Guitar Chords Pdf Free Download
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Guitar Chords Chart Pdf Free has a variety pictures that related to locate out the most recent pictures of Guitar Chords Chart Pdf Free here, and as a consequence you can get the pictures through our best guitar chords chart pdf free collection. GOSPEL GUITAR - Beginner level p. 1 INTRODUCT ION O be used for m f all of the tool s that the Lord gi ves manki nd, one of the most impor tant is music. And yes, music is a tool; it is a tool that touches the heart.
Guitar chords chart for beginners aims to share knowledge for people who eagerly want the basics of a guitar. The instruction here is simple with direct context of the basic chords for a beginner to play first before moving on to the complicated notes. Guitar Chords Note - 6+ Free PDF Documents Download Free. Guitar Bar Chords Chart. The Ultimate Guitar Chord Chart By Dirk Laukens www.guitarchordsmagic.com This free ebook contains the charts to the most-often used guitar chords. If you're serious about playing guitar, you should have a look at one of the best guitar courses available today: Learn and Master Guitar Contents p.2.
Hindi dj songs free download mp3. They have been quite helpful in increasing the reach and popularity of the concept of DJ music — quite extensively.
By Tomas Michaud
Including 5-Step Quick Learn System Pg. #1
© 2014 Tomas Michaud. All Rights Reserved.
www.TomasMichaud.com
By Tomas Michaud Hi, I'm Tomas Michaud. Welcome to my course Flamenco Guitar Chords and Progressions. You’ve made a great choice. My intention in creating this course is to give you the student a very practical workbook with fingerings for the most common chords used in the style of music I'll call Rumba Flamenco. For people outside of Spain this is the most well-known subgenre of flamenco, made famous by groups like the Gipsy Kings and guitarists like Ottmar Liebert and Jesse Cook, just to name a few. I've also included a series of common chord progressions used in this style. Learning the basic chord fingerings will be helpful, but even more important will be applying the chords to simple progressions. I've also want this be something you could use as a reference for years to come. I've yet to find a clear and simple collection of these most used chords that I could refer to with accurate names and simple fingering. If you continue to learn this style of music I believe you'll find this an invaluable resource. At the end of the chords and progression section you'll find my step-by-step process for learning . I will admit now there is just a little bit of trickery going on here. I snuck in something much more profound than just a technique to learn a few chords. I have spent years and years not only learning how to play guitar but studying and applying techniques to help people learn efficiently and effectively. This is a very real passion of mine. This step-by-step system is a glimpse into easiest way to learn any physical skill. I not only want to teach you how to play these flamenco chords, but my sincere desire is to give you an edge in learning anything you want to learn. Of course I'm hoping you will go on to play beautiful Spanish guitar. Thanks for putting your faith in me. I do my absolute best not to let you down. If you’re curious about my guitar learning journey watch this short video: How I Became Inspired to Play Spanish Guitar Pg. #2
© 2014 Tomas Michaud. All Rights Reserved.
www.TomasMichaud.com
By Tomas Michaud
Pg. #3
© 2014 Tomas Michaud. All Rights Reserved.
www.TomasMichaud.com
By Tomas Michaud
Pg. #4
© 2014 Tomas Michaud. All Rights Reserved.
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By Tomas Michaud
Pg. #5
© 2014 Tomas Michaud. All Rights Reserved.
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By Tomas Michaud
Pg. #6
© 2014 Tomas Michaud. All Rights Reserved.
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By Tomas Michaud
Pg. #7
© 2014 Tomas Michaud. All Rights Reserved.
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By Tomas Michaud
Progression #1
Progression #2
Progression #3
Progression #4
Progression #5
Pg. #8
© 2014 Tomas Michaud. All Rights Reserved.
www.TomasMichaud.com
By Tomas Michaud
5-Step Flamenco Chords Quick Learn Process Learning to play chords doesn’t have to be painful and frustrating. The key is to break down the learning process into small steps. Here’s a couple of principles to start.
START EASY - Start with the easier chords and work your way up to the more difficult chords. I’ll give you a list of the easier ones at the end of this, but in general the ones that use the pinky and have a stretch are the more difficult ones. DISSONANCE - What makes Flamenco chord progressions sound interesting and exotic is tension and release. If you are not familiar with this style you’ll find many of the chords sound strange by themselves. That’s tension, also known as dissonance. Much of the fun comes from playing the chords in the progression. It’s the movement from one chord to another that makes the cool effect. SOMETHING DIFFERENT - In some cases you’ll have to get accustomed to the sound. Like a different spice you are not accustomed to it may grow on you. At the same time you are not obligated to like everything. I’m only asking you to sit with the discomfort of something new for awhile before discarding it. In the end you decide what to keep and what doesn’t work for you.
THINK PROGRESSIONS - Movement. You’ll have to start with the individual chords to get the fingering, but you haven’t learned the chord until you can change to the next chord with some level of fluidity. Don’t wait until you can play the chord perfectly. Start practicing the progressions once you can play the chord about 70 80% accurately (your judgment is fine). You’ll find this a back and forth process. You’ll first finger the individual chords in the progression, try moving from one to another, then go back and practice the more difficult chord again, then perhaps work one just two chords for awhile, and then back to the entire progression, and so on.
ATTITUDE MATTERS - Above all be patient, keep a light attitude and try to have FUN! Pg. #9
© 2014 Tomas Michaud. All Rights Reserved.
www.TomasMichaud.com
By Tomas Michaud
THE STEPS 1. Choose An Individual Chord. Go ahead and finger it. Spend just a couple of minutes to adjust your hand and see how it sounds.
Release the chord and shake out the hand lightly. Repeat this process about 10 times. Each time adjust your hand, try to get your fingers as close to the frets as possible, and then strum the chord. Remember… we are NOT going for perfection here. You are just training the hand to get accustomed to the chord fingering.
2. Choose Another Chord, but not just any chord. Choose a chord that is
the next or previous chord in a progression. For example, if you chose Bb, then the next chord could be C9 or A(b9), you choose (see progression #4). Now repeat steps 1 through 3 with this new chord. The idea is to get a similar level of competency with this new chord as you did the first.
3. Changing Chords. Now here is where the fun begins. Finger the first chord, then change the fingering to the second chord. Now change back to the first chord. Do it again. Go slow. Each time you change to the new chord strum it once and see how the strings sound. Make a few adjustments and strum again.
Now repeat steps one through six adding another chord to the progression. At this point you’ll have a three chord progression. Again repeat steps one through six adding a fourth chord to the progression. At this point you are still strumming the chord one time, adjusting it, strumming again one time, then moving to the next court and doing the same thing. Pg. #10
© 2014 Tomas Michaud. All Rights Reserved.
www.TomasMichaud.com
By Tomas Michaud
4. Rhythm & Timing. It’s time to
ease into working on timing. To do this start from the first chord in the progression and strum four times. Then move to the second chord in the progression and strum four times. Go onto the third chord strumming four times. Then finally the last chord and strum four times. Start over.
5. Add A Beat. Do the same thing as the previous step, only now try to keep a pulse. I’m referring to your own pulse doing the best you can. You can tap your foot if you want or just feel the pulse.
Go slow… probably slower than you think you need to go, and try not to slow down when it’s time to change chords. It’s natural to slow down when it comes time to finger a new chord. Try to keep a slow enough tempo that you can just get to the next chord without slowing down. This is often the more difficult step. Do the same thing as the previous step adding the beat of a metronome. Go slow but force yourself to change to the next chord in time. When you can do this final step you can say that you know how to play these chords. The next thing to do is to speed up the metronome little by little to improve your ability to change between chords smoothly and easily. Going on from here you would add a strum to the progression. That would be covered in another lesson.
