==== CHORD FORMULAE & GUITAR FINGERBOARD INTERVAL CHART ==== ===== ======== = ====== =========== ======== ===== --TOSS those Chord Dictionaries! Through a knowledgable use of the following chart & chord formulae, ANY CHORD can be generated! --- ---- ----- I. ::::THE FULL CHART:::: --- ---- ----- e a d g b e [string names] ^ ^ ^ ^ ^ ^ ["moveable" fingerboard, depending +--+--+--+--+--+ upon the chord root or "1"--so 1 4 b7 b3 5 1 no NUT shown . . .] +--+--+--+--+--+ b2 b5 7 3 #5 b2 +--+--+--+--+--+ Interval Equivalencies (for chord 2 5 1 4 6 2 formation, using formulae) +--+--+--+--+--+ ---------------- b3 #5 b2 b5 b7 b3 (1 = 8) +--+--+--+--+--+ b2 = b9 3 6 2 5 7 3 2 = 9 +--+--+--+--+--+ b3 = #9 4 b7 b2 #5 1 4 4 = 11 +--+--+--+--+--+ b5 = +4, +11 b5 7 3 6 b2 b5 #5 = b6, b13 +--+--+--+--+--+ 6 = 13 (bb7) 5 1 4 b7 2 5 +--+--+--+--+--+ #5 b2 b5 7 b3 #5 +--+--+--+--+--+ 6 2 5 1 3 6 +--+--+--+--+--+ b7 b3 #5 b2 4 b7 +--+--+--+--+--+ 7 3 6 2 b5 7 +--+--+--+--+--+ 1 4 b7 b3 5 1 [--the chart starts +--+--+--+--+--+ to repeat itself here--] b2 b5 7 3 #5 b2 +--+--+--+--+--+ 2 5 1 4 6 2 +--+--+--+--+--+ b3 #5 b2 b5 b7 b3 +--+--+--+--+--+ 3 6 2 5 7 3 +--+--+--+--+--+ v v v v v v ------ --------- II. ::::OCTAVE DIVISIONS:::: ------ --------- --The fingerboard can be conveniently divided into 5 (overlapping) octave "regions," as indicated by the side brackets. (Only the roots or 1's are shown, in < >'s.) Keeping these positions in mind is useful for both chord & scale formation. . . . ^ ^ ^ ^ ^ ^ +--+--+--+--+--+ { <1> | | | | <1> +--+--+--+--+--+ I { | | | | | | +--+--+--+--+--+ { | | <1> | | | } + + + + + + | | | | | | } II +--+--+--+--+--+ | | | | | | } +--+--+--+--+--+ III { | | | | <1> | } +--+--+--+--+--+ { | | | | | | +--+--+--+--+--+ { | <1> | | | | } +--+--+--+--+--+ | | | | | | } IV +--+--+--+--+--+ { | | | <1> | | } +--+--+--+--+--+ V { | | | | | | +--+--+--+--+--+ { | | | | | | +--+--+--+--+--+ { <1> | | | | <1> +--+--+--+--+--+ v v v v v v ----- --- ----- --- ----- --------- III. ::::USING THE CHART FOR CHORD FORMATION:::: ----- --- ----- --- ----- --------- --Now, to apply the chart for chords, simply find the desired chord formula below (Part IV), and find its interval numbers on adjacent strings of the fingerboard. For instance, the Major triad's formula is 1-3-5; let's put only the 1's, 3's, and 5's on the chart, and come up with some possible chord fingerings (voicings): ^ ^ ^ ^ ^ ^ --Some possible voicings-- +--+--+--+--+--+ ---- -------- -------- <1> | | | <5><1> +--+--+--+--+--+ Here we could form a | | | <3> | | 1 5 1 3 5 1 or a +--+--+--+--+--+ - 5 1 3 5 - or a | <5><1> | | | - - 1 3 5 1 or a...(etc.) + + + + + + | | | | | | And here's a +--+--+--+--+--+ 3 - 1 5 1 - <3> | | <5> | <3> +--+--+--+--+--+ Here, how about a | | | | <1> | - - 3 5 1 3 or a +--+--+--+--+--+ - 1 3 5 1 - or even a | | <3> | | | 3 1 3 5 1 3 or a...(etc.) +--+--+--+--+--+ <5><1> | | | <5> Here can be found a +--+--+--+--+--+ - 1 5 1 3 - or a | | | | | | 5 1 5 1 3 5 or simply a +--+--+--+--+--+ - - - 1 3 5 or a...(etc.) | | <5><1><3> | +--+--+--+--+--+ | | | | | | Here we could play a +--+--+--+--+--+ - 3 5 1 3 - or a | <3> | | | | - 3 5 1 5 1 or a +--+--+--+--+--+ 1 3 5 1 - - or a <1> | | | <5><1> - - 5 1 3 1 or a... +--+--+--+--+--+ | | | <3> | | +--+--+--+--+--+ ETC.!