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Chord Dictionary

This document provides a comprehensive guide on various guitar chord shapes, including drop 2, drop 3, and inverted chords, which can be played anywhere on the guitar neck. It outlines the intervals and compound intervals used in chord construction, along with detailed descriptions of different chord types such as Major Seventh, Minor Seventh, and Dominant Seventh. The document also includes a summary of chord types with corresponding page references for further study.

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18 views

Chord Dictionary

This document provides a comprehensive guide on various guitar chord shapes, including drop 2, drop 3, and inverted chords, which can be played anywhere on the guitar neck. It outlines the intervals and compound intervals used in chord construction, along with detailed descriptions of different chord types such as Major Seventh, Minor Seventh, and Dominant Seventh. The document also includes a summary of chord types with corresponding page references for further study.

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Tony bony
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2
Introduction
This method provides drop 2, drop 3, drop 2-4, extended and inverted chord shapes. All of them are movable,
meaning that they can be played anywhere on the guitar neck.
Each chord shape is represented by a color, open strings have been voluntarily omitted to transpose chords
easily.
Notice that some chord notes have been omitted (as the fifth, the eleventh and the root) either to facilitate the
fingering or because some of them produce a strong dissonance when played together.

Triad chords are not discussed in this book, you’ll find them in another PDF available on jazz-guitar-licks.com

Circled dots represent Circled grey root notes are not Double colored dots mean
suggested notes, you are played, they will help you give a that the same note is used
free to play them or not. name to rootless chords. for two different shapes.

INTERVALS
SIMPLE /
R - root
b2 or m2 - minor second - 1 semitone from the root.
2 or M2 or ∆2 - Major second - 2 semitones from the root.
b3 or m3 - minor third - 3 semitones from the root.
3 or M3 or ∆3 - Major third - 4 semitones from the root.
4 or P4 - Perfect fourth - 5 semitones from the root.
#4 or aug4 - Augmented fourth - 6 semitones from the root.
b5 - or dim5 - Diminished fifth - 6 semitones from the root.
5 or P5 - Perfect fifth - 7 semitones from the root.
#5 or aug5 - Augmented fifth - 8 semitones from the root.
b6 or m6 - minor sixth - 8 semitones from the root.
6 or M6 or ∆6 - Major sixth - 9 semitones from the root.
b7 or m7 - minor seventh - 10 semitones from the root.
7 or M7 or ∆7 - Major seventh - 11 semitones from the root.
8 or 8va - Octave - 12 semitones from the root.

COMPOUND INTERVALS :
The most used compound intervals are the b9, 9, #9, 11, #11, b13 and 13. They are used to enrich / extand a
chord or an arpeggio.

b9 or m9 - minor ninth.
9 or Maj9 or ∆9 - Ninth.
#9, 9+ or aug9 - Augmented ninth.
10 - Tenth.
11 - Eleventh.
#11 - aug11 - Augmented eleventh.
12 - Twelfth.
b13 or min13 - Minor thirteenth.
13 - Thirteenth.

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3
ROOT POSITION CHORDS
Root position chords have the root in the bass.

INVERTED CHORDS
The tones of inverted chords are in a different order than the root positions. Inverted chords don’t have the root
note in the bass.

DROP 2 CHORDS
Drop 2 chords are seventh chords built by dropping the second highest note of a close position chord to the
bass. On the guitar there is no string skip between the chord tones.

DROP 3 CHORDS
Drop 3 chords are seventh chords built by dropping the third highest note of a close position chord to the bass.
On the guitar there is a string skip between the bass note and the lowest following note.

DROP 2-4 CHORDS


Drop 2 and 4 chords are created by dropping down an octave the second and fourth note of a seventh chord
in close position. These are not the most used but can be very useful tools for composition and arrangment.
On the guitar there is a string skip between two groups of two notes.

Theoretically drop voicings are basically applied to seventh chords. However, as it is the case in this method, it
can be interested to apply this concept to sixth and ninth chord shapes.

For more information about drop chords don’t hesitate to visit the website’s blog : jazz-guitar-licks.com

NOTES ON THE GUITAR


These two shapes with flats and sharps will help you transpose the chords in all twelve keys.