Pg. #11
© 2014 Tomas Michaud. All Rights Reserved.
www.TomasMichaud.com
By Tomas Michaud
A Quick Word About Naming Chords I spent a bit of time naming these chords. It's not easy. Many of these chords are just not standard fingering and there's no obvious name for them. Traditional flamenco guitar players are often no help either as most of them could care less what to call the chord.
After researching the web, asking several excellent guitarists and using my knowledge of chord naming principles I've done the best I could to give them accurate names. Don't get hung up on the names. You'll find some guitarist that will call them different names.. and the could very well be correct. Bonus Video Here’s a video lesson that you’ll enjoy: Changing Common Chords Into Beautiful Spanish Guitar http://www.tomasmichaud.com/changing-common-chords-beautiful-spanishguitar/
About The Author I’m Tomas Michaud, an American born guitarist and music educator with a French Canadian heritage. I first developed my Starland Guitar System in 1982 when my 9 year old daughter asked me to teach her guitar. Since then I’ve been having a great time helping thousands of students experience the joy of making music, either myself or through my trained instructors. When I’m not making guitar instruction videos I’m creating my own beautiful music and currently have seven CDs of Contemporary Instrumental Guitar Music including, my latest top ten charting “Beauty and Fire”. Pg. #12
© 2014 Tomas Michaud. All Rights Reserved.
www.TomasMichaud.com
Including 5-Step Quick Learn System Pg. #1
© 2014 Tomas Michaud. All Rights Reserved.
www.TomasMichaud.com
By Tomas Michaud Hi, I'm Tomas Michaud. Welcome to my course Flamenco Guitar Chords and Progressions. You’ve made a great choice. My intention in creating this course is to give you the student a very practical workbook with fingerings for the most common chords used in the style of music I'll call Rumba Flamenco. For people outside of Spain this is the most well-known subgenre of flamenco, made famous by groups like the Gipsy Kings and guitarists like Ottmar Liebert and Jesse Cook, just to name a few. I've also included a series of common chord progressions used in this style. Learning the basic chord fingerings will be helpful, but even more important will be applying the chords to simple progressions. I've also want this be something you could use as a reference for years to come. I've yet to find a clear and simple collection of these most used chords that I could refer to with accurate names and simple fingering. If you continue to learn this style of music I believe you'll find this an invaluable resource. At the end of the chords and progression section you'll find my step-by-step process for learning . I will admit now there is just a little bit of trickery going on here. I snuck in something much more profound than just a technique to learn a few chords. I have spent years and years not only learning how to play guitar but studying and applying techniques to help people learn efficiently and effectively. This is a very real passion of mine. This step-by-step system is a glimpse into easiest way to learn any physical skill. I not only want to teach you how to play these flamenco chords, but my sincere desire is to give you an edge in learning anything you want to learn. Of course I'm hoping you will go on to play beautiful Spanish guitar. Thanks for putting your faith in me. I do my absolute best not to let you down. If you’re curious about my guitar learning journey watch this short video: How I Became Inspired to Play Spanish Guitar Pg. #2
© 2014 Tomas Michaud. All Rights Reserved.
www.TomasMichaud.com
By Tomas Michaud
Pg. #3
© 2014 Tomas Michaud. All Rights Reserved.
www.TomasMichaud.com
By Tomas Michaud
Pg. #4
© 2014 Tomas Michaud. All Rights Reserved.
www.TomasMichaud.com
By Tomas Michaud
Pg. #5
© 2014 Tomas Michaud. All Rights Reserved.
www.TomasMichaud.com
By Tomas Michaud
Pg. #6
© 2014 Tomas Michaud. All Rights Reserved.
www.TomasMichaud.com
By Tomas Michaud
Pg. #7
© 2014 Tomas Michaud. All Rights Reserved.
www.TomasMichaud.com
By Tomas Michaud
Progression #1
Progression #2
Progression #3
Progression #4
Progression #5
Pg. #8
© 2014 Tomas Michaud. All Rights Reserved.
www.TomasMichaud.com
By Tomas Michaud
5-Step Flamenco Chords Quick Learn Process Learning to play chords doesn’t have to be painful and frustrating. The key is to break down the learning process into small steps. Here’s a couple of principles to start.
START EASY - Start with the easier chords and work your way up to the more difficult chords. I’ll give you a list of the easier ones at the end of this, but in general the ones that use the pinky and have a stretch are the more difficult ones. DISSONANCE - What makes Flamenco chord progressions sound interesting and exotic is tension and release. If you are not familiar with this style you’ll find many of the chords sound strange by themselves. That’s tension, also known as dissonance. Much of the fun comes from playing the chords in the progression. It’s the movement from one chord to another that makes the cool effect. SOMETHING DIFFERENT - In some cases you’ll have to get accustomed to the sound. Like a different spice you are not accustomed to it may grow on you. At the same time you are not obligated to like everything. I’m only asking you to sit with the discomfort of something new for awhile before discarding it. In the end you decide what to keep and what doesn’t work for you.
THINK PROGRESSIONS - Movement. You’ll have to start with the individual chords to get the fingering, but you haven’t learned the chord until you can change to the next chord with some level of fluidity. Don’t wait until you can play the chord perfectly. Start practicing the progressions once you can play the chord about 70 80% accurately (your judgment is fine). You’ll find this a back and forth process. You’ll first finger the individual chords in the progression, try moving from one to another, then go back and practice the more difficult chord again, then perhaps work one just two chords for awhile, and then back to the entire progression, and so on.
ATTITUDE MATTERS - Above all be patient, keep a light attitude and try to have FUN! Pg. #9
© 2014 Tomas Michaud. All Rights Reserved.
www.TomasMichaud.com
By Tomas Michaud
THE STEPS 1. Choose An Individual Chord. Go ahead and finger it. Spend just a couple of minutes to adjust your hand and see how it sounds.
Release the chord and shake out the hand lightly. Repeat this process about 10 times. Each time adjust your hand, try to get your fingers as close to the frets as possible, and then strum the chord. Remember… we are NOT going for perfection here. You are just training the hand to get accustomed to the chord fingering.
2. Choose Another Chord, but not just any chord. Choose a chord that is
the next or previous chord in a progression. For example, if you chose Bb, then the next chord could be C9 or A(b9), you choose (see progression #4). Now repeat steps 1 through 3 with this new chord. The idea is to get a similar level of competency with this new chord as you did the first.
3. Changing Chords. Now here is where the fun begins. Finger the first chord, then change the fingering to the second chord. Now change back to the first chord. Do it again. Go slow. Each time you change to the new chord strum it once and see how the strings sound. Make a few adjustments and strum again.
Now repeat steps one through six adding another chord to the progression. At this point you’ll have a three chord progression. Again repeat steps one through six adding a fourth chord to the progression. At this point you are still strumming the chord one time, adjusting it, strumming again one time, then moving to the next court and doing the same thing. Pg. #10
© 2014 Tomas Michaud. All Rights Reserved.
www.TomasMichaud.com
By Tomas Michaud
4. Rhythm & Timing. It’s time to
ease into working on timing. To do this start from the first chord in the progression and strum four times. Then move to the second chord in the progression and strum four times. Go onto the third chord strumming four times. Then finally the last chord and strum four times. Start over.
5. Add A Beat. Do the same thing as the previous step, only now try to keep a pulse. I’m referring to your own pulse doing the best you can. You can tap your foot if you want or just feel the pulse.