--note that, with all | <5><1> | | | this info, you can choose +--+--+--+--+--+ which tone (1, 3, or 5) to use | | | | | | as the lowest voice ("bass") +--+--+--+--+--+ and/or highest voice ("melody") <3> | | <5> | <3> +--+--+--+--+--+ v v v v v v ----- -------- IV. ::::CHORD FORMULAE:::: ----- -------- --a "CHORD" is defined as having at least THREE different tones; but first, the octave and two-tone intervals . . . A. OCTAVE & INTERVALS Octave: 1-8 (or 1-1va) P5th: 1-5 --perfect fifth (interval) (aka "chord with no 3rd") P4th: 1-4 --perfect fourth M3rd: 1-3 --major third m6th: 1-b6 --minor sixth m3rd: 1-b3 --minor third M6th: 1-6 --major sixth M2nd: 1-2 --major second m7th: 1-b7 --minor seventh m2nd: 1-b2 --minor second M7th: 1-7 --major seventh dim5th: 1-b5 --diminished fifth (tritone) aug4th: 1-#4 --augmented fourth (=diminished fifth) B. CHORDS _per_se_ 1. -=> MAJOR TYPE <=- --characterized by presence of major third (1-3) M: 1-3-5 --major (triad) M/9: 1-3-5-9 --major add nine (chord) M7: 1-3-5-7 --major seventh M6: 1-3-5-6 --major sixth M7b5: 1-3-b5-7 --major seven(th) flatted fifth M7+: 1-3-#5-7 --major seven(th) augmented M6b5: 1-3-b5-6 --major six(th) flatted fifth M9: 1-3-5-7-9 --major ninth M6/9: 1-3-5-6-9 --major six-nine M9b5: 1-3-b5-7-9 --major ninth flatted fifth M6/9b5: 1-3-b5-6-9 --major six-nine flatted fifth M13: 1-3-5-7-9-13 --major thirteenth M7/6 = M13(no 9th) M9+11: 1-3-5-7-9-+11 --major ninth augmented eleventh M7+11 = M9+11(no 9th) M/9+11 = M9+11(no 7th) M6/9+11: 1-3-5-6-9-+11 --major six-nine augmented eleventh M6+11 = M6/9+11(no 9th) 2. -=> MINOR TYPE <=- --characterized by presence of minor third (1-b3) m: 1-b3-5 --minor (triad) m/9: 1-b3-5-9 --major add nine (chord) m7: 1-b3-5-b7 --minor seventh m6: 1-b3-5-6 --minor sixth m(M7): 1-b3-5-7 --minor major seven (minor natural seventh) m7b5: 1-b3-b5-b7 --minor seven(th) flatted fifth (half-diminished [seventh]) m9: 1-b3-5-b7-9 --minor ninth m(M9): 1-b3-5-7-9 --minor major ninth m6/9: 1-b3-5-6-9 --minor six-nine m7/11: 1-b3-5-b7-11 --minor seven-eleven m11: 1-b3-5-b7-9-11 --minor eleventh m13: 1-b3-5-b7-9-13 --minor thirteenth m7/6 = m13(no 9th) 3. -=> DOMINANT TYPE <=- --characterized by presence of major third and minor seventh (1-3-b7) 7: 1-3-5-b7 --(dominant) seventh 7b5: 1-3-b5-b7 --seven(th) flatted fifth +7, 7+: 1-3-#5-b7 --augmented seventh (seven[th] augmented [fifth]) 9: 1-3-5-b7-9 --(dominant) ninth 7b9: 1-3-5-b7-b9 --seven(th) flatted ninth 7#9: 1-3-5-b7-#9 --seven(th) sharped ninth (seven[th] raised ninth) 9b5: 1-3-b5-b7-9 --ninth flatted fifth +9, 9+: 1-3-#5-b7-9 --augmented ninth (ninth augmented) 7b9b5: 1-3-b5-b7-b9 --seven(th) flatted ninth flatted fifth 7#9b5: 1-3-b5-b7-#9 --seven(th) sharped ninth flatted fifth +7b9: 1-3-#5-b7-b9 --augmented seven(th) flatted ninth +7#9: 1-3-#5-b7-#9 --augmented seven(th) sharped ninth 7/6 1-3-5-b7-13 --seven-six 7/11 1-3-5-b7-11 --seven-eleven 13: 1-3-5-b7-9-13 --(dominant) thirteenth 11: 1-3-5-b7-9-11 --(dominant) eleventh 7/6/11: 1-3-5-b7-11-13 --seven-six-eleven +11: 1-3-5-b7-9-+11 --augmented eleventh 7+11 = +11(no 9th) 11b9: 