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Summary

CHORDS PAGE

Major Seventh................................................................................................. 5-6


Minor Seventh................................................................................................ 6-7
Dominant Seventh......................................................................................... 8-9
Half-diminished............................................................................................ 9 - 10
Diminished Seventh....................................................................................... 11 - 12
Minor / Major Seventh.................................................................................. 12 - 13
Augmented Seventh....................................................................................... 14 - 15
Dominant Seventh Flat Five......................................................................... 15 - 16
Dominant Seventh Suspended Fourth........................................................ 17 - 18
Dominant Seventh Suspended Second....................................................... 18 - 19
Augmented Major Seventh........................................................................... 20 - 21
Major Sixth...................................................................................................... 21 - 22
Minor Sixth..................................................................................................... 23 - 24
Major Ninth............................................................................................... 24 - 25 - 26
Minor Ninth............................................................................................... 26 - 27 - 28
Dominant Ninth....................................................................................... 28 - 29 - 30
Suspended Ninth............................................................................................ 30
Sixth Ninth...................................................................................................... 31
Minor / Major Ninth...................................................................................... 31
Half-diminished Ninth.................................................................................. 31
Major Eleventh................................................................................................ 32
Minor Eleventh............................................................................................... 32 - 33
Dominant Eleventh........................................................................................ 33
Major Thirteenth............................................................................................ 34
Minor Thirteenth............................................................................................ 34 - 35
Thirteenth........................................................................................................ 35 - 36
Suspended Thirteenth.................................................................................... 36
Minor Flat Sixth.............................................................................................. 37
Minor Seventh Sharp Five............................................................................. 37
Major Seventh Sharp Eleventh...................................................................... 37
Dominant Seventh Sharp Ninth................................................................... 38
Dominant Seventh Flat Ninth....................................................................... 38
Dominant Seventh Flat Thirteenth............................................................... 39
Dominant Seventh Flat Ninth Flat Thirteenth............................................ 39
Dominant Seventh Sharp Ninth Flat Thirteenth........................................ 40
Dominant Seventh Flat Ninth Flat Fifth...................................................... 40
Dominant Seventh Sharp Ninth Flat Fifth.................................................. 40
Dominant Thirteenth Flat Ninth.................................................................. 41
Dominant Thirteenth Sharp Ninth.............................................................. 41
Dominant Thirteenth Flat Fifth.................................................................... 41
Blank Diagrams............................................................................................... 42 - 43
PDF Methods.................................................................................................. 44

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Major Seventh
maj7, M7, ma7, ∆7
Drop 2 R (root) - 3 (major third) - 5 (fifth) - 7 (major seventh)

Drop 3

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Drop 2- 4

Minor Seventh
min7, m7, -7, mi7
Drop 2 R (root) - b3 (minor third) - 5 (fifth) - b7 (minor seventh)

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Drop 3

Drop 2- 4

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Dominant Seventh
7
Drop 2 R (root) - 3 (major third) - 5 (fifth) - b7 (minor seventh)

Drop 3

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Drop 2- 4

Half-diminished
m7b5, Ø, Ø7, -7b5
Drop 2 R (root) - b3 (minor third) - b5 (diminished fifth) - b7 (minor seventh)

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Drop 3

Drop 2- 4

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Diminished Seventh
dim7, º7
Drop 2 R (root) - b3 (minor third) - b5 (diminished fifth) - bb7 (diminished seventh)

Drop 3

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Drop 2- 4

Minor/Major Seventh
minMaj7, mM7, -M7, -∆7, -∆
Drop 2 R (root) - b3 (minor third) - 5 (fifth) - 7 (major seventh)

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Drop 3

Drop 2- 4

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Augmented Seventh
+7, aug7, 7+5, 7#5
Drop 2 R (root) - 3 (major third) - #5 (augmented fifth) - b7 (minor seventh)

Drop 3

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Drop 2- 4

Dominant Seventh Flat Five


7b5, 7dim5 (7#11)
Drop 2 R (root) - 3 (major third) - b5 (diminished fifth) - b7 (minor seventh)