Go slow… probably slower than you think you need to go, and try not to slow down when it’s time to change chords. It’s natural to slow down when it comes time to finger a new chord. Try to keep a slow enough tempo that you can just get to the next chord without slowing down. This is often the more difficult step. Do the same thing as the previous step adding the beat of a metronome. Go slow but force yourself to change to the next chord in time. When you can do this final step you can say that you know how to play these chords. The next thing to do is to speed up the metronome little by little to improve your ability to change between chords smoothly and easily. Going on from here you would add a strum to the progression. That would be covered in another lesson.
Pg. #11
© 2014 Tomas Michaud. All Rights Reserved.
www.TomasMichaud.com
By Tomas Michaud
A Quick Word About Naming Chords I spent a bit of time naming these chords. It's not easy. Many of these chords are just not standard fingering and there's no obvious name for them. Traditional flamenco guitar players are often no help either as most of them could care less what to call the chord.
After researching the web, asking several excellent guitarists and using my knowledge of chord naming principles I've done the best I could to give them accurate names. Don't get hung up on the names. You'll find some guitarist that will call them different names.. and the could very well be correct. Bonus Video Here’s a video lesson that you’ll enjoy: Changing Common Chords Into Beautiful Spanish Guitar http://www.tomasmichaud.com/changing-common-chords-beautiful-spanishguitar/
About The Author I’m Tomas Michaud, an American born guitarist and music educator with a French Canadian heritage. I first developed my Starland Guitar System in 1982 when my 9 year old daughter asked me to teach her guitar. Since then I’ve been having a great time helping thousands of students experience the joy of making music, either myself or through my trained instructors. When I’m not making guitar instruction videos I’m creating my own beautiful music and currently have seven CDs of Contemporary Instrumental Guitar Music including, my latest top ten charting “Beauty and Fire”. Pg. #12
© 2014 Tomas Michaud. All Rights Reserved.
www.TomasMichaud.com
Bass Guitar Chords Pdf Free Download
GUITAR CHORD CHART
Abdim/E.
Ab7.
Ab7
Ab6.
Ab6.
Ab5.
Ab4
8
Abdim/E..
Abdim/Eb.
Abdim/F.
Abdim/F.
Aaug/G.
Adim
Adim/F.
Adim/G.
Adim/Gb.
Adim7.
Asus
3
Asus.
Abdim/E.
Abdim
Asus..
Asus..
Asus2
Asus2.
Asus2..
Asus2..
Asus2...
Asus2/C.
Asus2/C.
Asus2/D.
Asus2/D.
Asus2/Db.
Asus2/Db. 6
Asus2/Eb.
Asus2/G.
Asus2/Gb.
Asus2/Gb. 2
Asus4
Asus4/Ab.
Asus4/B.
Asus4/Db.
Asus4/Db.
Asus4/F.
Asus4/G.
Asus4/G.
Am.
Am..
Am/F.
Am/F..
Am/G..
Am/Gb.
5
4
4
Adim/F.
Adim/E.
Adim/Ab.
Ab11 4
4
8
Aaug/D.
6
3
Ab/Gb.
Ab/Gb.
Ab/F.
Ab/F.
Ab/A.
Ab+
Ab 4
Aadd9.
Aadd9.
A9sus
A9
A7sus4..
The .'s and ,'s after the chord name means that the chord is a duplicate or alternate formation.
Abdim/F..
Asus2/Ab.
Abdim7.
Abdim7.
5
Abdim7..
Abm/E..
A/B.
Asus4/G..
Asus4/Gb.
Am
Asus4/Gb.
Am(7#)
Am(add9) 5
A/F#
A/G#
Am/B.
A/G.
Am/B.
Am/D.
A/Gb...
A/Gb...
Am/F..
A11
Am/D.
Am/Eb.
Am/F.
Am/G.
Am/G.
Am/G..
5
5
A/Gb..
A/Gb..
A/Gb.
A/G..
A/B.
9
5
A/G.
A/D...
A/D...
A/D..
A/D
5
A/Ab.
6
5
4
5
2
Asus4/C.
Asus4/C.
4
A...
A..
A.
A+
Asus4/Bb.
Abmin
Abmaj7
4
4
A
Asus2/G. 4
Abmaj
Abm7.
Abm7
Abm/Gb..
4
Ab#5.
Asus2/F.
Abm/E.
Abm/D.
4
4
Abm/E.
Abm
Absus4
Absus2/F.
Absus.
Absus
Am/F...
Am/G
5
A13
A5.
A5.
A4
A6..
A6...
A6
A6.
A6..
A6/7sus.
A7
A7(#5).
A7(9+)
A6/7sus.
A6/7.
A7.
Am6
Am6.
Am7..
Am7/add11. 5
Am7sus4
Am#7
A#
5
3
A7+
Am/Gb.
Am6.
Am7
Am7(b5).
Am7.
Am7.
Am9
Amadd9
Amaj
Amaj7
Amin
A#+
A#4
A#5.
A#5.
5
5
5
A5..
A7.
A7..
A7/add11.
A7sus4
A7sus4.
A7sus4..
Amin/maj9. 5
5
A#7 3
A#dim
A#sus
A#sus4
A#m
A#m7
A#maj
A#maj7
A#min
Bdim/A.
Bdim/A..
Bdim/Ab.
Bbb5.
Bb
Bb+
Bb.
Bb..
Bb/A.
Bb/Ab.
Bb/Ab.
Bdim7.
Bdim7.
Bdim7..
Bdim/Ab..
Bdim/G.
Bdim/G.
Bdim/G..
Bsus.
Bsus.
Bsus2.
Bsus2.
Bsus4/A.
Bsus4/Ab.
Bsus4/Ab.
Bsus4/Db.
Bsus4/Eb.
Bdim/Ab.
Bsus 7
2
Bb6.
Bb7.
Bb7
Bb6/add9.
Bb7sus4.
Bb7.
2
2
Bb9
Bbadd#11.
Bsus4/Eb.
Bsus4/G.
Bsus4/G.
Bsus4/G..
Bm
Bm(maj7)
Bm(sus9)
Bm.
Bm/A..
Bm/A..
Bm/A...
Bm/G.
Bm/G.
Bm7
Bm7(b5).
Bm7(b5).
Bm7(b5)..
Bm7.
Bmaj
Bmaj7
Cb5.
C
6
3
3
Bsus4/A.
Bsus4
Bsus2/E.
Bb6
6
6
3
Bb5.
Bb4
Bb11
Bb/G.
Bb/G.
Bb/E.
Bb/Db. 6
Bbaug/E.
Bbdim
Bbdim/C.
Bbdim/D.
Bbdim/G.
Bbdim/G.
Bbdim/Gb.
Bbdim/Gb.
Bm..
Bm/A.
Bm/A.
Bbdim7.
Bbdim7.
Bbsus
Bbsus2.
Bbsus2/G. 3
Bbsus4
Bbsus4/Ab.
Bbm
Bm/G..
Bm/G..
Bm6
Bbm/Gb.
Bbm/D.
Bbm/Ab.
Bbm.
Bbm7
Bbmaj9.
Bbm9
Bbmaj
Bbmaj7
Bm7.
Bm7..
Bm7..
Bm7...
Bm7/add11.
Bm7b5
B(addE)
B+
B.
Bmaj7/#11.
Bmin
Bmsus9
Bmmaj7
B#5.
B#5.
6
6
Bbmaj7.
2
Bb#5.
Bbmin
B
4
3
B/A.
B/A.
B/A..
B/A..
B/Ab.
B/E.
B11/13
B7+
B7(#9)
B5.
B6.
B7
B7+5
B9
2
7
BaddE
C/B
B7.
B7..
B7/add11.
B7/add11.
BaddE/F#
Baug/E.
Baug/E.
Bdim
Bdim/A.
C/D,,
C/D,
B7sus4.
C/D.
