of the new chord:

1 ♭3 ♭5 ♭7

B D F A

This creates a Bm7♭5 chord (B ø7) or a B diminished triad with an added major 3rd (a 4 note chord)

 From B to D is a minor 3rd (3 semi-tones)

 From D to F is a minor 3rd (3 semi-tones)
 From F to A is a major 3rd (4 semi-tones)

Every minor 7 chord flat 5 (m7♭5) has this structure: first a minor third, then a minor third, and then a major
third. A chord like this is called a Half Diminished and is built from the 7th degree of the major scale. This
degree is also named the Leading Note as it leads back to the Tonic or Root as such it creates a strong pull or
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tension to the root. It is constructed from a diminished triad with an added major 3rd (4 semi-tones) between the
fifth and the 7th. The seventh is also minor, or flattened.

The formula for a m7♭5 chord = 1 ♭3 ♭5♭7

Below is a summary of the Diatonic Seventh chords.

Notes Formula Chord Name Chord Symbol

1 C 1357 C Major 7 Cmaj7

Dm7 or Dmin7 or
2 D 1 ♭3 5 ♭7 D Minor 7
D-7

Em7 or Emin7 or
3 E 1 ♭3 5 ♭7 E Minor 7
E-7

4 F 1357 F Major 7 Fmaj7

5 G 1 3 5 ♭7 G dominant 7 G7

Am7 or Amin7 or
6 A 1 ♭3 5 ♭7 A Minor 7
A-7

7 B 1 ♭3 ♭5 ♭7 B half dim 7 Bm7♭5 or B

The next logical progression in developing chords is the use of Extensions or Tensions these are extended
notes of the major scale that are not Chord Tones again the same principal applies as before – these extensions
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are notes stacked in thirds. They are not called chord tones, that is; 1 3 5 7 as the progression has now moved
into the next Octave (after the 7th note).

Using the C Major scale again as an example:

1 2 3 4 5 6 7
C Major Scale
C D E F G A B

The first extension is the Ninth – 9th outside of the chord tones 1 3 5 7 there are 3 notes left in the major scale
that are not chord tones: 2, 4 and 6.

Adding these tones to the chord; they become known as tensions. Normally these tensions are added at an
octave higher than chord tones as they otherwise get in the way, and have the effect of making the chord sound
“muddy”. Tensions are also notated in the next octave as such;

 2 becomes 9 7+2=9
 4 becomes 11 7 + 4 = 11
 6 becomes 13 7 + 6 = 13
By adding the second note “D” of the major scale, only an octave higher which now becomes a ninth, to a C
maj7 chord – C maj9 is created.

1 3 5 7 9

C E G B D

There are some note combinations that should be avoided when creating Seventh Chords; the reason here is
that they clash with each other. The two remaining notes of the major scale 4 and 6 tend to sound dissonant
when used in combination with the seventh degree of the major scale, whether this degree is flattened or not.
As such special rules are applied here. This does not mean that in the right context that they can’t be used
together, but under normal circumstances they are generally avoided.

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The 4th degree of the C major scale “F” is a semi-tone above the “E” (the 3rd of Cmaj7). When E and F are
combined together in the same octave they sound dissonant, so the 4th degree – in this case being the note “F”
is generally avoided for Cmaj7 and is not often used with this chord.

The 6 degree is also a special case when used in combination with major chords. Most of the time when we add
a 6th to a major chord, the 7th is omitted and there is no octave added to the 6th. This is because the 6th and
7th also clash and get in each other’s way.

Adding a 6th to a C major chord creates the chord C6 as can be seen below.

1 3 5 6

C E G A

The same rule applies when adding the 6th in combination with minor chords: the ♭7 is omitted. By adding the
6th to Dm7 this creates Dm6. Note that the 6th is no longer A as in the C6 example above because the root of
the chord has now changed to D. This will now make the 6th a B - (D E F G A B C) as detailed below.

1 ♭3 5 6

D F A B

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With minor chords the 4th does not clash, the 4th when used in combination with minor chords, because it is
two semi- tones above the ♭3 and not one semi- tone the effect is more consonant, therefore the 4th degree
works well with minor seventh chords.

