b or (-) - means "flat" note.
# or (+) - means "sharp" note.
?b or ?# - where "b" or "#" is suffixed, it identifies a note (eg. Bb = B flat,.C# = C sharp).
b? or #? - where "b" or "#" is prefixed, it is a relative note position (eg. b7 = flattened
7th, #5 = sharpened 5th).
Maj - or "M" means "Major" chord.
min - or "m" means "minor" chord.
R - means "root" note. The reference root-note or key.
dim - means "diminished" chord.
aug - means "augmented" chord.
sus - means "suspended" chord.
add - means "added" note.
[????] - words enclosed by square parentheses means they are sometimes omitted.
aka - abbreviation for "also known as".
This document promotes the use of "aug" and "dim" to refer to chords only and not notes.
Every Chord has a distinct sound and mood. Chords are the harmony of a song. While we identify "melody" by the sequence of notes played, we identify "harmony" by the interaction of the Chords. Chords are the foundations of a song.
We use the word "Chord" to distinguish it from a "Scale" (please see document entitled "Scales"). A "C Major" chord is completely different from the "C Major" scale. Whereas a song may be played in a specific Scale, the Chords to a song will change as the song progresses. This is called a chord progression.
Chord Root
Every Chord has a Root by which we name the chord. The Root is the base of the Chord or you may think of it as the "bass" of the chord (The way in which you hear the basis of a chord and the "bass" is very similar).
For example, for a song in the scale of C Major, the chord progression could be C Major, A minor, F Major and G Major. In this case, the Roots of the chords are "C", "A", "F" and "G" (a likely progression for the bass-line too).
Intervals
An interval is the "distance" between notes (in a chord). Let's start off with diads (ie two notes played simultaneously -or- 2 note chord). You can describe the "distance" in terms of semitones or by its name.
Let's start off by looking at how the intervals are named (Bear in mind that we are talking about two notes played together). The classical music academics named the intervals by the quality of sound produced. If the sound was smooth and pleasant, it was called consonence: If it was strained and unpleasant, it was called dissonance. From this subjective "quality assessment", the names were derived.
You will notice that each interval is numbered (ie 2nd, 3rd, 4th, 5th, 6th and 7th). The numbering comes about by "counting" the "letters" (eg. C to D is 2, C to E is 3, C to F is 4, C to G is 5, C to A is 6, and, C to B is 7). The numbering disregards whether the note is sharp or flat.
Semi- Key C MAIN MAJOR MINOR EXTRA Note
Tones notes intervals intervals intervals intervals Name
0 C Unison R
1 Db/C# minor 2nd b2
2 D [Maj] 2nd 2
3 Eb/D# minor 3rd b3
4 E [Maj] 3rd 3
5 F [Perfect] 4th 4
6 Gb/F# dim5/aug4 #4/b5
7 G [Perfect] 5th 5
8 Ab/G# minor 6th b6
9 A [Maj] 6th 6
10 Bb/A# [Dominant] 7th b7
11 B Major 7th 7
12 C Octave / 8th 8
The intervals with the most consonance are Unison (playing the same note twice) and Octave. They only involve the root. Let's look at more!
The main intervals are the Perfect 4th (5 semitones apart), Perfect 5th (7 semitones) and the Dominant 7th (10 semitones). They have special names because they have much consonance.
What's the big deal? Why do they sound pleasant? It's actually because of the relative pitches (frequencies) of the notes. Let's say the Root is "C", and let's play a diad using "C" and "G". The pitch of "G" = "C" x 3 / 2 (ie for every 2 oscillations of "C", there are 3 oscillations of "G"). When played together, there is a smooth "ringing" caused by this mathematical relationship which is pleasant. Hence the name "Perfect" 5th.
Perhaps not surprisingly, the note "F" = "C" x 4 / 3 (appx), hence, called the Perfect 4th. Again, the note "Bb" is approximately "C" x 7 / 4, and called the Dominant 7th.
Having set the 4th, 5th and 7th, the next best consonence happen to coincide with the Major Scale and hence were named Maj 2nd (C to D), Maj 3rd (C to E), and, Maj 6th (C to A). Note that "C" to "B" is actually dissonant but, for completeness, the interval is called the Maj 7th.
Having set the 2nd, 3rd, 4th, 5th, 6th, 7th and Maj 7th, the leftover intervals (which happen to be flat notes) were conveniently named min 2nd (C to Db), min 3rd (C to Eb), and, min 6th (C to Ab). It doesn't help that this has little to do with the minor scale.
The only remaining interval is C to Gb/F# and this is named as the diminished 5th (for C to Gb) or augmented 4th (C to F#). When referring to a Note, the word "diminished" means "flattened" and the word "augmented" means "sharpened".
It is important to note that it the words "Perfect", "Dominant" and "Major" are usually dropped. If you were to only use the Major scale to name the intervals, you would be mostly correct BUT except for the Major 7th. Hence, you never drop the word "Major" for the Major 7th.
The last column introduces another method of "declaring" chords. Here the notes are numbered using the Major scale and all other notes are considered either "flat" or "sharp". This system declares the notes involved separated by commas. So a 5th interval would be "R, 5" and the Dominant 7th interval would be "R, b7". This system is never ambiguous and extremely accurate because every note is declared (and the rules are fixed). However, these are not really chord "names" per se.
SideNote - Guitarists like to play a 5th interval plus an octave root (ie root, 5th, octave) and refer to this as the "power chord". It's actually a 5th chord.
Basic Chords
Having looked at the diad (2 note chord) intervals, let us now look at the triads (3 note chords).
The triad is based on the Root, 3rd and 5th of a scale.
a From the Major Scale, we get the Major triad ( R, 3, 5 ):
therefore C Major is made of "C", "E", "G".
b From the Minor Scale, we get the minor triad ( R, b3, 5 ):
therefore C minor is made of "C", "Eb", "G".
c From the Augmented Scale, we get the augmented [5th] triad ( R, 3, #5):
therefore C augmented is made of "C", "E", "G#".
d From the Diminished Scale, we get the diminished 5th triad ( R, b3, b5):
therefore C diminished 5th is made of "C", "Eb", "Gb".