C11
C4
C/D.
C/D..
C/D..
C/D...
C5.
C6
C6.
C6.
5
10
C/F.
3
3
C/D,,,
C/Bb.
C/B..
C/B.
5
3
B7sus4.
3
C/A..
C/A..
C/A.
C/A.
B7#9
2
2
7
B4
B13
C...
C...
C..
3
2
B11
C..
C.
C+
C(addD)
C(add9)
B/F#
B/E.
C/F. 3
3
Cadd2/B
Cdim/D.
Dbaug/D.
Dbaug/G.
Dbdim
Dbdim/A.
Dbdim/A.
Cadd9,,,,
Cadd9.
Cadd9.
Dbdim/Bb.
Dbdim/D.
Dbdim/D.
Dbdim7.
Dbdim7.
Cdim/Ab.
Cdim/Ab. 4
Dbsus4/Bb.
Csus2.
Dbm7(b5).
Csus2.
Csus4/D.
Cm11
Cmaj7
Cmaj
Cm7
Cm6.
Cmin
C#add9
C#min
Dbb5.
Db.
Db/Bb.
D6/add9.
C#maj7
C#maj
C#m7
4
4
Db6.
D7sus4
Db...
Db..
Db.
D/B...
D/E
D/E.
D/E.
D/E..
D/G.
D/G.
D11
D6
D6.
D6.
D6..
D7(#9)
D7.
D7..
D7sus2
7
2
D7#9
D7
D6/add9.
Db7
D9add6 10
Dadd9
D9(add6)
D9.
5
Dadd9,,,
Dadd9,,
Dadd9, 2
7
D9..
D9.
10
10
Db7.
5
4
D9(#5).
D9
D7sus4.
4
4
Db5.
Db/C.
Db/C.
D/B..
3
D5/E
D5.
D5.
D4
C#7(b5)
C#7
C#5.
4
Db/B.
D/B..
7
2
4
Db+
Db
D/B.
D/G
D/E....
D/E...
D/E...
D/E..
Cmaj9.
Cmaj7..
Cmaj7.
4
4
4
D/Db.
D/C.
D/C#
5
C#m
C#sus4
D..
7
4
C#sus
C#dim
C#4
C#+
4
D.
2
D/C
Cm/Bb.
D/B.
D/B
D/A
D... 5
3
C#(add9)
C#
3
Csus4/Bb. 3
3
3
3
D.
D+
D(add9)
D
Db#5.
Db#5.
Csus2/E.
Cm/A.
3
3
7
Cm.
Cm
Csus9
Csus4/E.
Csus4/E.
Dbmin
4
2
Csus4/B.
Csus4/A.
Csus4/A.
Csus4
Csus2/F.
Csus2/E..
Dbmaj7.
Dbmaj7.
Dbmaj7
10
3
Csus2/E.
Dbm7
4
Csus2/E,,,
Csus2/E,,
Csus2/E,
Csus2/B.
Csus2/B.
Csus2/A.
3
Dbm/B.
Dbm/B. 4
Dbmaj
Dbm7.
Dbm7.
4
4
4
4
Dbsus4
Dbsus2.
Dbsus
Dbm/A.
Dbm..
Dbm.
Dbm
3
2
Csus2..
Dbdim/Bb.
Dbdim/B.
Dbdim/A..
4
Csus2
Csus.
Csus.
Csus
Cdim7.
C9(b5).
Cdim/A.
Cdim
CaddD
Cadd9...
Cadd9..
C9(11)
5
10
3
Cadd9..
Cadd9,,,
Cadd9,,
Cadd9,
Cadd9
C9 8
3
3
5
C7sus4.
C7.
C7
C6/add9.
C6.. 5
Dadd9.
Dadd9.
Dadd9..
Dadd9..
Daug/E.
Ddim
Ddim/B.
Ddim/B.
Ddim/C.
Ddim7.
Ddim7.
Ddim7..
Dsus
Ddim/B..
Ddim/Bb.
Ddim/Bb.
Dm/B
Dm/C
Dm/C#
Dsus.
Dsus.
Dsus..
Dmin
Dm#5
Dm#7
Dsus2.
Dsus2.
Dsus2,
D#sus
Dsus2/B.
Dsus2/B.
Dsus2/Ab.
Dsus2..
Dm7
Dm9
Dmaj
Dmaj7
D#
D#+
D#4
D#7
D#dim
D#maj
D#maj7
D#min
3
3
Dsus2
Dm6(5b)
D#m
D#sus4
D#m7
Dsus2/C.
Dsus2/C.
Dsus2/Bb.
5
Dsus2/G.
Dsus2/G.
Dsus2/G,,
Dsus2/Db, 9
Dsus2/Db.
Dsus2/G..
Dsus2/Gb,
Dsus2/Gb.
Eb/Db.
Dsus2/Gb.
Dsus4/C.
Dsus4/B.
Dsus4/B.
Dsus4/E.
Dsus4/E.
Dsus4/E,
Dsus4/E..
Eb/E.
Eb/Db..
Eb/Db.
Eb6.
Eb7
Eb7.
6
3
Eb5.
Eb4
3
6
3
Eb/D.
Eb/C.
Eb..
Eb. 3
6
Dsus4
Eb.
Eb+
3
6
Dsus2/Gb,,
Eb(add9)
Dsus2/G,
Dsus2/F.
Dsus2/Db.
Eb 3
3
5
Eb7.
Eb7..
Ebadd9
Ebaug/E.
Ebaug/E.
Ebdim
Ebdim/B.
Ebdim/B.
Ebsus4/F.
Ebm
Ebmaj7.
Ebmin
E/A.
E/D.
E/Eb.
E/Eb..
6
Dsus4/Gb. 3
Dsus4/Gb.
Dm/B.
Dm/B.
Dm(#5)
Dm
Dm.
Dm(#7)
Dm/A
Dm/B
Ebdim/B..
Ebdim/C.
Ebdim7.
Ebsus
Ebsus2/Ab.
Ebsus4
Dm/C.
Dm/C.
Ebm.
Ebm/Db.
Ebm7
Ebm7.
Ebmaj
Ebmaj7
7
Dm/Bb.
Dm/B..
Dm/C#
Dm/C
6
5
Dm6(5b)
Dm/E.
Dm/Db.
Dm/C..
Dm7
Dm6.
Dm6.
Eb#5.
Dm7(b5).
E
Eb#5.
Dm7..
Dm7.
4
Dm9
Dm7/add11.
Dmin/maj7.
Dmaj7.
Dmaj7
Dmaj
E/D.
Dmin
E/D..
E/D..
Dm#5
D#
Dm#7
D#4
D#+
4
4
D#5.
E/Gb.
D#7
E/Gb..
E/Gb.
E11
D#sus
D#sus4
E5
E11/b9.
D#m
D#maj
D#m7 3
D#maj7
E6
D#min 9
E6.
E6. 4
E7
E7#9
E5.
E5. 7
7
3
D#dim
E/Eb.
E/Db.
E/Db.
14
5
5
E.
E.
E+
6
5
E7(#9)
E7(11)
E7(5b)
E7(b9)
E7.
E7.
E7..
E7..
E7/add11.
E7/b9(b5).
E7b9
Em7.
Em7..
Em7..
Em7...
Em7/D
E7sus4.
E9
E9.
E9.
Eadd9.
Eadd9.
Eadd9..
Edim
Em9..
Emadd9
Emaj
Emaj7
Emaj7.
Em7/add11.
Em9.
Em9.
Emaj7.
Emaj7..
Emaj9.
4
Edim/C.
Edim7.
Edim7.
Esus
Emaj9.
Emin
Emin/maj7.