When you add the 4 degree of the major scale to Dm7, this creates a Dm11 chord:

1 ♭3 5 ♭7 11

D F A C G

NB: theoretically the 9th should also be included within the “11th” chord, this is keeping with the logic that
chords are stacked in 3rds.

The 4th degree also has a special relationship when used in conjunction with Dominant Chords in this case the
3rd can be omitted, and just as when the 4th degree was added to any major chords they were called Sus4, so
too when the 4th degree is added to dominant 7th chords they are termed as Sus4. For example “D7sus4” the
4th often serves as a precursor, or delay for the main chord it is built from, and so the term Suspension is used.
This creates the sense that resolution is needed, and the over whelming effect is of coming home 9th’s and 7th’s
are often used in conjunction with 4th’s – below is an example of G9sus4.

1 4 5 ♭7 9

G C B F A

There are other Extensions or Tensions which can be applied, but these are taken from the Harmonic minor
scale, and are a study which is outside this basic Diatonic or Major scale chord tone study. These are referred
as Altered Tensions these would include ♭9, ♯9, ♭5, ♭13 scale tones, including the ♯11 taken from the
dominant Lydian scale.

Diatonic Tensions
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Chord Type Extension Symbol

9/2 Cmaj9
avoid note
4 /
Major ♯11 taken from the Lydian
♯11/♯4 Cmaj7♯11
scale
6 C6 7th is omitted

9th/2nd C9
Minor 11/4 Cm11
6 Cm6 ♭7 is omitted

9/2 C9
♭9 is taken from the altered
♭9/♭2 C7♭9 scale, or the 5th mode of the
harmonic minor scale
♯9 is taken from the altered
Dominant ♯9/♯2 C7♯9
scale
4 C7sus4
13/6 C13
♭9 is taken from the altered
♭13/♭6 C7♭13 scale, or the 5th mode of the
harmonic minor scale

The above table is a summary of the chord extensions, or tensions covered so far.

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The table below details the most common basic chord type and formulas much of which has been covered so
far, comparing these formulas is a useful tool in understanding how chords are developed, and their relationship
to each other, also what can be clearly seen is the power of the 3rd in defining each chord. In their fundamental
state chords are either major, or minor in construction with the addition of the 5th and 7th, including further
extensions chords can be coloured and defined in many ways.

Chord Type Chord Formula

Major Triad 135

Minor Triad 1 ♭3 5
Diminished Triad 1 ♭3 ♭5
Augmented Triad 1 3 ♯5
Major 7 1357
Minor 7 1 ♭3 5 ♭7
Dominant 7 1 3 5 ♭7
Half Diminished 7 1 ♭3 ♭5 ♭7
Diminished 7 1 ♭3 ♭5 ♭♭7
Augmented 7 1 3 ♯5 ♭7
Suspended 4 1 3 4 ♭7
Minor/Major 7 1 ♭3 5 ♭7

Chord Construction 2
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There is another method that can be applied in constructing chords, and possibly a more practical means.
Understanding the first method though gives a more rounded approach, and will give greater understanding
when using this method.

Cmaj7 CEGB 1357

Dm7 DFAC 1♭35♭7
Em7 EGBD 1♭35♭7
Fmaj7 FACE 1357
G7 GDBF 135♭7
Am7 ACEG 1♭35♭7
Bm7♭5 BDFA 1♭3♭5♭7

The first step is to commit to memory the chord tones, and their formulas for the C major scale. It will be
necessary to be able to picture these chord types, tones and formulas. The above table details seventh chords of
the C major scale.

The following examples will show how to apply this information when developing chords:

Example 1: to find the chord tones of Cm7:

1. You know the chord tones of Cmaj7: C E G B

2. You know the chord formula of Cmaj7: 1 3 5 7
3. You know the chord formula of minor 7: 1 b3 5 b7
4. Adapt the chord tones of Cmaj7 to the formula of minor 7: bring the 3 and the 7 a half step down.
5. Conclusion: the chord tones of Cm7 are: C Eb G Bb

By simply comparing and adapting the chord tones of the C maj7 chord and applying the formula for the minor
7th chord, the chord tones of the Cmaj7 chord can be altered to create the Cm7 chord.