Note - The augmented scale (aka whole tone scale) is a 6 note scale where every note is separated by a whole-tone (ie 2 semitones). The diminished scale is an 8 note scale where the separation alternates between whole-tone and semi-tone.
In addition there are also "replacement" to chord notes. These are the suspended 4ths and 2nds. They are suspended because they cannot be classified as Major or minor chords. In a suspended 4th, basically the 4th "replaces" the 3rd (the same applies to the suspended 2nd).
Key=C------------------- C Db D Eb E F Gb G Ab A Bb B TRIADS Abbrev R b2 2 b3 3 4 b5 5 b6 6 b7 7 [Major] triad R 3 5 minor triad min R b3 5 augmented [5th] triad aug5 R 3 #5 diminished 5th triad dim5 R b3 b5 REPLACEMENTS C Db D Eb E F Gb G Ab A Bb B suspended 4th sus4 R 4 5 suspended 2nd sus2 R 2 5The next set of basic chords are the 7ths. These are 4-note chords made up by adding a 7th (whether diminished, dominant or augmented) to the triad.
At this point, to avoid any confusion, it is important to DROP the word "Major" from the chord-name when describing a Major triad. You'll see why below.
The 7th chord is a Major triad with added [dominant] 7th. Major 7th chord is a Major triad with added Major 7th. minor 7th chord is a minor triad with added [dominant] 7th. Key=C------------------ C Db D Eb E F Gb G Ab A Bb B SEVENTHS Abbrev R b2 2 b3 3 4 b5 5 b6 6 b7 7 [dominant] 7th 7 R 3 5 b7 Maj 7th M7 R 3 5 7 minor [dominant] 7th min7 R b3 5 b7 7th augmented 5th 7aug5 R 3 #5 b7 7th diminished 5th 7dim5 R 3 b5 b7 half diminished 7th half-dim7 R b3 b5 b7 diminished [7th] dim7 R b3 b5 bb7The last four chords are more complicated because of possible misunderstanding.
Consider the 7th augmented 5th chord- Is it the augmented 5th triad with added 7th? Or is it a 7th chord with an augmented 5th (ie sharpened 5th)? Luckily, interpreting it both ways will give the same chord (ie R,3,#5,b7).
Next, consider the 7th diminished 5th chord - Is it the diminished 5th triad with added 7th? Or is it a 7th chord with a diminished 5th (ie flattened 5th)? The chord structure is R,3,b5,b7 which means it is a 7th with diminished 5th. This is often very confusing.
The obvious question is "What then is the diminished 5th triad with added 7th?". This would be R,b3,b5,b7 and it's called the half-diminished 7th. This too is often confusing.
The last one is the diminished 7th! It is a diminished 7th triad with a diminished 7th. Structurally, it is R,b3,b5,bb7. The origin of this chord is different from the rest because it relates back to the diminished scale. It is a special chord because the spacing between each interval is exactly the same (ie 3 semitones). Note - aka "the diminished chord" aka "dim7" aka "dim".
Looking at the last four sevenths, confusion arises because of the ambiguity of the words "diminished" and "augmented". It is hard to tell if they refer to the chord or the note.
As such, I would like to introduce you to a chord-naming system which utilises most of the traditional chord names and methods but is very specific when describing chords or notes.
System for Chord Names
IMPORTANT - The chord-naming system from here on is very specific and will mean that some traditional names like 7dim5 and half-dim7 will not be used. However, be assured that, using this system, any named chord will be easily understood by musicians.
The system used has the following components:-
BASE-CHORD + Alterations + Replacements + Additions1 + Additions2...etc
------------ ----------- ------------ ---------- ----------
Base-Chord The basic chord. Allowed names are Major, minor, aug5, dim7 and
dim5 in that order of priority. To avoid any confusion, the word
"Major" is never used but is taken for granted as the Major chord
(the default base-chord).
Alterations Any note alterations to the basic chord. Allowed descriptors are
(-) for flattened and (+) for sharpened. The words "aug" and
"dim" are NOT allowed for notes and are reserved only for chords.
Alterations are always in parentheses (brackets).
Replacements Any replacements to the basic-chord. Basically, these are
suspended 4th and suspended 2nd in that order of priority.
Additions Any additions to the basic chord. They are prefixed with the word
"added" (or "add"). Examples are 7th, 6th, 9th, 11th, and 13th in
that order of priority. Note that additions have to have a number
greater than 5 so "added 2nd" is named as "added 9th" (ie it is
treated as beyond one octave).
more Additions You can have as many additions as needed but remember that they
have to be declared in order of priority.
To use this system, you must become familiar with the base chord structures.
When there is a [major] 3rd note, it could be a major or an aug5 chord.
When there is a flat 3rd note, it could be a minor or dim chord.
When there is a [perfect] 5th note, it could be a major or minor chord.
When there is a flat 5th note, it could be a dim chord.
When there is a sharp 5th note, it could be an aug5 chord.
Note - the diminished 7th (R,b3,b5,bb7) is treated as a base-chord.
The system has a specific order of components (ie Base-Chord, Alteration, Replacement, Additions). The point is to declare components only if needed. If a chord qualifys as say an "aug 5 chord", there is no point in calling it a "major chord" with alteration of a "sharp 5th".
"Priority" is mentioned for most of the components. Priority only comes into play when a component can be named in more than one way. How does it all work? Let's see a few examples with root "C":-
R, b3, #5 - Base-chord could be a minor or aug5. By priority, it is a minor and
so it has one alteration being the sharpened 5th. Name = Cmin(+5).
R, 3, b5 - Base-chord could be major or dim5. By priority, it is a major and so
the alteration is the flat 5th. Name = C(-5).
R, 4, #5 - It has not 3rd (it's a replacement using sus4). With the "#5" it is
assumed to be an aug5 chord. Name = Caug5sus4
R, 4, b5 - It has no 3rd (it's a replacement using sus4). With the "b5" it is
assumed to be a dim5 chord. Name = Cdim5sus4.
R, 2, 3, 5 - This as a major (R,3,5) with an addition. Since, the additon is the
leftover 2nd, this would be called a 9th. Name = Cadd9.
R, 2, 4, 5 - It's definitely a replacement and the leftover will be an addition.
