Guitar and Music Theory
In: Guitar|Music Theory
10 Feb 2010If you are unfamiliar with how movable guitar chord shapes work, I recommend reading this.
Since this post is extremely long, I’ve created this index. Click a link to be brought directly to a specific chord. Note: entries that are not linked are still being created, check back soon.
| TRIADS | SIXTHS | SEVENTHS | NINTHS | ELEVENTHS | THIRTEENTHS |
| Major | Major 6th | Major 7th Dominant 7th |
Major 9th Dominant 9th |
Major 11th Dominant 11th |
Major 13th Dominant 13th |
| Minor | Minor 6th | Minor 7th Minor-Major 7th |
Minor 9th Minor-Major 9th |
Minor 11th Minor-Major 11th |
Minor 13th Minor-Major 13th |
| Diminished | Half-Diminished 7th Diminished 7th |
||||
| Augmented | Augmented Major 7th Augmented 7th |
| |
♭5 |
♯5 |
♭6 | ♭9 | ♯9 | ♯11 |
| Major | Maj(♭5) | Maj(♭6) | ||||
| Minor | Min(♭6) | |||||
| Major 7th | Maj7(♭5) | Maj7(♯5) | Maj7(♯11) | |||
| Minor 7th | Min7(♭9) Min7(♯5♭9) |
|||||
| Dominant 7th | 7(♭5) | 7(♯5) | 7(♭9) 7(♭5♭9) 7(♯5♭9) |
7(♯9) – Hendrix Chord 7(♯5♯9) |
7(♯11) | |
| Major 9th | Maj9(♭5) | Maj9(♯5) | 9(♯11) | |||
| Minor 9th | ||||||
| Dominant 9th | 9(♭5) | 9(♯5) | 9(♯11) | |||
| Dominant 11th | 11(♭9) | |||||
| Dominant 13th | 13(♭9) 13(♭5♭9) |
13(♯9) | 13(♯11) |
The major chord is one of the most common and versatile chords. Its major third and perfect fifth give it a bright resolved sounding characteristic.
| Formula: | 1-3-5 |
| Intervals: | root, major third, perfect fifth |
| Notations: | Major, Maj, Ma, M, Δ |
| Example: |
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| Major Guitar Chord Shapes: | ![]() ![]() ![]() |
| Compatible Scales: |
Recommended Scales
Additional Scales (Click to expand)
|
The minor chord differs from the major chord in that it has a minor third. This minor third is what makes the chord sound “sad” in relation to a major chord.
| Formula: | 1-♭3-5 |
| Intervals: | root, minor third, perfect fifth |
| Notations: | minor, min, mi, m |
| Example: |
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| Minor Guitar Chord Shapes: | ![]() ![]() ![]() |
| Compatible Scales: |
Recommended Scales
Additional Scales (Click to expand)
|
A diminished chord is like a minor chord, but with a diminished fifth. The diminished fifth gives it an unresolved, and sometimes eerie or ominous feel.
| Formula: | 1-♭3-♭5 |
| Intervals: | root, minor third, diminished fifth |
| Notations: | diminished, dimin, dim, ° |
| Example: |
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| Diminished Guitar Chord Shapes: | ![]() ![]() ![]() ![]() |
| Compatible Scales: |
Recommended Scales
Additional Scales (Click to expand)
|
The minor chord differs from the major chord in that it has a minor third. This minor third is what makes the chord sound “sad” in relation to a major chord.
| Formula: | 1-3-♯5 |
| Intervals: | root, major third, augmented fifth |
| Notations: | augmented, aug, + |
| Example: |
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| Augmented Guitar Chord Shapes: | ![]() ![]() ![]() |
| Compatible Scales: |
Recommended Scales
Additional Scales (Click to expand)
|
Major sixth chords are simply a major triad with an added sixth above. A major sixth chord is enharmonically equivalent to a minor seventh chord with its root starting on the 6th. For example: CMaj6 (C-E-G-A) = Amin7 (A-C-E-G). So they are simply inversions (specifically CMaj6 is the first inversion of Amin7). It is my opinion that major sixth chords sound “Hawaiian”. This could be due to the fact that a lot of dobros and table steel guitars used in Hawaiian music are tuned to open sixth tunings like for example, Open C6 (CEGACE).