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Example 2: the chord tones of Ddim7:

1. You know the chord tones of Dm7: D F A C

2. You know the formula of Dm7: 1 b3 5 b7
3. You know the formula of diminished 7: 1 b3 b5 bb7
4. Adapt the chord tones of Dm7 to the formula of diminished 7: bring
the 5 and the 7 a half step down
5. Conclusion: the chord tones of Ddim7 are: D F Ab B

By simply comparing and adapting the chord tones of the Dm7 chord and applying the formula for the
diminished chord, the chord tones of the Dm7 chord can be altered to create the Ddim7 chord.

Example 3: the chord tones of F#7:

1. You know the chord tones of Fmaj7: F A C E

2. To find the chord tones of F#maj7 you just have to raise each chord tone a half step: F# A# C# E#
3. You know the formula of major 7: 1 3 5 7
4. You know the formula of dominant 7: 1 3 5 b7
5. Adapt the chord tones of F#maj7 to the formula of dominant 7: bring the 7 a half step down
6. Conclusion: the chord tones of F#7 are: F# A# C# E

By simply comparing and adapting the chord tones of the F maj7 chord and applying the formula for the
dominant 7th chord, the chord tones of the Fmaj7 chord can be altered to create the F♯7 chord.

Placing Chords on the Guitar Fretboard

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The first thing to know when placing chords on the guitar fretboard is that not every chord tone is required or
equally important:

Tones 3 and 7 are the most important notes of any chord as they determine the chord type. They also are
important for voice leading. When moving from chord to chord chords will flow smoothly when correct voice
leading is applied, instead of bouncing all around the guitar neck. Each note of a chord is a voice; voice leading
is moving individual chord voices smoothly from one chord to the next.

Voice leading is also useful in single note improvisations voice leading can function as the framework with
which to base melodic, and harmonic lines on.

The 1 tone is the least important note, because usually it is played by the bass player. The 5 tone is also not
as important these can sometimes make harmony sound muddy.

Tensions add colour and interest to a chord, so these have greater importance than 1 and 5 chord tones. As can
be seen how a chord is configured and the tones that are selected serve a much greater purpose than just
choosing a chord from a chord book.

The nest to know is that 1 sem-tone is equivalent to one fret on the guitar fretboard.

To illustrate this we can take a basic D major chord played using an (A shape) with its root on the 5th fret of the
fifth string.

X15135: D

Identifying the notes from left to right (from low E string to high E string) the following is played:

 X: the low E-string is not played

 1: the 1 or root of the chord is played on the A-string
 5: the 5th of the chord is played on the D-string
 1:the root again, but now on the G-string
 3: the third is played on the B-string
 5: the 5th is played again, but this time on the high E-string

It is OK to duplicate chord tones, like the 1 and the 5 in the above example.

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As a basic major chord this chord sounds quite blocky and lacks life, to spice this chord up a colour tone,
tension note can be added.

X15735: Dmaj7

Replacing the 1 on the G-string with the 7: the chord Cmaj7 (1 3 5 7) has been created instead of duplicating
the root on the G-string, it was just exchanged for the 7 of the chord.

X1379X: Dmaj9

Adding further tension or colour brings greater life, as can be seen the 5 tone has now been omitted and the 9
tone has been added to create a Cmaj9 chord (1 3 5 7 9) This Cmaj9 would be a great choice if playing Bossa
Nova, solo guitar or in duo setting, but if playing with a bass player the root note tends to get in the way, it is
better to omit the root and to play on the higher strings only:

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XX3795: Dmaj9/F♯

This arrangement would be a far better choice when playing with a bass player, removing the root from the
chord allows the bass player to have more freedom. This type of chord is what is termed as an inversion; the 3rd
is in the bass instead of the root. This arrangement is also an example of choosing one chord voicing over
another to follow good voice leading.