The base-chord could be a major or minor so, by priority, it
defaults to a major. It has two possible replacements being sus4 or
sus2. By priority, it is deemed to be a sus4. Name = Csus4add9.
The guitar chords are quoted by fret-position in the order of EADGBE strings (0 = open string, x = not played, o = optional). Example: Edim5 is 0120xo meaning the chord is held as open on top E string, 1st fret of A string, 2nd fret on D string, open on G string, not played on B string, and, optional open on bottom E string (ie not absolutely necessary).
3 NOTE CHORDS key=C C Db D Eb E F Gb G Ab A Bb B key=E key=A -------------- Abbrev R b2 2 b3 3 4 b5 5 b6 6 b7 7 EADGBE EADGBE Major R 3 5 0221oo o0222o Major flat5th (-5) R 3 b5 0121xo x0122x minor min R b3 5 0220oo o0221o minor sharp5th min(+5) R b3 #5 0320xo x0321x augmented 5th aug5 R 3 #5 0321xo x0322x diminished 5th dim5 R b3 b5 0120xo x0121x suspended 4th sus4 R 4 5 0222oo o0223o aug5th sus4th aug5sus4 R 4 #5 0322xo x0323x dim5th sus4th dim5sus4 R 4 b5 0122xo x0123x suspended 2nd sus2 R 2 5 024xoo o0220o aug5th sus2nd aug5sus2 R 2 #5 x7455x x0320x dim5th sus2nd dim5sus2 R 2 b5 x7897x x0120x
The chord-naming components are:- BASE-CHORD + Alterations + Replacements + Additions1 + Additions2...etc By introducing a short-cut for 7ths and 6ths, the components becomes:- BASE-CHORD (+ 7ths/6ths ) + Alterations + Replacements + other Additions ------------ ----------- ----------- ------------ ---------------Actually, the same rules still apply except that, for 7ths and 6ths, the word "added" is not needed (ie Cmin add7 is now Cmin7). Furthermore, the alterations and replacements are declared after [eg Csus4add7 is now C7sus4, and, Cmin(+5)add7 is now Cmin7(+5)].
So, what becomes of the traditional 7aug5, 7dim5 and half-dim7?
Using root "C":-
The 7aug5 : R,3,#5,b7 would be an aug5 base-chord with 7th. Name = Caug5/7.
The 7dim5 : R,3,b5,b7 would be a major base-chord with 7th, altered with
flattened 5th. Name = C7(-5).
The half-dim7 : R,b3,b5,b7 would be a dim5 base-chord with an added 7th.
Name = Cdim5/7
Note - the slash (/) is used as a separator to prevent any misunderstanding. This only applies to the aug and dim base-chords (because the chord-names contain numbers).
4-Note Chords
The following table is a chord listing for 4-note chords. Note that only 7ths and 6ths are using the allowed short-cut names. All other additions have the word "added" declared.
* indicates departure from traditional chord names.
4 NOTE CHORDS key=C C Db D Eb E F Gb G Ab A Bb B key=E key=A ~ MAJOR & MINOR ---------------- R b2 2 b3 3 4 b5 5 b6 6 b7 7 EADGBE EADGBE 6th 6 R 3 5 6 02212o o02222 7th 7 R 3 5 b7 0201oo o0202o Maj 7th M7 R 3 5 7 0211oo o0212o added 9th add9 R 9 3 5 022102 o0242o added 11th add11 R 3 11 5 o764x5 54223o 6th flat5th* 6(-5) R 3 b5 6 01212o x01222 7th flat5th* 7(-5) R 3 b5 b7 0101xo x0102x Maj 7th flat5th* M7(-5) R 3 b5 7 0111xo x0112x minor flat6th min(-6) R b3 5 b6 02201o o02211 minor 6th min6 R b3 5 6 02202o o02212 minor 7th min7 R b3 5 b7 0200oo o0201o minor Maj 7th min M7 R b3 5 7 0210oo o0211o minor add flat9th min add(-9) R b9 b3 5 022001 o0231o minor add 9th min add9 R 9 b3 5 022002 o02212 minor add 11th min add11 R b3 11 5 0252oo o0253o ~ AUG. & DIM.------------------- C Db D Eb E F Gb G Ab A Bb B EADGBE EADGBE aug 5th / 7th* aug5/7 R 3 #5 b7 0301xo x0302x aug 5th Maj 7th* aug5M7 R 3 #5 7 0311xo x0312x aug 5th add 9th aug5 add9 R 9 3 #5 0341xo x03222 diminished [7th] dim7 R b3 b5 bb7 01202o x01212 dim 5th / 7th* dim5/7 R b3 b5 b7 0100xo x0101x dim 5th add 9th dim5 add9 R 9 b3 b5 0140xo x01212 ~ SUSPENDED -------------------- R b2 2 b3 3 4 b5 5 b6 6 b7 7 EADGBE EADGBE flat6th sus 4th (-6)sus4 R 4 5 b6 02221o o02231 6th sus 4th 6sus4 R 4 5 6 02222o o02232 7th sus 4th 7sus4 R 4 5 b7 0202oo o0203o Maj7th sus 4th M7sus4 R 4 5 7 0212oo o0213o sus 4th add flat9th sus4add(-9) R b9 4 5 0232oo o02330 sus 4th add 9th sus4add9 R 9 4 5 0242oo o00200 flat6th sus 2nd (-6)sus2 R 2 5 b6 o79978 o02201 6th sus 2nd 6sus2 R 2 5 6 022422 o02202 7th sus 2nd 7sus2 R 2 5 b7 022432 o02203 Maj7th sus 2nd M7sus2 R 2 5 7 022442 o02204Note - For keyboards - To play a chord uninverted, notes numbered greater that 8 are assumed to be played one octave beyond the root.
Advanced Chord Names
When a chord has many "additions", it is important to be aware of the traditional chord names and how the system (used in this document) can differ from it.
For a base-chord with an added 7th, both traditional names and the system accept the chord-name 7th. Both also accept "added 6ths" as named 6th.
Even for the added 9ths, added 11ths and added 13ths, both traditional names and the system accept that the word "added" or "add" must be declared.
The reasons will be made clearer when you compare the traditional names and this system's names in the table below.