| Formula: | 1-3-5-6 |
| Intervals: | root, minor third, perfect fifth, major sixth |
| Notations: | Major 6, Maj6, M6, 6M, Δ6, 6 |
| Example: |
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| Major 6th Guitar Chord Shapes: | ![]() ![]() ![]() ![]() ![]() ![]() ![]() |
| Compatible Scales: |
Recommended Scales
Additional Scales (Click to expand)
|
A minor sixth chord is like a major sixth, but with an underlying minor chord, and an added sixth.
| Formula: | 1-♭3-5 |
| Intervals: | root, minor third, perfect fifth, major sixth |
| Notations: | minor 6, min6, m6 |
| Example: |
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| Minor 6th Guitar Chord Shapes: | ![]() ![]() ![]() ![]() ![]() ![]() ![]() |
| Compatible Scales: |
Recommended Scales
Additional Scales (Click to expand)
|
Major seventh chords add a major seventh interval on top of a major chord. They are popular in jazz music.
| Formula: | 1-3-5-7 |
| Intervals: | root, minor third, perfect fifth, major seventh |
| Notations: | Major 7, Maj7, M7, 7M, Δ7 |
| Example: |
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| Major 7th Guitar Chord Shapes: | ![]() ![]() ![]() ![]() ![]() |
| Compatible Scales: |
Recommended Scales
Additional Scales (Click to expand)
|
A minor seventh takes a minor chord, and adds a minor seventh. The first inversion of a minor seventh is enharmonic to a major sixth chord. For example: Cmin7 is C-Eb-G-Bb, and taking the first inversion we get Eb Maj6 (Eb-G-Bb-C).
| Formula: | 1-♭3-5-♭7 |
| Intervals: | root, minor third, perfect fifth, minor seventh
mod-12: 0, 3, 7, 10 |
| Notations: | minor 7, min7, m7 |
| Example: |
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| Minor 7th Guitar Chord Shapes: | ![]() ![]() ![]() |
| Compatible Scales: |
Recommended Scales
Additional Scales (Click to expand)
|
A dominant seventh (formerly called a major-minor seventh) is a major chord, with a minor seventh. Dominant seventh chords were the first sevenths to occur regularly in western classical music. They are also popular in the blues and jazz.
| Formula: | 1-3-5-♭7 |
| Intervals: | root, major third, perfect fifth, minor seventh
mod-12: 0, 4, 7, 10 |
| Notations: | dominant 7, dom7, 7 |
| Example: |
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| Dominant 7th Guitar Chord Shapes: | ![]() ![]() ![]() |
| Compatible Scales: |
|
A minor-major seventh is an interesting seventh variation. Essentially it is a minor triad, with an added major seventh, which gives it it’s name “minor-major seventh”. It occurs naturally in the harmonic scale at the first degree. Because harmonic minor has a major seventh, the resulting tonic seventh chord is a minor-major seventh. In jazz the melodic or harmonic minor scales are commonly used over this chord. The last chord in the James Bond theme is a minor-major seventh. Another song I can think of that uses a minor major seventh is Pink Floyd’s “Us and Them” (third chord in the opening section).
| Formula: | 1-♭3-5-7 |
| Intervals: | root, minor third, perfect fifth, major seventh
mod-12: 0, 3, 7, 11 |
| Notations: | min(maj7), m(Maj7), m/M7 |
| Example: |
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| Minor-Major 7th Guitar Chord Shapes: | ![]() ![]() ![]() ![]() ![]() ![]() |
| Compatible Scales: |
|
A half-diminished seventh chord is essentially a diminished triad with a minor seventh. It can be thought of as a minor seventh chord with a flat fifth, which is why they are sometimes notated “m7(♭5)”. You would think that the notation would be “dim7″, but that technically means that the seventh should be diminished (♭7), which is why the term “half-diminished” was created. In the Ionian mode, a half-diminished seventh naturally occurs at the seventh degree.