An Inversion is basically any chord that does not have its root in the bass

There are three types of chord inversions:

 Root Position: the root is in the bass
 First inversion: the 3rd in the bass.
 Second inversion: the 5th in the bass.
 Third inversion: the 7th in the bass.

The following are an example of a D7 chord in root position and this chord’s three inversions:

X15♭735: D7 XX3♭715

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Identifying the notes from left to right in example 1(from low E string to high E string) the following is played:

 X: the low E-string is not played

 1: the 1 or root of the chord is played on the A-string
 5: the 5th of the chord is played on the D-string
 ♭7: the ♭7 on the chord is played on the G-string
 3: the third is played on the B-string
 5: the 5th is played again, but this time on the high E-string

The second example shows the 3rd F♯ is now played in the bass, or lowest note, in this arrangement all four
notes of the D7 are played. Simply moving the D note to F♯ on the 7th fret of the B string will remove the root
note D from this chord voicing.

X15♭735: D7 XX3♭715

The third example shows the 5th in the bass, and the root has been omitted, while the final example shows the
root in the highest position on the 3rd fret of the B string. Placing the root at the highest point in a chord voicing
tends not to interfere with the bass player.

Voice Leading
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Voice leading is a discipline that deserves a separate study and investigation in its own right, but since it has
been mentioned in passing a simple explanation is warranted, the chord diagrams below detail such an example.
The harmonic passage shown here implies an ii-V-I movement in the key of C major, before transitioning to the
key of B♭ major via the Cm9 chord. In simple terms voice leading is the practice of moving harmony with

small adjustments, or movements of chordal tones. The Dm9/F is chord ii of C major – the F note here is ♭3 of

this chord. This then becomes ♭7 of the next chord, G13/F the other chord tones have moved no more than a full
tone. The G13/F is chord V of C major; moving to the - I chord in C major, C9/E has been has been applied.
The movement from V-I has been achieved by changing the F (♭7) of the G13 chord to E which has now
become the 3rd of C9/E. The remaining chord tones have also followed good voice leading in that the G which
was already present as the root of the G13 chord has now become the 5th of the C9 chord, The D note that has
been introduced to create tension or colour in the C chord, is in fact also the 5th of the G13 chord, and the B
note has only dropped a semi-tone to create B♭, which is the ♭7 of the C9 chord. The next movement implies a

key change – to B♭ major, it can be clearly seen here that the only chord tone that is moved is the E to E♭, both
of these notes are the 3rd of each chord; there is no movement required with the remaining notes.

All of these chords have been created between the 3rd and 5th frets. The movements within all four chords are
either semi-tone or tone steps, as result the harmonic movement is smooth.

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This investigation has shown that chord construction is simply the process of stacking notes predominantly in
thirds, except for the 2nd or 4th which have a special relationship to the tonic, on top of each other. The
inclusion of other notes from the tonic scale, or from the chromatic scale creates tension and colour. This
tension implies movement as the pull of resolution is created. It is the relationship to the tonic which sets
tension in motion.

The diagrams below detail the relationship each note of the chromatic scale has in relation to the root, in this
instance our root is “C” which is taken from the 3rd fret on the 5th string.

C C♯ D♭ D D♯ E♭ E F F♯ G♭ G G♯ A♭ A A♯ B♭ B C
root ♭♭♭9 ♭♭9 9/2 ♯9 ♭10 3 4/11 ♯4/♯11 ♭5 5 ♯5 ♭13 6/13 ♭7 ♭7 7 octave

This pattern of notes in relationship to the root is better defined as “intervals” or in other words the distance
each note is from the root. This pattern is fixed and in standard tuning can be moved up and down the neck. Of
course as the root is moved the actual pitch names will change, however one semi-tone up from the root will
produce a “flat 9th or ♭2nd, and 2 whole tones from the root will produce a 3rd 5 semi-tones will produce a
perfect 4th 7 semi-tones will produce a perfect 5th, and so on.

As previously seen in this study of the “major scale” another way of naming the notes of a scale is by using
intervals, and universally this is the most precise way of naming notes in relationship to the root.