Structure System Traditional Traditional ---------------- Chord Name Keyboards Guitar R,3,5,b7 7th 7th 7th R,3,5, 9 add9 add9 add9 R,3,5,b7,9 7 add9 9th 9th R,3,5,b7, 11 7 add11 7 add11 11th R,3,5,b7,9,11 7 add9 add11 11th 9 add11 R,3,5,b7, 13 7 add13 7 add13 13th R,3,5,b7,9, 13 7 add9 add13 9 add13 9 add13 R,3,5,b7,9,11,13 7 add9 add11 add13 13th not playableAs you can see, the system used here can be somewhat "wordy" and long but is not ambiguous.
5-Note Chord Listing
The following table is a chord listing for 5-note chords.
* indicates departure from traditional chord names.
5 NOTE CHORDS key=C C Db D Eb E F Gb G Ab A Bb B key=E key=A ~ MAJOR ------------------------- R b2 2 b3 3 4 b5 5 b6 6 b7 7 EADGBE EADGBE 6th add 9th 6add9 R 9 3 5 6 o76677 o02422 6th add 11th 6add11 R 3 11 5 6 o76605 552222 [7th add] 9th 7add9 R 9 3 5 b7 020102 o02423 7th add 11th 7add11 R 3 11 5 b7 00010o o00020 7th add 13th 7add13 R 3 5 13 b7 02012o o02022 Maj [7th add] 9th M7add9 R 9 3 5 7 021102 o02424 Maj 7th add 11th M7add11 R 3 11 5 7 00110o o00120 Maj 7th add 13th M7add13 R 3 5 13 7 02112o o02122 6th flat5 add 9* 6(-5)add9 R 9 3 b5 6 o76676 544445 M7th flat5 add9* M7(-5)add9 R 9 3 b5 7 o76876 546445 M7th flat5 add13* M7(-5)add13 R 3 b5 13 7 o78899 566675 ~ MINOR ------------------------- C Db D Eb E F Gb G Ab A Bb B EADGBE EADGBE min 6th add 9th min6add9 R 9 b3 5 6 022022 o02502 min 6th add 11th min6add11 R b3 11 5 6 02522x o02532 min [7th add] 9th min7add9 R 9 b3 5 b7 020002 o02413 min 7th add 11th min7add11 R b3 11 5 b7 020203 o00010 min 7th add 13th min7add13 R b3 5 13 b7 02002o o02012 min M7 add 9th min M7add9 R 9 b3 5 7 021002 576557 min M7 add 11th min M7add11 R b3 11 5 7 001000 o00110 min M7 add 13th min M7add13 R b3 5 13 7 021020 o02112 ~ AUG. & DIM.-------------------- C Db D Eb E F Gb G Ab A Bb B EADGBE EADGBE aug5/ 7th add 9th* aug5/7add9 R 9 3 #5 b7 030112 x05667 aug5/ 7th add 11th* aug5/7add11 R 3 11 #5 b7 030214 555665 aug5/ 7th add13th* aug5/7add13 R 3 #5 13 b7 030120 x03022 dim5/ 7th add 9th* dim5/7add9 R 9 b3 b5 b7 010032 565587 dim5/ 7th add 11th* dim5/7add11 R b3 11 b5 b7 010233 565788 dim5/ 7th add 13th* dim5/7add13 R b3 b5 13 b7 010020 o01012 ~ SUSPENDED --------------------- R b2 2 b3 3 4 b5 5 b6 6 b7 7 EADGBE EADGBE 6th sus 4th add 9th 6sus4add9 R 9 4 5 6 022222 o02432 7th sus 4th add 9th 7sus4add9 R 9 4 5 b7 020202 o02433 7th sus4 add 13th 7sus4add13 R 4 5 13 b7 02022o o02032 M7th sus4th add9th M7sus4add9 R 9 4 5 7 001202 o00100 M7th sus4th add13 M7sus4add13 R 4 5 13 7 021220 o02132 7th sus2 add 13th 7sus2add13 R 2 5 13 b7 o79779 o02002 M7th sus2nd add13 M7sus2add13 R 2 5 13 7 o79879 o02102
The same applies to non triads as well. Example: Amin7 ; Straight root chord = A,C,E,G ; 1st inversion = C,E,G,A ; 2nd inversion = E,G,A,C ; 3rd inversion = G,A,C,E.
As it happens Amin7 (A,C,E,G) and C6 (C,E,G,A) are equivalents. When you play Amin7, it is also an inverted C6 (and vice-versa). As with all inversions, the basic difference is the perception of what the root note is.
Using inverted equivalents is very useful especially if the straight root chord is awkward or inconvenient to play.
The table below lists chords and their inverted equivalents. The "transpose" column denotes the root of the equivalent in semitones (from the starting chord). Example: With a starting chord of Amin7, the equivalent C6 is a transpose of "^+3/-9". All this means is that "C" is 3 semitones UP from "A" (or 9 semitones DOWN from "A").
Guitar chord notes within "{" and "}" (curly brackets) denote the root.