Emin/maj9. 4
Emsus4
E#5.
F
F(add9)
Esus2.
Esus2.
Esus2/A.
F+
F+7+11
F.
F.
F..
F..
F/A
F/C
Esus2/Eb.
Esus2/G.
Esus2/G.
F/D
F/D.
F/D.
F/D..
F/E.
F/E.
F/E..
F/E..
F/Eb.
F/G
F/G.
F/G.
F11
F4
F6.
F6.
F6..
F6/add9.
F7
F7.
Edim/Eb.
Edim/Db.
Edim/Db.
Edim/D.
3
3
Esus,
Esus..
Esus.
Esus.
Esus,,
7
Esus2/A.
Esus2/Eb.
Esus2/Db.
Esus2/Ab.
Esus2/Ab.
5
5
2
Esus2/G..
F/E...
Esus4/Db.
Esus4/D.
Esus4/D.
Esus4/C.
Esus4/C.
Esus4/Ab.
Esus4
F/Eb. 3
5
Esus4/Db. 6
Esus4/Eb.
Em
Em(add9)
Esus4/G.
Esus4/G.
Esus4/F.
Esus4/Gb.
Em..
Em/A.
Em.
Em.
Em(sus4)
Esus4/G.. 4
Em/A..
Em/C..
Em/C.
Em/C.
Em/B
Em/D,.,
Em/D,.
5
F7.
F7/A
F9
Fadd9
Fadd9.
Fadd9.
FaddG
Faug/D.
Em/D,,
Faug/G.
Fdim
Fdim/D.
Fdim/D.
Fdim/D..
Fdim/Db.
Fdim7.
Fdim7.
Fsus2/A.
Fsus2/A.
Fsus2/B.
Fsus4/G.
Fm
Fm.
Fm/Eb.
Fm6
Fm6.
3
Em/D,
Em/D
7
12
3
Em/D,,,
F6 5
Em/A.
2
4
F5.
Esus4/Gb. 2
Em/D,.
Em/D.
Em/D.
Em/D..
Em/Db.
Fdim7..
Fsus
Fsus.
Fsus2.
Fsus2.
Em/Gb.
Em/Gb.
Em/Gb..
Em6
Em6.
Fsus2/Bb. 3
Fsus2/D.
Fsus2/E.
Fsus2/E.
Fsus4
Fm.
Fm/D.
10
Em/Eb.
Em7
Em/Gb,
Em/Eb.
Em7,,
Em7,
Em7(b5). 12
7
Em7,,,
Em7,,,,,
Em7,,,, 10
Em7.
3
Fm/Eb.
Fm/Db.
Fm/Db. 4
8
Fm7.
Fm7.
Fm7
Fmaj
Fmaj7
Fmaj7(+5)
Fmaj7,
Fmaj7..
Fmaj7.
Fmaj7.
Fmaj7/#11.
Fmaj7/A
Fmaj7/C
Fmaj9.
G..
Fmin
G.
G.
G..
G/A.
G/B
G/C.
G/C.
G/E,,,,
G/E.
G/E.
G/E..
G/F.
G/F..
G/Gb.
G/Gb.
G5.
G5.
G6
G6(sus4)
G6,.,.
G6.
G6.
G6..
G6sus4
G7
10
7
3
3
G,,,
G,,
G,
G+
G(add9)
Fmaj7,,
8
G...
G/A
G/A.
G/E,
G/E,,
G/E,,,
3
F#+
F#
Fmmaj7
F#/E
F#11
F#4
F#5.
G/D
F#5.
F#dim
F#9
F#7
F#sus
F#sus4
F#m
F#m/C#m
G/E..
F#m6
10
7
4
G/E...
G/F#
G/F.
G/Gb..
G11
G4
12
F#maj
F#m7-5
F#m7
F#maj7
F#min
Gb
Gb+
G/Gb..
Gb.
3
2
Gb.
Gb/Ab.
Gb..
Gb/E.
Gb/E.
Gb/Eb.
Gb/F.
Gb7.
Gb7(#5).
Gb7.
Gb7/#9.
Gb7sus4.
Gb9
Gbadd9.
G6,,,,
G6,,,
10
7
12
Gb7
G6,,
G6,
Gb6.
G6/add9.
G6..
G6/add9.
G6/add9..
Gbaug/E.
Gbdim
Gbdim/D, 5
Gbdim/D.
Gbdim/D.
Gbdim/E.
Gbdim/E.
Gbdim/Eb.
G7(b9)
G7(sus4)
G7+
Gbdim7.
Gbsus
Gbsus.
Gbsus2/Bb.
Gbsus4
Gbsus4/E.
Gbm
Gbm.
G7sus4
G7sus4.
G9
G7.
G7.
G7..
G9(11)
G9.
G9.
3
Gbm/D.
Gbm/D.
Gbm/E,
Gbm/E,,
Gbm/E.
Gbm/E.
Gadd9.
Gaug/E.
Gaug/E.
Gdim
Gdim/E.
Gbm7(b5).
Gbm7(b5).
Gbm7,
Gbm7.
Gbm7.,
Gbm7.
Gdim/Eb..
Gdim7.
Gdim7.
Gsus
Gsus.
Gbm..
G7/add11.
G7b9
Gadd9
Gadd9.
Gdim/Eb.
Gdim/Eb. 6
Gsus..
Gsus2,
3
3
Gbm.
Gdim/E.
14
Gbm/E..
Gbm7
Gsus. 3
3
Gbm7..
Gbm7/b9.
Gbmaj
Gbmaj7
Gbmaj7.
Gbmin
Gb#5.
G
Gsus2.
Gsus2,, 3
Gsus2.
G7(#9)
G7#9 3
Gsus2/B.
Gsus2/B.
Gsus2/C.
Gsus2/E,,
Gsus2/E, 3
Gsus2/E.
Gsus2/E.
Gsus2/Gb. 3
Gsus4/B.
Gsus4/B.
Gsus4/A.
Gsus4
Gsus2/Gb.
_aug
Gsus4/E,.
Gsus4/E,,
Gsus4/E,
3
Gm7.
3
Gmaj7.
Gmaj7.
2
G#4
G#+
G#
Gmin
G#5.
G#5.
G#7
G#m7
G#m9(maj7)
G#m9maj7
G#m6
G#m
G#sus4
G#maj 4
4
4
G#min
G#maj7
G#dim
4
4
G#sus
Gmaj9
Gmaj7sus4
2
3
Gm9.
Gm7/add11.
3
Gmaj7,,
Gmaj7,
Gmaj7
Gm7.
Gm7 3
Gmaj
3
6
Gm6.
Gm6
Gm13.
Gm/F.
Gm/F.
Gm/Eb.
Gm/E.
4
3
3
10
Gm/Bb
Gm.
Gm.
Gm
Gsus4/F.
Gsus4/E.
Gsus4/E.,
Gsus4/E.