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G G♯ A♭ A A♯ B♭ B C C♯ D♭ D D♯ E♭ E F F♯ G♭ G
root ♭♭♭9 ♭♭9 9/2 ♯9 ♭10 3 4/11 ♯4/♯11 ♭5 5 ♯5 ♭13 6/13 ♭7 7 7 octave

In the above table, and fretboard diagram the same logic is applied to the note “G” this time taken from the 3rd
fret of the 6th string, this table also includes enharmonic equivalents (notes that sound exactly the same, but are
notated differently). To show that it is the distance between the root and the next note that gives the interval its
name or quality the fretboard diagram has highlighted the root notes in red; it can be taken that the root is 1. It
can also be noted that some pitches, or notes have two ways of being identified as intervals, for example a 9th
and a 2nd these are technically the same note only placed at different intervals from the root. In the musical
alphabet there are only seven notes, after which time they just repeat. Still using the note “G” as our root note
the musical alphabet from here would be; G-A-B-C-D-E-F-G the intervallic distance between G to G is a
perfect 8th or an octave, so G to A is a 2nd or major 2nd however G to A in the next octave would be a 9th it is the
position of the note A within the chord in relationship to the root that will indicate whether the note “A” is
identified as a 2nd or a 9th, thus a 4th in the next octave is an 11th and a 6th in the next octave is a 13th. This is
where the names for various chords originate. The following table gives some of the main examples of chord
types, how they would be notated, and the chord tones used to create them.

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Notation Scale Tones
Major 1, 3, 5
Minor m 1, ♭3, 5
Diminished dim, o, m♭5 1, ♭3, ♭5
Diminished 7th dim7, o7, dim 1, ♭3, ♭5, ♭♭7

M7♭5, 
Half Diminished 1, ♭3, ♭5, ♭7

Augmented aug 1, 3, ♯5
5th or Power Chord 5 1, 5
Dom 7th 7 1, 3, 5, ♭7
Minor 7th m7 1, ♭3, 5
Major 7th maj7 1, 3, 5, 7
Minor/Major 7th m/maj7 1, ♭3, 5, 7
Suspended 4th sus4 1, 4, 5
Suspended 2nd sus2 1, 2, 5
7th suspended 4th 7sus4 1, 4, 5, ♭7
7th suspended 2nd 7sus2 1, 2, 5, ♭7
Added 2nd add2 1, 2, 3, 5
Added 9th add9 1, 3, 5, 9
Added 4th add4 1, 3, 4, 5
Major 6th 6 1, 3, 5, 6
Minor 6th m6 1, ♭3, 5, 6
Major 6/9 6/9 1, 3, 5, 6, 9
Minor 6/9 m6/9 1, ♭3, 5, 6, 9
Dom 9th 9 1, 3, 5, ♭7, 9
Minor 9th m9 1, ♭3, 5, ♭7, 9
Major 9th maj9 1, 3, 5, 7, 9
Dom 11th 11 1, 3, 5, ♭7, 9, 11
Minor 11th m11 1, ♭3, 5, ♭7, 9, 11
Major 11th maj11 1, 3, 5, 7, 9, 11
Dom 13th 13 1, 3, 5, ♭7, 9, 11, 13
Minor 13th m13 1, ♭3, 5, ♭7, 9, 11, 13
Major 13th maj13 1, 3, 5, 7, 9, 11, 13
Dom 7th # 9th 7♯9, 7+9 1, 3, 5, ♭7, ♯9
th
Dom 7 flat 9th 7♭9, 7-9 1, 3, 5, ♭7, ♭9
th
Dom 7 sharp 5th 7♯5, 7+5 1, 3, ♯5, ♭7
th
Dom 7 flat 5th 7♭5, 7-5 1, 3, ♭5, ♭7