Symmetrical Chords
--------- Chord notes ------------- E-A-D-G-B-E R b2 2 b3 3 4 b5 5 b6 6 b7 7
transpose R,b3,b5,bb7 Edim7 x x{2}3 2 3 R -- -- b3 -- -- b5 -- -- bb7 -- --
^+3/-9 R,b3,b5,bb7 Gdim7 x x 2 3 2{3} bb7 R b3 b5
^+6/-6 R,b3,b5,bb7 Bbdim7 x x 2{3}2 3 b5 bb7 R b3
^+9/-3 R,b3,b5,bb7 C#dim7 x x 2 3{2}3 b3 b5 bb7 R
transpose R,3,#5 Faug5 x x{3}2 2 1 R -- -- -- 3 -- -- -- #5 -- -- --
^+4/-8 R,3,#5 Aaug5 x x 3{2}2 1 #5 R 3
^+8/-4 R,3,#5 C#aug5 x x 3 2{2}1 3 #5 R
3-Note Chords
--------- Chord notes ------------- E-A-D-G-B-E R b2 2 b3 3 4 b5 5 b6 6 b7 7
transpose R,b3,5 Amin o{0}2 2 1 0 R -- -- b3 -- -- -- 5 -- -- -- --
^+7/-5 R,4,#5 Eaug5sus4 {o}0{2}2 1 0 4 #5 R
transpose R,2,5 Asus2 o{0}2 2 0 o R -- 2 -- -- -- -- 5 -- -- -- --
^+7/-5 R,4,5 Esus4 {o}0{2}2 0 o 4 5 R
transpose R,2,#5 Aaug5sus2 x{0}3 2 0 x R -- 2 -- -- -- -- -- #5 -- -- --
^+8/-4 R,3,b5 F(-5) x 0{3}2 0 x 3 b5 R
4-Note Chords
--------- Chord notes ---------------- E-A-D-G-B-E R b2 2 b3 3 4 b5 5 b6 6 b7 7
transpose R,b3,5,b7 Amin7 x{0}2 0 1 0 R -- -- b3 -- -- -- 5 -- -- b7 --
^+7/-5 R,b3,#5,11 Emin(+5) add11 x 0{2}0 1 0 11 #5 R b3
^+3/-9 R,3,5,6 C6 x 0 2 0{1}0 6 R 3 5
transpose R,4,5,b7 A7sus4 x{0}2 0 3 0 R -- -- -- -- 4 -- 5 -- -- b7 --
^+10/-2 R,2,5,6 G6sus2 x 0 2{0}3 0 2 5 6 R
^+5/-7 R,4,5,9 Dsus4 add9 x 0 2 0{3}0 5 R 9 4
transpose R,2,5,b7 A7sus2 o{0}2 0 0 0 R -- 2 -- -- -- -- 5 -- -- b7 --
^+7/-5 R,b3,5,11 Emin add11 {o}0{2}0 0 0 11 5 R b3
^+2/-10 R,4,#5,b7 Baug5/7sus4 o 0 2 0{0}0 b7 R 4 #5
transpose R,2,5,7 CM7sus2 x{3}0 0 0 x R -- 2 -- -- -- -- 5 -- -- -- 7
^+7/-5 R,3,5,11 G add11 x 3 0{0}0 x 11 5 R 3
^+11/-1 R,b3,#5,b9 Bmin(+5)add(-9) x 3 0 0{0}x b9 b3 #5 R
transpose R,3,5,9 Cadd9 x{3}2 0 3 0 R -- 9 -- 3 -- -- 5 -- -- -- --
^+4/-8 R,b3,#5,b7 Emin7(+5) x 3{2}0 3 0 #5 b7 R b3
^+7/-5 R,4,5,6 G6sus4 x 3 2{0}3 0 4 5 6 R
--------- Chord notes ---------------- E-A-D-G-B-E R b2 2 b3 3 4 b5 5 b6 6 b7 7
transpose R,3,b5,6 F6(-5) x x{3}4 3 5 R -- -- -- 3 -- b5 -- -- 6 -- --
^+6/-6 R,b3,b5,b7 Bdim5/7 x x 3{4}3 5 b5 b7 R b3
^+9/-3 R,b3,5,6 Dmin6 x x 3 4{3}5 b3 5 6 R
^+4/-8 R,4,#5,9 Aaug5sus4 add9 x x 3 4 3{5} #5 R 9 4
transpose R,3,b5,b7 B7(-5) x{2}3 2 4 x R -- -- -- 3 -- b5 -- -- -- b7 --
^+6/-6 R,3,b5,b7 F7(-5) x 2{3}2 4 x b5 b7 R 3
transpose R,b3,5,b6 Amin(-6) x{0}3 2 1 0 R -- -- b3 -- -- -- 5 b6 -- -- --
^+8/-4 R,3,5,7 FM7 x 0{3}2 1 0 3 5 7 R
^+7/-5 R,4,#5,b9 Eaug5sus4 add(-9) x 0 3 2 1{0} 4 #5 R b9
transpose R,4,5,b9 Esus4 add(-9) {0}2 3 2 0 0 R b9 -- -- -- 4 -- 5 -- -- -- --
^+5/-7 R,2,5,b6 A(-6)sus2 0 2 3{2}0 0 5 b6 R 2
^+1/-11 R,3,b5,7 FM7(-5) 0 2{3}2 0 0 7 R 3 b5
transpose R,3,#5,9 Caug5 add9 x{3}2 1 3 x R -- 9 -- 3 -- -- -- #5 -- -- --
^+4/-8 R,3,#5,b7 Eaug5/7 x 3{2}1 3 x #5 b7 R 3
transpose R,4,5,b6 A(-6)sus4 x{0}3 2 3 0 R -- -- -- -- 4 -- 5 b6 -- -- --
^+5/-7 R,b3,5,9 Dmin add9 x 0 3 2{3}0 5 R 9 b3
5-Note Chords
--------- Chord notes -------------------- E-A-D-G-B-E R b2 2 b3 3 4 b5 5 b6 6 b7 7
transpose R,b3,5,b7,11 Emin7add11 {0}0 0 0 0{0} R -- -- b3 -- 11 -- 5 -- -- b7 --
^+5/-7 R,4,5,b7,9 A7sus4 add9 0{0}0 0 0 0 5 b7 R 9 4
^+10/-2 R,4,5,b7,9 D6sus4 add9 0 0{0}0 0 0 9 4 5 6 R
^+3/-9 R,3,5,6,9 G6 add9 0 0 0{0}0 0 6 R 9 3 5
^+7/-5 R,b3,#5,b7,11 Bmin7(+5)add11 0 0 0 0{0}0 11 #5 b7 R b3
transpose R,3,5,b7,11 G7 add11 {3}3 3 4 3{3} R -- -- -- 3 11 -- 5 -- -- b7 --
^+5/-7 R,4,5,7,9 CM7sus4 add9 3{3}3 4 3 3 5 7 R 9 4
^+10/-2 R,2,5,6,#11 F6sus2 add(+11) 3 3{3}4 3 3 2 #11 5 6 R
^+4/-8 R,b3,b5,b6,b9 Bdim5add(-6)add(-9) 3 3 3{4}3 3 b6 R b9 b3 b5
transpose R,4,5,b7,13 D7sus4 add13 5{5}5 5 8 7 R -- -- -- -- 4 -- 5 -- 13 b7 --
^+5/-7 R,3,5,9,11 G add9 add(-11) 5 5{5}5 8 7 5 R 9 3 b11
^+10/-2 R,2,5,7,13 C7sus2 add13 5 5 5{5}8 7 2 5 13 7 R