Gsus4/E,. 5
4
Chords in the key of:Ab or G# A Bb or A#
Ab Bbm Cm Db A Bm Dbm D Bb Cm Dm Eb
Eb E F
Fm Gdim Gbm Abdim Gm Adim
B C Db or C#
B Dbm Ebm E C Dm Em F Db Ebm Fm Gb
Gb G Ab
Abm Bbdim Am Bdim Bbm Cdim
D Eb or D# E F Gb or F#
D Eb E F Gb
Em Fm Gbm Gm Abm
Gbm Gm Abm Am Bbm
G Ab A Bb B
A Bb B C Db
Bm Cm Dbm Dm Ebm
Dbdim Ddim Ebdim Edim Fdim
G
G
Am
Bm
C
D
Em
Gbdim
=
_#5
(Augmented triad)
_(no 3rd) =
_5
(Root and 5th - Power chord)
_6/7sus4
=
_6/7sus
(Sus4 triad plus 6th, minor 7th)
_dom7
=
_7
(Major triad, minor 7th)
_7/add11
=
_7/11
(Minor triad, minor 7th, plus 11th)
_2
=
_add9
(Major triad, plus 9th)
_sus
=
_sus4
(No 3rd but a 4th from a major triad)
_#7
=
_maj7
(Major triad, major 7th)
_sus2
=
_add9(no 3rd) (No 3rd but a 2th from a major triad)
_6/9
=
_6/add9
(Major triad plus 6th and 9th)
_9(#7)
=
_maj9
(Major triad, major 9th plus 7th)
_o7
=
_m7(b5)
(Diminished triad, minor 7th : half-diminshed 7
_dom9
=
_9
(Major triad, minor 7th plus 9th)
Abdim/E.
Ab7.
Ab7
Ab6.
Ab6.
Ab5.
Ab4
8
Abdim/E..
Abdim/Eb.
Abdim/F.
Abdim/F.
Aaug/G.
Adim
Adim/F.
Adim/G.
Adim/Gb.
Adim7.
Asus
3
Asus.
Abdim/E.
Abdim
Asus..
Asus..
Asus2
Asus2.
Asus2..
Asus2..
Asus2...
Asus2/C.
Asus2/C.
Asus2/D.
Asus2/D.
Asus2/Db.
Asus2/Db. 6
Asus2/Eb.
Asus2/G.
Asus2/Gb.
Asus2/Gb. 2
Asus4
Asus4/Ab.
Asus4/B.
Asus4/Db.
Asus4/Db.
Asus4/F.
Asus4/G.
Asus4/G.
Am.
Am..
Am/F.
Am/F..
Am/G..
Am/Gb.
5
4
4
Adim/F.
Adim/E.
Adim/Ab.
Ab11 4
4
8
Aaug/D.
6
3
Ab/Gb.
Ab/Gb.
Ab/F.
Ab/F.
Ab/A.
Ab+
Ab 4
Aadd9.
Aadd9.
A9sus
A9
A7sus4..
The .'s and ,'s after the chord name means that the chord is a duplicate or alternate formation.
Abdim/F..
Asus2/Ab.
Abdim7.
Abdim7.
5
Abdim7..
Abm/E..
A/B.
Asus4/G..
Asus4/Gb.
Am
Asus4/Gb.
Am(7#)
Am(add9) 5
A/F#
A/G#
Am/B.
A/G.
Am/B.
Am/D.
A/Gb...
A/Gb...
Am/F..
A11
Am/D.
Am/Eb.
Am/F.
Am/G.
Am/G.
Am/G..
5
5
A/Gb..
A/Gb..
A/Gb.
A/G..
A/B.
9
5
A/G.
A/D...
A/D...
A/D..
A/D
5
A/Ab.
6
5
4
5
2
Asus4/C.
Asus4/C.
4
A...
A..
A.
A+
Asus4/Bb.
Abmin
Abmaj7
4
4
A
Asus2/G. 4
Abmaj
Abm7.
Abm7
Abm/Gb..
4
Ab#5.
Asus2/F.
Abm/E.
Abm/D.
4
4
Abm/E.
Abm
Absus4
Absus2/F.
Absus.
Absus
Am/F...
Am/G
5
A13
A5.
A5.
A4
A6..
A6...
A6
A6.
A6..
A6/7sus.
A7
A7(#5).
A7(9+)
A6/7sus.
A6/7.
A7.
Am6
Am6.
Am7..
Am7/add11. 5
Am7sus4
Am#7
A#
5
3
A7+
Am/Gb.
Am6.
Am7
Am7(b5).
Am7.
Am7.
Am9
Amadd9
Amaj
Amaj7
Amin
A#+
A#4
A#5.
A#5.
5
5
5
A5..
A7.
A7..
A7/add11.
A7sus4
A7sus4.
A7sus4..
Amin/maj9. 5
5
A#7 3
A#dim
A#sus
A#sus4
A#m
A#m7
A#maj
A#maj7
A#min
Bdim/A.
Bdim/A..
Bdim/Ab.
Bbb5.
Bb
Bb+
Bb.
Bb..
Bb/A.
Bb/Ab.
Bb/Ab.
Bdim7.
Bdim7.
Bdim7..
Bdim/Ab..
Bdim/G.
Bdim/G.
Bdim/G..
Bsus.
Bsus.
Bsus2.
Bsus2.
Bsus4/A.
Bsus4/Ab.
Bsus4/Ab.
Bsus4/Db.
Bsus4/Eb.
Bdim/Ab.
Bsus 7
2
Bb6.
Bb7.
Bb7
Bb6/add9.
Bb7sus4.
Bb7.
2
2
Bb9
Bbadd#11.
Bsus4/Eb.
Bsus4/G.
Bsus4/G.
Bsus4/G..
Bm
Bm(maj7)
Bm(sus9)
Bm.
Bm/A..
Bm/A..
Bm/A...
Bm/G.
Bm/G.
Bm7
Bm7(b5).
Bm7(b5).
Bm7(b5)..
Bm7.
Bmaj
Bmaj7
Cb5.
C
6
3
3
Bsus4/A.
Bsus4
Bsus2/E.
Bb6
6
6
3
Bb5.
Bb4
Bb11
Bb/G.
Bb/G.
Bb/E.
Bb/Db. 6
Bbaug/E.
Bbdim
Bbdim/C.
Bbdim/D.
Bbdim/G.
Bbdim/G.
Bbdim/Gb.
Bbdim/Gb.
Bm..
Bm/A.
Bm/A.
Bbdim7.
Bbdim7.
Bbsus
Bbsus2.
Bbsus2/G. 3
Bbsus4
Bbsus4/Ab.
Bbm
Bm/G..
Bm/G..
Bm6
Bbm/Gb.
Bbm/D.
Bbm/Ab.
Bbm.
Bbm7
Bbmaj9.
Bbm9
Bbmaj
Bbmaj7
Bm7.
Bm7..
Bm7..
Bm7...
Bm7/add11.
Bm7b5
B(addE)
B+
B.
Bmaj7/#11.
Bmin
Bmsus9
Bmmaj7
B#5.
B#5.
6
6
Bbmaj7.
2
Bb#5.
Bbmin
B
4
3
B/A.
B/A.
B/A..
B/A..
B/Ab.
B/E.
B11/13
B7+
B7(#9)
B5.
B6.
B7
B7+5
B9
2
7
BaddE
C/B
B7.
B7..
B7/add11.
B7/add11.
BaddE/F#
Baug/E.
Baug/E.
Bdim
Bdim/A.
C/D,,
C/D,
B7sus4.
C/D.
C11
C4
C/D.
C/D..
C/D..
C/D...
C5.
C6
C6.
C6.
5
10
C/F.
3
3
C/D,,,
C/Bb.
C/B..
C/B.
5
3
B7sus4.
3
C/A..
C/A..
C/A.
C/A.
B7#9
2
2
7
B4
B13
C...
C...
C..
3
2
B11
C..
C.
C+
C(addD)
C(add9)
B/F#
B/E.
C/F. 3
3
Cadd2/B
Cdim/D.
Dbaug/D.
Dbaug/G.
Dbdim
Dbdim/A.
Dbdim/A.
Cadd9,,,,
Cadd9.
Cadd9.
Dbdim/Bb.
Dbdim/D.
Dbdim/D.
Dbdim7.
Dbdim7.
Cdim/Ab.
Cdim/Ab. 4
Dbsus4/Bb.
Csus2.