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Drop 3 Can also be seen as 7#11 (omit 5)

Drop 2- 4

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Dominant Seventh Suspended Fourth
7sus4
Drop 2 R (root) - 4 (fourth) - 5 (fifth) - b7 (minor seventh)

Drop 3

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Drop 2- 4

Dominant Seventh Suspended Second


7sus2
Drop 2 R (root) - 2 (second) - 5 (fifth) - b7 (minor seventh)

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Drop 3

Drop 2- 4

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Augmented Major Seventh
+M7, augMaj7, +∆7, M7#5, M7+5, ∆+5, ∆#5
Drop 2 R (root) - 3 (major third) - #5 (augmented fifth) - 7 (major seventh)

Drop 3

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Drop 2- 4

Major Sixth
6, M6
Drop 2 R (root) - 3 (major third) - 5 (fifth) - 6 (sixth)

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Drop 3

Drop 2- 4

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Minor Sixth
m6, min6, -6
Drop 2 R (root) - b3 (minor third) - 5 (fifth) - 6 (sixth)

Drop 3

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Drop 2- 4

Major Ninth
maj9, M9, ∆9
Omit 5 R (root) - 3 (third) - 5 (fifth) - 7 (seventh) - 9 (ninth)

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Rootless (derived from drop 2 maj7 voicings)

Rootless (derived from drop 3 maj7 voicings)

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Rootless (derived from drop 2-4 maj7 voicings)

Minor Ninth
min9, m9, -9
Omit 5 R (root) - b3 (minor third) - 5 (fifth) - b7 (minor seventh) - 9 (ninth)

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Rootless (derived from drop 2 min7 voicings)

Rootless (derived from drop 3 min7 voicings)

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Rootless (derived from drop 2-4 min7 voicings)

Dominant Ninth
9
Omit 5 R (root) - 3 (third) - 5 (fifth) - b7 (minor seventh) - 9 (ninth)

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Rootless (derived from drop 2 dom7 voicings)

Rootless (derived from drop 3 dom7 voicings)

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Rootless (derived from drop 2-4 dom7 voicings)

Suspended Ninth
7sus9, 9sus

R (root) - 4 (fourth) - 5 (fifth) - b7 (minor seventh) - 9 (ninth)


Omit 5

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Sixth Ninth
6/9
R (root) - 3 (third) - 5 (fifth) - 6 (sixth) - 9 (ninth)

Minor/Major Ninth
minMaj9, mM9, -M9, -∆9

R (root) - b3 (minor third) - 5 (fifth) - 7 (major seventh) - 9 (Ninth)

Half-diminished Ninth
m9b5, Ø9, -9b5

R (root) - b3 (minor third) - b5 (diminished fifth) - b7 (minor seventh) - 9 (ninth)


The minor third and the ninth can‘t be played at the same time, that’s why the minor third is left out.

Omit 3

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Major Eleventh
maj11, M11
R (root) - 3 (third) - 5 (fifth) - 7 (major seventh) - 9 (ninth) - 11 (eleventh)
Because it is quite difficult to play the six notes of eleventh chords, some chords tones as the fifth, third and
ninth are left out. Notice that the major third (3) and the eleventh (11) create a strong dissonance, that’s why
the third is often omitted. Theoretically, eleventh chords without thirds are considered as suspended chords,
however they are often written as 11th chords.

Omit 5, omit 9

Omit 5, omit 3 (suspended)

Minor Eleventh
min11, m11, -11

R (root) - b3 (minor third) - 5 (fifth) - b7 (minor seventh) - 9 (ninth) - 11 (eleventh)


Omit 5, omit 9

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Omit 5, omit 3 (suspended )

Omit 9

Dominant Eleventh
11
R (root) - 3 (major third) - 5 (fifth) - b7 (minor seventh) - 9 (ninth) - 11 (eleventh)
Omit 5, omit 9

Omit 3, omit 5

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Major Thirteenth
maj13, M13
R (root) - 3 (third) - 5 (fifth) - 7 (major seventh) - 9 (ninth) - 11 (eleventh) - 13 (thirteenth)
Omit 5, omit 9, omit 11