^+9/-3 R,b3,#5,b7,b9 Bmin7(+5)add(-9) 5 5 5 5 8{7} b3 #5 b7 R b9
transpose R,b3,5,b7,b13 Emin7 add(-13) {0}3 0 0 0{0} R -- -- b3 -- -- -- 5 b13-- b7 --
^+8/-4 R,3,5,7,9 CM7 add9 0{3}0 0 0 0 3 5 7 R 9
^+3/-9 R,3,5,6,11 G6 add11 0 3 0{0}0 0 6 R 3 11 5
^+7/-5 R,b3,#5,b9,11 Bmin(+5)add(-9)add11 0 3 0 0{0}0 11 #5 R b9 b3
--------- Chord notes -------------------- E-A-D-G-B-E R b2 2 b3 3 4 b5 5 b6 6 b7 7
transpose R,4,#5,b7,9 Aaug5/7sus4 add9 x{0}0 0 0 1 R -- 9 -- -- 4 -- -- #5 -- b7 --
^+5/-7 R,b3,5,6,11 Dmin6 add11 x 0{0}0 0 1 5 6 R b3 11
^+10/-2 R,3,5,b7,9 G7 add9 x 0 0{0}0 1 9 3 5 b7 R
^+2/-10 R,b3,b5,b7,b13 Bdim5/7 add(-13) x 0 0 0{0}1 b7 R b3 b5 b13
^+8/-4 R,3,b5,6,9 F6(-5) add9 x 0 0 0 0{1} 3 b5 6 R 9
transpose R,3,b5,7,13 FM7(-5)add13 {1}0 0 2 0 0 R -- -- -- 3 -- b5 -- -- 13 -- 7
^+4/-8 R,4,5,b6,9 A(-6)sus4 add9 1{0}0 2 0 0 b6 R 9 4 5
^+9/-3 R,b3,5,6,9 Dmin6 add9 1 0{0}2 0 0 b3 5 6 R 9
^+6/-6 R,b3,b5,b7,11 Bdim5/7 add11 1 0 0 2{0}0 b5 b7 R b3 11
^+11/-1 R,4,5,b7,b9 E7sus4 add(-9) 1 0 0 2 0{0} b9 4 5 b7 R
transpose R,4,#5,b7,b9 Baug5/7sus4add(-9) x{2}5 5 5 5 R b9 -- -- -- 4 -- -- #5 -- b7 --
^+1/-11 R,3,5,7,13 CM7add13 x 2 5{5}5 5 7 R 3 5 13
^+5/-7 R,b3,5,b6,11 Emin(-6) add11 x 2 5 5{5}5 5 b6 R b3 11
^+10/-2 R,b3,5,b7,9 Amin7 add9 x 2 5 5 5{5} 9 b3 5 b7 R
For guitars, inversions are a way of life. On guitar, as long as the root is the bass-note and the 3rd and 5th appear later, it is a straight root chord. For additions, as long as they appear last, it is still a straight root chord. Even if an addition appears between the 3rd and 5th, it is considered as a small inversion.
The practical application of equivalents is interesting. Example: You can pass-off any song diatonic to C major (or A minor) by only using Amin7, Dmin7 and Emin7. This is because Amin7 = C6 ; Dmin7 = F6 ; Emin7 = G6 = Bmin(+5)add11 (For more on diatonics, see Chord Reference below). For guitar, I recommend using 575555, x57565 and x79787 respectively.
More Naming Techniques
A "BiTonal Chord" is a chord played over a non-root bass. This is really a matter of perception. For example, if you were playing a Cmajor chord over a bass of "A", then the resultant chord is Amin7 (ie A,C,E,G). We can assume this because the perceived root will be the "A" bass-note.
But what if the song has a static chord over bass progression? Or what if the song has a chord progression over a static bassline? In that instance, it is easier to use the "Chord-over-Bass" description.
Example from above would be written as C/A (ie "Cmajor" over an "A" root/bass). In this way, a chord progression can be described as Amin, Amin/G, Amin/F, Amin/E (which conveys the message far better and easier than standard chord-naming).
Another use for the "Chord-over-Bass" method is where a chord doesn't have a 5th note.
Example: C,D,F,A (R,2,4,6) - Using traditional or the chord-name system, it would be "C6 omit5 sus4 add9" (using "omit" is acceptable) or cheat using C6(--5)sus2 or C(++5)sus4 add9. In Chord-over-Bass, it's just Dmin/C.
Chord Reference (mode diatonic)
It is nearly impossible to list every conceiveable chord in every root-key. Instead of repeating the chord listing from part 1 in different keys, I thought that it would be more useful to look at chords which are "mode diatonic".
In a scale, all of its notes are "diatonic" to that scale (ie they conform with that scale). Therefore, if all the notes of a Chord happen to belong to any Scales, then the Chord is "diatonic" to those Scales.
Example: Chord "A minor" comprises A,C,E - so the "A minor" chord is diatonic to the scales of CMaj, Amin, FMaj, Dmin, GMaj and Emin (ie any scale with all those
notes).
If it does not conform, then it is "chromatic" to that scale.
