|Major (M): 1-3-5|
|Minor (m): 1-b3-5|
|Dominant 7th (7): 1-3-5-b7|
|Suspended 2nd (sus2): 1-2-5|
|Suspended 4th (sus4): 1-4-5|
|Augmented (+): 1-3-#5|
|Diminished (o): 1-b3-b5|
EARLY WARNING--This is not a traditional "chord dictionary" per se .
While sample voicings for each chord are provided, the main purpose of these charts
is to facilitate the guitarist's generation of his/her own desired voicings.
Through such self-generation, harmonic knowledge will be greatly increased.
Long-term efforts with this approach will eventually allow you to play any chord
desired, for any genre of music, without further reference to these charts--AND
you'll be able to place any tone of that chord in the bass and/or uppermost voice
("melody") at will--no small step in developing a professional style.
However, a knowledge of where the note names can be found on the guitar fingerboard is required. (For example, to play the M7 formula -15735 as a CM7, you need to know that the C or 1 can be found on the THIRD fret of the A string.)
Important Note: In contrast to standard Classical theory & usage, Roman numerals used to designate Most Common Uses, Bitonal Equivalencies, and Important Homonym Relationships are always relative to the diatonic major scale (even if a minor scale tonality is more likely implied), with upper-case numerals representing major- and dominant-type chords, lower-case numerals indicating minor- and diminished-type chords, and _underlined_ lower-case numerals indicating a chord with no third (a suspended chord or a chord that could be either a major or minor type if the appropriate third were added). In the key of C (or Cm!), then, I=C, i=Cm, bII=Db, ii7=Dm7, bIII7=Eb7, _iv_sus4=Fsus4, etc.
(Note: Only the more important chord relationships are given, or this section would deserve its own "page"!)
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