Dbm7(b5).
Csus2.
Csus4/D.
Cm11
Cmaj7
Cmaj
Cm7
Cm6.
Cmin
C#add9
C#min
Dbb5.
Db.
Db/Bb.
D6/add9.
C#maj7
C#maj
C#m7
4
4
Db6.
D7sus4
Db...
Db..
Db.
D/B...
D/E
D/E.
D/E.
D/E..
D/G.
D/G.
D11
D6
D6.
D6.
D6..
D7(#9)
D7.
D7..
D7sus2
7
2
D7#9
D7
D6/add9.
Db7
D9add6 10
Dadd9
D9(add6)
D9.
5
Dadd9,,,
Dadd9,,
Dadd9, 2
7
D9..
D9.
10
10
Db7.
5
4
D9(#5).
D9
D7sus4.
4
4
Db5.
Db/C.
Db/C.
D/B..
3
D5/E
D5.
D5.
D4
C#7(b5)
C#7
C#5.
4
Db/B.
D/B..
7
2
4
Db+
Db
D/B.
D/G
D/E....
D/E...
D/E...
D/E..
Cmaj9.
Cmaj7..
Cmaj7.
4
4
4
D/Db.
D/C.
D/C#
5
C#m
C#sus4
D..
7
4
C#sus
C#dim
C#4
C#+
4
D.
2
D/C
Cm/Bb.
D/B.
D/B
D/A
D... 5
3
C#(add9)
C#
3
Csus4/Bb. 3
3
3
3
D.
D+
D(add9)
D
Db#5.
Db#5.
Csus2/E.
Cm/A.
3
3
7
Cm.
Cm
Csus9
Csus4/E.
Csus4/E.
Dbmin
4
2
Csus4/B.
Csus4/A.
Csus4/A.
Csus4
Csus2/F.
Csus2/E..
Dbmaj7.
Dbmaj7.
Dbmaj7
10
3
Csus2/E.
Dbm7
4
Csus2/E,,,
Csus2/E,,
Csus2/E,
Csus2/B.
Csus2/B.
Csus2/A.
3
Dbm/B.
Dbm/B. 4
Dbmaj
Dbm7.
Dbm7.
4
4
4
4
Dbsus4
Dbsus2.
Dbsus
Dbm/A.
Dbm..
Dbm.
Dbm
3
2
Csus2..
Dbdim/Bb.
Dbdim/B.
Dbdim/A..
4
Csus2
Csus.
Csus.
Csus
Cdim7.
C9(b5).
Cdim/A.
Cdim
CaddD
Cadd9...
Cadd9..
C9(11)
5
10
3
Cadd9..
Cadd9,,,
Cadd9,,
Cadd9,
Cadd9
C9 8
3
3
5
C7sus4.
C7.
C7
C6/add9.
C6.. 5
Dadd9.
Dadd9.
Dadd9..
Dadd9..
Daug/E.
Ddim
Ddim/B.
Ddim/B.
Ddim/C.
Ddim7.
Ddim7.
Ddim7..
Dsus
Ddim/B..
Ddim/Bb.
Ddim/Bb.
Dm/B
Dm/C
Dm/C#
Dsus.
Dsus.
Dsus..
Dmin
Dm#5
Dm#7
Dsus2.
Dsus2.
Dsus2,
D#sus
Dsus2/B.
Dsus2/B.
Dsus2/Ab.
Dsus2..
Dm7
Dm9
Dmaj
Dmaj7
D#
D#+
D#4
D#7
D#dim
D#maj
D#maj7
D#min
3
3
Dsus2
Dm6(5b)
D#m
D#sus4
D#m7
Dsus2/C.
Dsus2/C.
Dsus2/Bb.
5
Dsus2/G.
Dsus2/G.
Dsus2/G,,
Dsus2/Db, 9
Dsus2/Db.
Dsus2/G..
Dsus2/Gb,
Dsus2/Gb.
Eb/Db.
Dsus2/Gb.
Dsus4/C.
Dsus4/B.
Dsus4/B.
Dsus4/E.
Dsus4/E.
Dsus4/E,
Dsus4/E..
Eb/E.
Eb/Db..
Eb/Db.
Eb6.
Eb7
Eb7.
6
3
Eb5.
Eb4
3
6
3
Eb/D.
Eb/C.
Eb..
Eb. 3
6
Dsus4
Eb.
Eb+
3
6
Dsus2/Gb,,
Eb(add9)
Dsus2/G,
Dsus2/F.
Dsus2/Db.
Eb 3
3
5
Eb7.
Eb7..
Ebadd9
Ebaug/E.
Ebaug/E.
Ebdim
Ebdim/B.
Ebdim/B.
Ebsus4/F.
Ebm
Ebmaj7.
Ebmin
E/A.
E/D.
E/Eb.
E/Eb..
6
Dsus4/Gb. 3
Dsus4/Gb.
Dm/B.
Dm/B.
Dm(#5)
Dm
Dm.
Dm(#7)
Dm/A
Dm/B
Ebdim/B..
Ebdim/C.
Ebdim7.
Ebsus
Ebsus2/Ab.
Ebsus4
Dm/C.
Dm/C.
Ebm.
Ebm/Db.
Ebm7
Ebm7.
Ebmaj
Ebmaj7
7
Dm/Bb.
Dm/B..
Dm/C#
Dm/C
6
5
Dm6(5b)
Dm/E.
Dm/Db.
Dm/C..
Dm7
Dm6.
Dm6.
Eb#5.
Dm7(b5).
E
Eb#5.
Dm7..
Dm7.
4
Dm9
Dm7/add11.
Dmin/maj7.
Dmaj7.
Dmaj7
Dmaj
E/D.
Dmin
E/D..
E/D..
Dm#5
D#
Dm#7
D#4
D#+
4
4
D#5.
E/Gb.
D#7
E/Gb..
E/Gb.
E11
D#sus
D#sus4
E5
E11/b9.
D#m
D#maj
D#m7 3
D#maj7
E6
D#min 9
E6.
E6. 4
E7
E7#9
E5.
E5. 7
7
3
D#dim
E/Eb.
E/Db.
E/Db.
14
5
5
E.
E.
E+
6
5
E7(#9)
E7(11)
E7(5b)
E7(b9)
E7.
E7.
E7..
E7..
E7/add11.
E7/b9(b5).
E7b9
Em7.
Em7..
Em7..
Em7...
Em7/D
E7sus4.
E9
E9.
E9.
Eadd9.
Eadd9.
Eadd9..
Edim
Em9..
Emadd9
Emaj
Emaj7
Emaj7.
Em7/add11.
Em9.
Em9.
Emaj7.
Emaj7..
Emaj9.
4
Edim/C.
Edim7.
Edim7.
Esus
Emaj9.
Emin
Emin/maj7.
Emin/maj9. 4
Emsus4
E#5.
F
F(add9)
Esus2.
Esus2.
Esus2/A.
F+
F+7+11
F.
F.
F..
F..
F/A
F/C
Esus2/Eb.
Esus2/G.
Esus2/G.
F/D
F/D.
F/D.
F/D..
F/E.
F/E.
F/E..
F/E..
F/Eb.
F/G
F/G.
F/G.
F11
F4
F6.
F6.
F6..
F6/add9.
F7
F7.
Edim/Eb.
Edim/Db.
Edim/Db.
Edim/D.
3
3
Esus,
Esus..
Esus.
Esus.
Esus,,
7
Esus2/A.
Esus2/Eb.
Esus2/Db.
Esus2/Ab.
Esus2/Ab.
5
5
2
Esus2/G..
F/E...
Esus4/Db.
Esus4/D.
Esus4/D.
Esus4/C.