Tabled below is a list of of chords which conforms to the C major and A minor scale. In music terminology, they are modal diatonic chords (Major and minor belong to a group called "Modes"; see article on Scales). In other words, all these chords only use the white-notes on a keyboard.
|---- K E Y B O A R D ----- | Notes | ------ G U I T A R ------
~3-note MAIN Other Names C D E F G A B ----- E A D G B E Alternative
C C Major R 3 5 C E G x 3 5 5 5 3 x 3 2 0 1 0
F F Major 5 R 3 F A C 1 3 3 2 1 1 x 8 7 5 6 5
G G Major 5 R 3 G B D 3 5 5 4 3 3 3 2 0 0 0 3
F (-5) R 3 b5 F A B 1 2 3 2 0 x
D min Dm R b3 5 D F A x 5 7 7 6 5 x x 0 2 3 1
E min Em R b3 5 E G B 0 2 2 0 0 0 x 7 9 9 8 7
A min Am b3 5 R A C E x 0 2 2 1 0 5 7 7 5 5 5
B min(+5) b3 #5 R B D G x 2 0 0 0 3
B dim5 b3 b5 R B D F x 2 3 4 3 x 7 8 9 7 x x
~3-note SUS Other Names C D E F G A B ----- E A D G B E Alternative
C sus4 R 4 5 C F G x 3 5 5 6 3 x 3 3 0 1 1
D sus4 R 4 5 D G A x 5 7 7 8 5 x x 0 2 3 3
E sus4 R 4 5 E A B 0 2 2 2 0 0
G sus4 4 5 R G C D 3 5 5 5 3 3 3 3 0 0 3 3
A sus4 4 5 R A D E x 0 2 2 3 0 5 7 7 7 5 5
Eaug5 sus4 #5 R 4 E A C x 7 7 5 5 5
Aaug5 sus4 4 #5 R A D F x 0 3 2 3 x
Baug5 sus4 4 #5 R B E G x 2 2 0 0 0
Bdim5 sus4 4 b5 R B E F x 2 3 4 5 x
C sus2 R 2 5 C D G x 3 0 0 1 x x 3 5 5 3 3
D sus2 R 2 5 D E A x x 0 2 3 0 x 5 7 7 5 5
F sus2 5 R 2 F G C 1 3 3 0 x x x 8 5 5 6 x
G sus2 5 R 2 G A D 3 0 0 0 3 3 x x 5 2 3 3
A sus2 5 R 2 A B E x 0 2 2 0 0
Aaug5 sus2 #5 R 2 A B F x 0 3 2 0 x
|---- K E Y B O A R D ----- | Notes | ------ G U I T A R ------
~4-note MAJOR Other Names C D E F G A B ------- E A D G B E Alternative
C6 Cadd6 R 3 5 6 C E G A x 3 5 5 5 5 x 3 2 2 1 0
F6 Fadd6 5 6 R 3 F A C D x x 3 5 3 5
G6 Gadd6 5 6 R 3 G B D E 3 2 0 0 0 0 x x 5 4 3 0
G7 Gadd7 5 b7 R 3 G B D F 3 5 3 4 3 3 3 2 0 0 0 1
CM7 CaddMaj7 R 3 5 7 C E G B x 3 5 4 5 3 x 3 2 0 0 0
FM7 FaddMaj7 5 7 R 3 F A C E 1 3 2 2 1 1 x x 3 2 1 0
C add9 R 9 3 5 C E G D x 3 2 0 3 0
G add9 5 R 9 3 G B D A 3 2 0 2 0 x x x 5 4 3 5
C add11 R 3 11 5 C E G F x 3 2 0 1 1
G add11 11 5 R 3 G B D C 3 2 0 0 1 x
F6(-5) F6(b5) 6 R 3 b5 F A B D 1 0 0 2 0 x
FM7(-5) FM7(b5) 7 R 3 b5 F A B E x x 3 2 0 0
~4-note MINOR Other Names C D E F G A B ------- E A D G B E Alternative
Amin(-6) Aminadd(-6) b3 5 b6 R A C E F x 0 3 2 1 0 x 0 2 2 1 1
D min6 Dminadd6 R b3 5 6 D F A B x x 0 2 0 1
D min7 Dminadd7 b7 R b3 5 D F A C x 5 7 5 6 5 x x 0 2 1 1
E min7 Eminadd7 b7 R b3 5 E G B D 0 2 0 0 0 0
A min7 Aminadd7 b3 5 b7 R A C E G x 0 2 0 1 0 x 0 2 2 1 3
E min add(-9) Eminadd(b9) R b9 b3 5 E G B F 0 2 2 0 0 1 0 2 3 0 o o
D min add9 R 9 b3 5 D F A E x 5 3 2 5 x
A min add9 b3 5 R 9 A C E B 5 7 7 5 5 7 x 0 2 4 1 0
D min add11 R b3 11 5 D F A G x 5 3 2 x 3
E min add11 R b3 11 5 E G B A 0 2 5 2 o o
A min add11 b3 11 5 R A C E D x 0 2 5 3 o
~4-note DIM5 Other Names C D E F G A B ------- E A D G B E Alternative
B dim5/7 Bhalf-dim7 b3 b5 b7 R B D F A x 2 3 2 3 x
~4-note SUS4 Other Names C D E F G A B ------- E A D G B E Alternative
E(-6) sus4 Esus4add(-6) b6 R 4 5 E A B C 0 2 2 0 1 o
A(-6) sus4 Asus4add(-6) 4 5 b6 R A D E F o 0 2 2 1 1
C6 sus4 Csus4add6 R 4 5 6 C F G A x 3 5 5 6 5
D6 sus4 Dsus4add6 R 4 5 6 D G A B x 5 7 7 8 7
G6 sus4 Gsus4add6 4 5 6 R G C D E 3 3 0 0 1 0 3 5 5 5 5 x
D7 sus4 Dsus4add7 b7 R 4 5 D G A C x 5 7 5 8 5 x x 0 2 1 3
E7 sus4 Esus4add7 b7 R 4 5 E A B D 0 2 0 2 0 0
G7 sus4 Gsus4add7 4 5 b7 R G C D F 3 5 3 5 3 3 3 3 0 0 1 1
A7 sus4 Asus4add7 4 5 b7 R A D E G x 0 2 0 3 0
CM7 sus4 Csus4addM7 R 4 5 7 C F G B x 3 3 0 0 x
E sus4 add(-9) R b9 4 5 E A B F o 0 2 3 3 0
C sus4 add9 R 9 4 5 C F G D x 3 3 0 3 x
D sus4 add9 R 9 4 5 D G A E x 5 5 2 5 x
G sus4 add9 4 5 R 9 G C D A 3 3 0 2 x x
A sus4 add9 4 5 R 9 A D E B 5 5 2 4 x x x 0 0 2 0 0