1-3-5-b7-b9-11 --eleven(th) flatted ninth 13b9: 1-3-5-b7-b9-13 --thirteen(th) flatted ninth 13#9: 1-3-5-b7-#9-13 --thirteen(th) sharped ninth 13b5: 1-3-b5-b7-9-13 --thirteen(th) flatted fifth 7/6b5 = 13b5(no 9th) 13/11: 1-3-5-b7-9-11-13 --thirteen-eleven 13+11: 1-3-5-b7-9-+11-13 --thirteen(th) augmented eleventh 7/6+11 = 13+11(no 9th) 13/11b9: 1-3-5-b7-b9-11-13 --thirteen-eleven flatted ninth 4. -=> SUSPENDED TYPE <=- --characterized by a fourth or second "taking the place of" a major or minor third (1-4 or 1-2) sus4: 1-4-5 --suspended fourth ("sus" fourth) sus2: 1-2-5 --suspended second 7sus4: 1-4-5-b7 --seven(th) suspended fourth 9sus4: 1-4-5-b7-9 --ninth suspended fourth /9sus4 = 9sus4(no b7th) 13sus4: 1-4-5-b7-9-13 --thirteenth suspended fourth 7/6sus4 = 13sus4(no 9th) 5. -=> AUGMENTED TYPE <=- +: 1-3-#5 --augmented (triad) 6. -=> DIMINISHED TYPE <=- o: 1-b3-b5 --diminished (triad) o7: 1-b3-b5-bb7(=6) --diminished (seventh) o7susb13:1-b3-bb7-b13 --diminished seventh suspended flatted thirteenth ----NOTES---- ------------- ** There is little standardization regarding how the chord names are written (+7 or 7+, etc.) or especially how they are PRONOUNCED: is it is "major seven flatted five" or "major seventh flatted fifth"? (I've stopped losing sleep over it!) . . . . ** I list some of these chords reluctantly because, although they show up in sheet music now & then, they are usually better thought of as a different chord name. For instance, the M6b5 is the same as an inverted m6 or m7b5 (i.e., CM6b5 = Am6 = F#m7b5). Such related chord types are called "homonyms"--thus the M6 and m7 chords are homonyms, since CM6 = Am7. I'll mention now that rarely seen chord names with much better known homonyms aren't even listed in the table above. For instance, the occasionally seen "m7+" (1-b3-#5-b7) is more easily considered a M/9 chord (e.g., Em7+ = CM/9) and has little independent status as a valid chord name. . . . ** Other rarer chord names are listed & indented UNDER a related, better-known chord (e.g., m7/6 under m13), since they are usually thought of as an incomplete form of the related chord. . . . ** In the five-, six-, and seven-tone chords (hell, we only got six strings, right!?), "non-essential" tones are often omitted: so keep the "higher" intervals, such as the ninths, eleventh, and thirteenths--especially if they are altered ("sharped," "flatted," or "augmented")-- but feel free to omit the fifth (if not a b5 or #5), the third, and/or even the root, if necessary, for easier fingering. . . . ** The dominant chord family, especially, has virtually un- limited possibilities for extension & alteration (e.g., 13b9b5, 13/11b9b5, etc.), many of which turn out to be the same as inversions of chord formulae given above and/or contain so many tones as to be impractical for the guitar. Again, when confronted with such mind- (and finger-) bending names, go for the essential tones. . . . ======== ======== --The info presented here is based on my unfinished tome, _FUNKY_&_MELLOW:_A_Compendium_of_Chords_for_the_Guitar:_ _incorporating_a_systematic_presentation_of_tonal_ _relationships_and_their_application_ (whew!!!!) [--first draft: 1/8/96--] ======== | --:--tcg )