Esus4/C.
Esus4/Ab.
Esus4
F/Eb. 3
5
Esus4/Db. 6
Esus4/Eb.
Em
Em(add9)
Esus4/G.
Esus4/G.
Esus4/F.
Esus4/Gb.
Em..
Em/A.
Em.
Em.
Em(sus4)
Esus4/G.. 4
Em/A..
Em/C..
Em/C.
Em/C.
Em/B
Em/D,.,
Em/D,.
5
F7.
F7/A
F9
Fadd9
Fadd9.
Fadd9.
FaddG
Faug/D.
Em/D,,
Faug/G.
Fdim
Fdim/D.
Fdim/D.
Fdim/D..
Fdim/Db.
Fdim7.
Fdim7.
Fsus2/A.
Fsus2/A.
Fsus2/B.
Fsus4/G.
Fm
Fm.
Fm/Eb.
Fm6
Fm6.
3
Em/D,
Em/D
7
12
3
Em/D,,,
F6 5
Em/A.
2
4
F5.
Esus4/Gb. 2
Em/D,.
Em/D.
Em/D.
Em/D..
Em/Db.
Fdim7..
Fsus
Fsus.
Fsus2.
Fsus2.
Em/Gb.
Em/Gb.
Em/Gb..
Em6
Em6.
Fsus2/Bb. 3
Fsus2/D.
Fsus2/E.
Fsus2/E.
Fsus4
Fm.
Fm/D.
10
Em/Eb.
Em7
Em/Gb,
Em/Eb.
Em7,,
Em7,
Em7(b5). 12
7
Em7,,,
Em7,,,,,
Em7,,,, 10
Em7.
3
Fm/Eb.
Fm/Db.
Fm/Db. 4
8
Fm7.
Fm7.
Fm7
Fmaj
Fmaj7
Fmaj7(+5)
Fmaj7,
Fmaj7..
Fmaj7.
Fmaj7.
Fmaj7/#11.
Fmaj7/A
Fmaj7/C
Fmaj9.
G..
Fmin
G.
G.
G..
G/A.
G/B
G/C.
G/C.
G/E,,,,
G/E.
G/E.
G/E..
G/F.
G/F..
G/Gb.
G/Gb.
G5.
G5.
G6
G6(sus4)
G6,.,.
G6.
G6.
G6..
G6sus4
G7
10
7
3
3
G,,,
G,,
G,
G+
G(add9)
Fmaj7,,
8
G...
G/A
G/A.
G/E,
G/E,,
G/E,,,
3
F#+
F#
Fmmaj7
F#/E
F#11
F#4
F#5.
G/D
F#5.
F#dim
F#9
F#7
F#sus
F#sus4
F#m
F#m/C#m
G/E..
F#m6
10
7
4
G/E...
G/F#
G/F.
G/Gb..
G11
G4
12
F#maj
F#m7-5
F#m7
F#maj7
F#min
Gb
Gb+
G/Gb..
Gb.
3
2
Gb.
Gb/Ab.
Gb..
Gb/E.
Gb/E.
Gb/Eb.
Gb/F.
Gb7.
Gb7(#5).
Gb7.
Gb7/#9.
Gb7sus4.
Gb9
Gbadd9.
G6,,,,
G6,,,
10
7
12
Gb7
G6,,
G6,
Gb6.
G6/add9.
G6..
G6/add9.
G6/add9..
Gbaug/E.
Gbdim
Gbdim/D, 5
Gbdim/D.
Gbdim/D.
Gbdim/E.
Gbdim/E.
Gbdim/Eb.
G7(b9)
G7(sus4)
G7+
Gbdim7.
Gbsus
Gbsus.
Gbsus2/Bb.
Gbsus4
Gbsus4/E.
Gbm
Gbm.
G7sus4
G7sus4.
G9
G7.
G7.
G7..
G9(11)
G9.
G9.
3
Gbm/D.
Gbm/D.
Gbm/E,
Gbm/E,,
Gbm/E.
Gbm/E.
Gadd9.
Gaug/E.
Gaug/E.
Gdim
Gdim/E.
Gbm7(b5).
Gbm7(b5).
Gbm7,
Gbm7.
Gbm7.,
Gbm7.
Gdim/Eb..
Gdim7.
Gdim7.
Gsus
Gsus.
Gbm..
G7/add11.
G7b9
Gadd9
Gadd9.
Gdim/Eb.
Gdim/Eb. 6
Gsus..
Gsus2,
3
3
Gbm.
Gdim/E.
14
Gbm/E..
Gbm7
Gsus. 3
3
Gbm7..
Gbm7/b9.
Gbmaj
Gbmaj7
Gbmaj7.
Gbmin
Gb#5.
G
Gsus2.
Gsus2,, 3
Gsus2.
G7(#9)
G7#9 3
Gsus2/B.
Gsus2/B.
Gsus2/C.
Gsus2/E,,
Gsus2/E, 3
Gsus2/E.
Gsus2/E.
Gsus2/Gb. 3
Gsus4/B.
Gsus4/B.
Gsus4/A.
Gsus4
Gsus2/Gb.
_aug
Gsus4/E,.
Gsus4/E,,
Gsus4/E,
3
Gm7.
3
Gmaj7.
Gmaj7.
2
G#4
G#+
G#
Gmin
G#5.
G#5.
G#7
G#m7
G#m9(maj7)
G#m9maj7
G#m6
G#m
G#sus4
G#maj 4
4
4
G#min
G#maj7
G#dim
4
4
G#sus
Gmaj9
Gmaj7sus4
2
3
Gm9.
Gm7/add11.
3
Gmaj7,,
Gmaj7,
Gmaj7
Gm7.
Gm7 3
Gmaj
3
6
Gm6.
Gm6
Gm13.
Gm/F.
Gm/F.
Gm/Eb.
Gm/E.
4
3
3
10
Gm/Bb
Gm.
Gm.
Gm
Gsus4/F.
Gsus4/E.
Gsus4/E.,
Gsus4/E.
Gsus4/E,. 5
4
Chords in the key of:Ab or G# A Bb or A#
Ab Bbm Cm Db A Bm Dbm D Bb Cm Dm Eb
Eb E F
Fm Gdim Gbm Abdim Gm Adim
B C Db or C#
B Dbm Ebm E C Dm Em F Db Ebm Fm Gb
Gb G Ab
Abm Bbdim Am Bdim Bbm Cdim
D Eb or D# E F Gb or F#
D Eb E F Gb
Em Fm Gbm Gm Abm
Gbm Gm Abm Am Bbm
G Ab A Bb B
A Bb B C Db
Bm Cm Dbm Dm Ebm
Dbdim Ddim Ebdim Edim Fdim
G
G
Am
Bm
C
D
Em
Gbdim
=
_#5
(Augmented triad)
_(no 3rd) =
_5
(Root and 5th - Power chord)
_6/7sus4
=
_6/7sus
(Sus4 triad plus 6th, minor 7th)
_dom7
=
_7
(Major triad, minor 7th)
_7/add11
=
_7/11
(Minor triad, minor 7th, plus 11th)
_2
=
_add9
(Major triad, plus 9th)
_sus
=
_sus4
(No 3rd but a 4th from a major triad)
_#7
=
_maj7
(Major triad, major 7th)
_sus2
=
_add9(no 3rd) (No 3rd but a 2th from a major triad)
_6/9
=
_6/add9
(Major triad plus 6th and 9th)
_9(#7)
=
_maj9
(Major triad, major 9th plus 7th)
_o7
=
_m7(b5)
(Diminished triad, minor 7th : half-diminshed 7
_dom9
=
_9
(Major triad, minor 7th plus 9th)