Omit 5, omit 11

Minor Thirteenth
min13, m13, -13
R (root) - b3 (minor third) - 5 (fifth) - b7 (minor seventh) - 9 (ninth) - 11 (eleventh) - 13 (thirteenth)
Omit 11

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Omit 5 (omit 11)

Thirteenth
13
R (root) - 3 (major third) - 5 (fifth) - b7 (minor seventh) - 9 (ninth) - 11 (eleventh) - 13 (thirteenth)

Omit 5, omit 11

Omit 9, omit 11

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Omit 5, omit 9, omit 11 Can be seen as maj7add13

Suspended Thirteenth
7sus13, 13sus, 7sus4(add13)

R (root) - 4 (fourth) - 5 (fifth) - b7 (minor seventh) - 13 (thirteenth)


Omit 5

Omit 5, added 9

Rootless, added 9

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Minor Flat Sixth
minb6, mb6, -b6

R (root) - b3 (minor third) - 5 (fifth) - b6 (minor sixth)

Minor Seventh Sharp Five


min7#5, m7#5,

R (root) - b3 (minor third) - #5 (augmented fifth) - b7 (minor seventh)

Major Seventh Sharp Eleventh


maj7#11, M7#11,

R (root) - 3 (third) - 5 (fifth) - 7 (seventh) - #11 (augmented eleventh)


Omit 5

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Dominant Seventh Sharp Ninth
7#9
R (root) - 3 (third) - 5 (fifth) - b7 (minor seventh) - #9 (augmented ninth)
Omit 5

Dominant Seventh Flat Ninth


7b9
R (root) - 3 (third) - 5 (fifth) - b7 (minor seventh) - b9 (flat ninth)
Omit 5

Rootless Notice that rootless 7b9 chords are actually dim7 chords.

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Dominant Seventh Flat Thirteenth
7b13
R (root) - 3 (third) - 5 (fifth) - b7 (minor seventh) - b13 (flat thirteenth)
Omit 5

Dominant Seventh Flat Ninth Flat Thirteenth


7b9b13
R (root) - 3 (third) - 5 (fifth) - b7 (minor seventh) - b9 (flat ninth) - b13 (flat thirteenth)
Omit 5

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Dominant Seventh Sharp Ninth Flat Thirteenth
7#9b13
R (root) - 3 (third) - 5 (fifth) - b7 (minor seventh) - #9 (sharp ninth) - b13 (flat thirteenth)
Omit 5

Dominant Seventh Flat Ninth Flat Fifth


7b9b5

R (root) - 3 (third) - b5 (Flat Fifth) - b7 (minor seventh) - b9 (flat ninth)


Omit 5 Can be seen as 7b9#11

Dominant Seventh Sharp Ninth Flat Fifth


7#9b5
R (root) - 3 (third) - b5 (flat fifth) - b7 (minor seventh) - #9 (sharp ninth)

Can be seen as 7#9#11

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Dominant Thirteenth Flat Ninth
13b9
R (root) - 3 (third) - 5 (fifth) - b7 (minor seventh) - b9 (flat ninth) - 13 (thirteenth)
Omit 5

Dominant Thirteenth Sharp Ninth


13#9

R (root) - 3 (third) - 5 (fifth) - b7 (minor seventh) - #9 (sharp ninth) - 13 (thirteenth)


Omit 5

Dominant Thirteenth Flat Fifth


13b5

R (root) - 3 (third) - b5 (flat fifth) - b7 (minor seventh) - 13 (thirteenth)

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BLANK DIAGRAMS (Horizontal - 15 frets)

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BLANK DIAGRAMS (Vertical - 5 frets)

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Also Available on jazz-guitar-licks.com

And many more....

About The Author


Stef Ramin is the webmaster, owner, publisher and eBook’s author on jazz-guitar-licks.
com, online resource for beginner and advanced guitarists.

Passionate about jazz and blues music, he is an experienced musician, composer and
professional guitar teacher for more than 20 years.

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