~4-note SUS2 Other Names C D E F G A B ------- E A D G B E Alternative
A(-6) sus2 Asus2add(-6) 5 b6 R 2 A B E F o 0 2 2 0 1
C6 sus2 Csus2add6 R 2 5 6 C D G A x 3 5 5 3 5
D6 sus2 Dsus2add6 R 2 5 6 D E A B x 5 7 7 5 7 x x 0 2 0 0
F6 sus2 Fsus2add6 5 6 R 2 F G C D 1 3 3 0 3 x x x 3 5 3 3
G6 sus2 Gsus2add6 5 6 R 2 G A D E x x 5 7 5 5
D7 sus2 Dsus2add7 b7 R 2 5 D E A C x 5 7 7 5 8 x x 0 2 1 0
G7 sus2 Gsus2add7 5 b7 R 2 G A D F x x 5 7 6 5
A7 sus2 Asus2add7 5 b7 R 2 A B E G x 0 2 0 0 0
CM7 sus2 Csus2addM7 R 2 5 7 C D G B x 3 0 0 0 x
FM7 sus2 Fsus2addM7 5 7 R 2 F G C E x x 3 0 1 0
|---- K E Y B O A R D ----- | - Notes - | ------ G U I T A R ------
~5-note MAJOR Other Names C D E F G A B --------- E A D G B E Alternative
C6 add9 C6/9 R 9 3 5 6 C E G A D x 3 2 2 3 3
F6 add9 F6/9 5 6 R 9 3 F A C D G 1 0 0 0 1 1
G6 add9 G6/9 5 6 R 9 6 G B D E A 3 2 2 2 3 3 3 2 0 2 0 0
C6 add11 R 3 11 5 6 C E G A F 8 7 5 5 6 5
G6 add11 11 5 6 R 3 G B D E C 3 2 0 0 1 0
G7 add9 G9 5 b7 R 9 3 G B D F A 3 0 0 0 0 1
G7 add11 11 5 b7 R 3 G B D F C 3 3 0 0 0 1
G7 add13 5 13 b7 R 3 G B D F E 3 5 3 4 5 3 3 2 3 0 3 0
CM7 add9 CM9 R 9 3 5 7 C E G B D x 3 0 0 0 0 x 3 5 4 3 0
FM7 add9 FM9 5 7 R 9 3 F A C E G x 8 5 5 5 5 1 0 3 0 1 0
CM7 add11 R 3 11 5 7 C E G B F o 3 2 0 0 1
CM7 add13 R 3 5 13 7 C E G B A x 3 5 4 5 5 x 3 2 2 0 3
FM7 add13 5 13 7 R 3 F A C E D 1 0 0 2 1 0 1 3 2 2 3 1
F6(-5) add9 6 R 9 3 b5 F A B D G 1 0 0 0 0 1 x 8 7 7 8 7
FM7(-5) add9 7 R 9 3 b5 F A B E G 1 0 2 0 0 o x 8 7 9 8 7
FM7(-5) add13 13 7 R 3 b5 F A B E D 1 0 0 2 0 0
~5-note MINOR Other Names C D E F G A B --------- E A D G B E Alternative
Dmin6 add9 Dmin6/9 R 9 b3 5 6 D F A B E o 5 3 2 0 0
Dmin6 add11 R b3 11 5 6 D F A B G x 5 3 2 0 3
Dmin7 add9 Dmin9 b7 R 9 b3 5 D F A C E x 5 3 5 5 5
Amin7 add9 Amin9 b3 5 b7 R 9 A C E G B 5 7 5 5 5 7
Dmin7 add11 b7 R b3 11 5 D F A C G x 5 5 5 6 5
Emin7 add11 b7 R b3 11 5 E G B D A 0 0 0 0 0 0 0 2 5 2 3 x
Amin7 add11 b3 11 5 b7 R A C E G D o 0 0 0 1 0 x 0 5 5 3 0
Emin7 add(-13) -13 b7 R b3 5 E G B D C 0 2 0 0 1 o x 7 9 7 8 8
Dmin7 add13 Dmin13 b7 R b3 5 13 D F A C B x 5 7 5 6 7
~5note DIM/SUS Other Names C D E F G A B --------- E A D G B E Alternative
Bdim5/7 add11 b3 11 b5 b7 R B D F A E o 2 3 2 3 0 o 2 2 2 3 1
C6sus4 add9 C6/9 sus4 R 9 4 5 6 C F G A D x 3 3 2 3 3 8 8 7 7 8 x
D6sus4 add9 D6/9 sus4 R 9 4 5 6 D G A B E o 5 5 4 5 5 o 5 7 0 0 0
G6sus4 add9 D6/9 sus4 4 5 6 R 9 G C D E A 3 3 2 2 3 x 3 0 0 0 1 0
G7sus4 add9 G9sus4 4 5 b7 R 9 G C D F A 3 5 3 5 3 5 3 3 0 2 1 1
D7sus4 add9 D9sus4 b7 R 9 4 5 D G A C E x 5 5 5 5 5
A7sus4 add9 A9sus4 4 5 b7 R 9 A D E G B x 0 0 0 0 0 x 0 2 4 3 3
G7sus4 add13 4 5 13 b7 R G C D F E 3 5 3 5 5 3
D7sus4 add13 b7 R 4 5 13 D G A C B x 5 7 5 8 7
CM7sus4 add9 R 9 4 5 7 C F G B D x 3 3 4 3 3 x 3 0 0 0 1
CM7sus4 add13 R 4 5 13 7 C F G B A x 3 3 0 0 5
D7sus2 add13 b7 R 2 5 13 D E A C B o 5 7 5 5 7
G7sus2 add13 5 13 b7 R 2 G A D F E 3 0 3 0 3 0
CM7sus2 add13 R 2 5 13 7 C D G B A x 3 5 4 3 5 x 3 0 0 0 5
For the guitar chords, I have tried as far as possible to present moveable chords (usually in the main guitar chord column). A moveable chord is a chord which can be transposed by moving the finger position up or down the neck. So to transpose a moveable chord up by one semitone is to move your hand (in the same hand-shape) up to the next fret.
Again for guitar, many moveable chords are "barre-chords" or "bar-chords". This is where the index-finger acts as a "bar" (like a "capo") pressing down on all strings of a fret. Basically you are emulating an open chord (max.= 3 finger chord) where the index-finger represents the open strings and the remaining 3 fingers take up the chord position.