| Formula: | 1-♭3-♭5-♭7 |
| Intervals: | root, minor third, diminished fifth, minor seventh
mod-12: 0, 3, 6, 10 |
| Notations: | m7(♭5), Ø |
| Example: |
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| Half-Diminished Guitar Chord Shapes: | ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() |
| Compatible Scales: |
|
A diminished seventh chord takes a diminished triad, and adds a diminished seventh (enharmonic to a major sixth). All four notes are a minor third apart.
| Formula: | 1-♭3-♭5-♭♭7 |
| Intervals: | root, minor third, diminished fifth, diminished seventh
mod-12: 0, 3, 6, 9 |
| Notations: | diminished 7, dim7, °7 |
| Example: |
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| Diminished 7th Guitar Chord Shapes: | ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() |
| Compatible Scales: |
|
An augmented major seventh chord has an augmented triad with a major seventh. It comes from the third mode of the melodic minor scale. C melodic minor would be C-D-E-F♯-G♯-A-B, and so the tonic seventh chord would be C-E-G♯-B, which is an augmented major seventh chord.
| Formula: | 1-3-♯5-7 |
| Intervals: | root, major third, augmented fifth, major seventh
mod-12: 0, 4, 8, 11 |
| Notations: | Maj7(♯5), Maj+7, Δ+7 |
| Example: |
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| Augmented Major 7th Guitar Chord Shapes: | ![]() ![]() ![]() ![]() ![]() ![]() ![]() |
| Compatible Scales: |
|
An augmented seventh chord can be thought of as an augmented triad with a minor seventh. The root tone is optional when playing this chord. Augmented seventh chords usually resolve to the chord a perfect fourth above. For example, C7(♯5) would resolve to F major.
| Formula: | 1-3-♯5-♭7 |
| Intervals: | root, major third, augmented fifth, minor seventh
mod-12: 0, 4, 8, 10 |
| Notations: | C7(♯5), C7+, C7aug, C7+5, C+7, Caug7 |
| Example: |
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| Augmented 7th Guitar Chord Shapes: | ![]() ![]() ![]() ![]() ![]() ![]() ![]() |
| Compatible Scales: |
|
A major ninth chord takes a major seventh chord, and adds a major ninth.
| Formula: | 1-3-5-7-9 |
| Intervals: | root, major third, perfect fifth, major seventh, major ninth
mod-12: 0, 4, 7, 11, 14 |
| Notations: | Major 9, Maj9, M9, 9M, Δ9 |
| Example: |
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| Major 9th Guitar Chord Shapes: | ![]() ![]() ![]() ![]() ![]() ![]() ![]() |
| Compatible Scales: |
|
A minor ninth is simply a minor seventh with an added major ninth.
| Formula: | 1-♭3-5-♭7-9 |
| Intervals: | root, minor third, perfect fifth, minor seventh, major ninth
mod-12: 0, 3, 8, 10, 14 |
| Notations: | minor 9, min9, m9 |
| Example: |
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| Minor 9th Guitar Chord Shapes: | ![]() ![]() ![]() ![]() |
| Compatible Scales: |
|
A dominant ninth takes a dominant seventh and adds a major ninth.
| Formula: | 1-3-5-♭7-9 |
| Intervals: | root, major third, perfect fifth, minor seventh, major ninth
mod-12: 0, 4, 7, 10, 14 |
| Notations: | dominant 9, dom 9, 9 |
| Example: |
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| Dominant 9th Guitar Chord Shapes: | ![]() ![]() ![]() ![]() ![]() |
| Compatible Scales: |
|
Adding a ninth to a minor-major 7th chord will create a minor-major 9th chord.