All this knowledge would be useless unless it is applied in a practical and usable fashion, it is not just the
understanding of music that creates music, it is however, the application of this knowledge upon a given
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instrument that binds this understanding together and underpins the concept of harmony. No better example can
be given of how tones and pitches react one with the other than to play them together as a block, this is in
essence what a chord is, groups of notes played simultaneously. When this is done consonance or dissonance,
colour and tension, resolution and implied movement are created within the sonic realms. In the words of
Claude Debussy (1862-1918) “when it comes to music there is only one rule need apply, the rule of the ear”

In this next section fourth, fifth and sixth string root chords in movable shapes are created and shown in the
following fretboard diagrams, by moving these shapes along the fretboard it will be possible to play each shape
from every root note of the chromatic scale this will give a total of 1,044 different chords. By comparing each
shape one with the other in its associated group it can be seen that in most cases just the movement of one chord
tone or finger position will create a new chord. Further comparison can serve as a template for voice leading
applications and harmonic structure.

Fret 0 1 2 3 4 5 6 7 8 9 10 11 12

6th E F F♯/G♭ G G♯/A♭ A A♯/B♭ B C C♯/D♭ D D♯/E♭ E

5th A A♯/B♭ B C C♯/D♭ D D♯/E♭ E F F♯/G♭ G G♯/A♭ A

4th D D♯/E♭ E F F♯/G♭ G G♯/A♭ A A♯/B♭ B C C♯/D♭ D

Using the above table and applying it to the relevant string the root note of each chord can be moved along the
fretboard. This will create a new chord; the structure will however remain the same, in other the whole harmony
block as indicated in the following chord diagrams will simply be moved to a new position. For example if
Cmaj7 (which has its root on the 3rd fret of the fifth string) as a block were moved two frets toward the sound
hole of the guitar, the new chord will take its name from the note on the 5th fret of the fifth string, namely D,
the new chord will then be named Dmaj7. This can also be done with all the chord shapes that take their roots
on the 4th and 6th string.

Roots on the 5th string; using chords with roots 5th string work well for sequences, and are particularly
effective when combined with those that are based on a 6th string root. Chords with a 5th string root often have
adjacent outer or inner strings that are not played. The player should prevent these unused strings from ringing
by letting the side of the fingers rest naturally against them.

Roots on the 6th string; building chords from a 6th string root enables a guitarist to play low register chords,
as well as full-sounding 5 and 6 string voicing’s

Roots on the 4th string; on the four upper strings of the guitar the range of chordal possibilities is more
limited. Eleventh and thirteenth chords can be constructed, but with only four voices; they lack some of the
important notes that give certain chords their harmonic character. The upper sting chords are ideal for
supporting melody, their bright clear sound; good separation and high register make them useful for chord fills
in group playing.

Fifth Sting Root Chords

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Sixth String Root Chords

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Fourth String Root Chords

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Scale Tone Chords

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With so many different chord types it can be confusing when trying to place chords in their relevant keys, and
learning the function each has one with the other. The twelve keys each contain an extensive series of chord
types and they all have specific functions; this function is dictated by each chords position and relationship to
the tonic. Previously it has been shown that chords are created from each degree of the major scale, the notes of
the major scale are used as the root for each of these chords, and that is where each chord gets its name. The
chords of each key are assigned Roman Numerals and this places them in positions relative to the tonic, or root
note of each key. Their use and level of development depend on the style and form of the music and on the
requirement for certain types of harmonic colour, or tension. Chords are developed by adding further scale tone
notes on top of the basic triad these main types of developments are; Sixth; Seventh; Ninth; Eleventh; and
Thirteenth. The following tables detail the position of each of these developments in relation to the tonic, by
comparing chords from other keys it can be seen that one chord type on a root also occurs in different keys only
its position and function has changed, for example Dm7 is chord II of C major, it is also chord VI of F major
and chord III of B♭ major. This difference of function can be applied as a useful tool when transitioning from
one key to another or introducing a key change within a song.