| Formula: | 1-♭3-5-7-9 |
| Intervals: | root, minor third, perfect fifth, major seventh, major ninth
mod-12: 0, 3, 7, 11, 14 |
| Notations: | min(maj9), m(Maj9), m/M9 |
| Example: |
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| Minor-Major 9th Guitar Chord Shapes: | ![]() ![]() |
| Compatible Scales: |
|
A major 11th chord adds a perfect eleventh interval on top of a major ninth chord. It isn’t a particularly popular chord due to a dissonant minor ninth interval between the perfect eleventh and major third. Because of this dissonance, it is common to omit certain notes from the chord. The only required notes are the root, third, seventh, and eleventh.
| Formula: | 1-3-5-7-9-11 |
| Intervals: | root, major third, perfect fifth, major seventh, major ninth, perfect 11th
mod-12: 0, 4, 7, 11, 14, 16 |
| Notations: | Major 11, Maj11, M11, 11M, Δ11 |
| Example: |
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| Major 11th Guitar Chord Shapes: | The following shapes omit the 5th and 9th: |
| Compatible Scales: |
|
A minor eleventh chord is formed by taking a minor ninth, and adding a perfect eleventh.
| Formula: | 1-♭3-5-♭7-9-11 |
| Intervals: | root, minor third, perfect fifth, minor seventh, major ninth, perfect eleventh
mod-12: 0, 3, 8, 10, 14, 16 |
| Notations: | minor 11, min11, m11 |
| Example: |
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| Minor 11th Guitar Chord Shapes: | The following voicings omit the 5th and 9th: |
| Compatible Scales: |
|
A dominant eleventh chord is formed by taking a dominant ninth and adding a perfect eleventh.
| Formula: | 1-3-5-♭7-9-11 |
| Intervals: | root, major third, perfect fifth, minor seventh, major ninth, perfect eleventh |
| Notations: | 11 |
| Example: |
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| Dominant 11th Guitar Chord Shapes: | The following voicing omits the 5th and 9th: |
| Compatible Scales: |
|
A minor-major 11th chord is simply a minor-major 7th with an added 9th and 11th.
| Formula: | 1-♭3-5-7-9-11 |
| Intervals: | root, minor third, perfect fifth, major seventh, major ninth, perfect eleventh |
| Notations: | min(maj11), m(Maj11), m/M11 |
| Example: |
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| Minor-Major 11th
Guitar Chord Shapes: |
The following voicings omit the 5th and 9th:
The following voicing is easy to play, but the 11th is very low in the chord: |
| Compatible Scales: |
|
A major 13th chord is formed by adding a major 13th to a major 11th chord. The interesting thing about this chord is that it is basically the entire Major scale built into one chord.
| Formula: | 1-3-5-7-9-11-13 |
| Intervals: | root, major third, perfect fifth, major seventh, major ninth, perfect eleventh, major thirteenth |
| Notations: | Major 13, Maj13, M13, 13M, Δ13 |
| Example: |
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| Major 13th
Guitar Chord Shapes: |
The following voicing omits the 5th and 11th:
The following voicings omit the 5th, 9th and 11th: |
| Compatible Scales: |
Recommended Scales
|
A minor 13th is a minor seventh with an added major ninth, perfect eleventh, and major thirteenth. A minor 13th chord is basically the entire Dorian mode in one chord.
| Formula: | 1-♭3-5-♭7-9-11-13 |
| Intervals: | root, minor third, perfect fifth, minor seventh, major ninth, perfect eleventh, major thirteenth |
| Notations: | minor 13, min13, m13 |
| Example: |
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| Minor-Major 13th Guitar Chord Shapes: | ![]() ![]() ![]() ![]() ![]() ![]() |
| Compatible Scales: |
Recommended Scales
|
The dominant 13th chord is is basically the entire Mixolydian mode in one chord. It can also be thought of as a dominant seventh with an added major ninth, perfect eleventh, and major thirteenth.
| Formula: | 1-3-5-♭7-9-11-13 |
| Intervals: | root, major third, perfect fifth, minor seventh, major ninth, perfect eleventh, major thirteenth |
| Notations: | 13 |
| Example: |
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| Minor-Major 13th Guitar Chord Shapes: |
No 5th
No 5th, No 9th, No 11th
|
| Compatible Scales: |
Recommended Scales
|
A minor-major 13th chord can be thought of as a major 13th chord with a minor third. It could also be thought of as a minor triad with a major seventh, ninth, eleventh and thirteenth. The interesting thing about this chord is that it is the entire melodic minor scale in one chord.
| Formula: | 1-♭3-5-7-9-11-13 |
| Intervals: | root, minor third, perfect fifth, major seventh, major ninth, perfect eleventh, major thirteenth |
| Notations: | min(maj13), m(Maj13), m/M13 |
| Example: |
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| Minor-Major 13th Guitar Chord Shapes: |
No 5th
No 5th, No 9th
|
| Compatible Scales: |
Recommended Scales
|
The major flat-5 chord is basically a major triad, but with a diminished fifth instead of a perfect fifth. This change is subtle, but provides a result that sounds ominous and urgent. This chord would best be used with the Lydian mode.
| Formula: | 1-3-♭5 |
| Intervals: | root, major third, diminished fifth |
| Notations: | Major(♭5), Maj(♭5), M(♭5), ♭5 |
| Example: |
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| Major Flat-5 Guitar Chord Shapes: |
All Intervals
|
| Compatible Scales: |
Recommended Scales
Additional Scales (Click to expand)
|
The Maj7(♭5) chord is a major seventh chord with a diminished fifth. Curiously, it is very similar to the Maj7(♯11) chord. This is because an augmented eleventh (which can be thought of as augmented fourth) is enharmonically equivalent to a diminished fifth. So if you think of the diminished fifth in the Maj7(♭5) chord as an augmented eleventh, you end up with basically the same thing as a Maj7(♯11), with the only difference being the absence of the fifth (which is not required anyway).
| Formula: | 1-3-♭5-7 |
| Intervals: | root, major third, diminished fifth, major seventh |
| Notations: | Maj7(♭5), M7(♭5) |
| Example: |
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| Major Flat-5 Guitar Chord Shapes: |
All Intervals
|
| Compatible Scales: |
Recommended Scales
Additional Scales (Click to expand)
|
The dominant 7♯9 chord is commonly referred to as the “Hendrix Chord” because of its use in the songs “Purple Haze” and “Foxey Lady”. This chord is essentially a dominant 7th with an augmented ninth interval on top.
Pentatonic minor and blues scales will work best over this chord. You could alternate between the minor pentatonic built on the root, and the minor pentatonic a semitone above the root. Another scale worth trying is the half-whole scale, which is sometimes referred to as the “reversed diminished scale”.
| Formula: | 1-3-5-♭7-♯9 |
| Intervals: | root, major third, perfect fifth, minor seventh, augmented ninth |
| Notations: | 7♯9 |
| Example: |
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| Dominant 7♯9 Guitar Chord Shapes: | |
| Compatible Scales: |
Recommended Scales
Additional Scales (Click to expand)
|
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6 Responses to Movable Guitar Chord Shapes
Chad
January 8th, 2009 at 11:09 pm
Great resource. I teach guitar as a profession and stumbled onto your site by accident. Very cool way to present moveable shapes along with analysis. I’m bookmarking this page. ‘preciate it.
Harri
July 26th, 2009 at 11:58 am
From Finland (Scandinavia). Looked for movable 9th. But you got everything in here, I will bookmark it and also save offline. Great page. Thanks a lot.
mike
August 21st, 2009 at 10:36 am
Just want to say thanks very much for this great website. Exactly what I was looking for.
Free_Fall
October 1st, 2009 at 6:20 am
Wow……What a cool site. Thank a lot for these useful resources.
Moveable Guitar Chord Shapes « Synesthesiac
February 2nd, 2010 at 3:54 am
[...] http://www.synesthesiac.org/2008/11/moveable-guitar-chord-shapes/ [...]
Applying Intervals to Chords - Synesthesiac.org
August 29th, 2010 at 9:12 pm
[...] …and we can now determine the type of chord type, which in this case happens to be a Major 6th chord. If you’re looking for a reference of chord types and intervals, check this out. [...]