C Major

I II III IV V VI VII I
Sixth C maj6 D min6 F maj6 G maj6 C maj6
Seventh C maj7 D min7 E min7 F maj7 G7 A min7 B min7♭5 C maj7
Ninth C maj9 D min9 F maj9 G9 A min9 C maj9
Eleventh D min11 E min11 F maj7♯11 G11 A min11 B min11♭5
Thirteenth D min13 G13

G Major

I II III IV V VI VII I
Sixth G maj6 A min6 C maj6 D maj6 G maj6
Seventh G maj7 A min7 B min7 C maj7 D7 E min7 F♯ min7♭5 G maj7
Ninth G maj9 A min9 C maj9 D9 E min9 G maj9
Eleventh A min11 B min11 C maj7♯11 D11 E min11 F♯ min11♭5
Thirteenth A min13 D13

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D Major

I II III IV V VI VII I
Sixth D maj6 E min6 G maj6 A maj6 D maj6
Seventh D maj7 E min7 F♯ min7 G maj7 A7 B min7 C♯ min7♭5 D maj7
Ninth D maj9 E min9 G maj9 A9 B min9 D maj9
Eleventh E min11 F♯ min11 G maj7♯11 A11 B min11 C♯ min11♭5
Thirteenth E min13 A13

A Major

I II III IV V VI VII I
Sixth A maj6 B min6 D maj6 E maj6 A maj6
Seventh A maj7 B min7 C♯ min7 D maj7 E7 F♯ min7 G♯ min7♭5 A maj7

Ninth A maj9 B min9 D maj9 E9 F♯ min9 A maj9

Eleventh B min11 C♯ min11 D maj7♯11 E11 F♯ min11 G♯ min11♭5

Thirteenth B min13 E13

E Major

I II III IV V VI VII I
Sixth E maj6 F♯ min6 A maj6 B maj6 E maj6

Seventh E maj7 F♯ min7 G♯ min7 A maj7 B7 C♯ min7 D♯ min7♭5 E maj7

Ninth E maj9 F♯ min9 A maj9 B9 C♯ min9 E maj9

Eleventh F♯ min11 G♯ min11 A maj7♯11 B11 C♯ min11 D♯ min11♭5

Thirteenth F♯ min13 B13

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B Major

I II III IV V VI VII I
Sixth maj6 min6 maj6 maj6 maj6
Seventh maj7 min7 min7 maj7 7 min7 min7♭5 maj7
Ninth maj9 min9 maj9 9 min9 maj9
Eleventh min11 min11 maj7♯11 11 min11 min11♭5
Thirteenth min13 13

D♭ Major

I II III IV V VI VII I
Sixth maj6 min6 maj6 maj6 maj6
Seventh maj7 min7 min7 maj7 7 min7 min7♭5 maj7
Ninth maj9 min9 maj9 9 min9 maj9
Eleventh min11 min11 maj7♯11 11 min11 min11♭5
Thirteenth min13 13

A♭ Major

I II III IV V VI VII I
Sixth maj6 min6 maj6 maj6 maj6
Seventh maj7 min7 min7 maj7 7 min7 min7♭5 maj7
Ninth maj9 min9 maj9 9 min9 maj9
Eleventh min11 min11 maj7♯11 11 min11 min11♭5
Thirteenth min13 13

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E♭ Major

I II III IV V VI VII I
Sixth maj6 min6 maj6 maj6 maj6
Seventh maj7 min7 min7 maj7 7 min7 min7♭5 maj7
Ninth maj9 min9 maj9 9 min9 maj9
Eleventh min11 min11 maj7♯11 11 min11 min11♭5
Thirteenth min13 13

B♭ Major

I II III IV V VI VII I
Sixth maj6 min6 maj6 maj6 maj6
Seventh maj7 min7 min7 maj7 7 min7 min7♭5 maj7
Ninth maj9 min9 maj9 9 min9 maj9
Eleventh min11 min11 maj7♯11 11 min11 min11♭5
Thirteenth min13 13

F Major

I II III IV V VI VII I
Sixth maj6 min6 maj6 maj6 maj6
Seventh maj7 min7 min7 maj7 7 min7 min7♭5 maj7
Ninth maj9 min9 maj9 9 min9 maj9
Eleventh min11 min11 maj7♯11 11 min11 min11♭5
Thirteenth min13 13

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