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Chord Construction GuideChord Construction GuideChord Construction GuideChord Construction Guide
Special Songs Included with Chords
• Empower Me• My Life is in your Hands• When Answers Aren’t Enough• In the Name of the Lord• His Strength Is Perfect• Seekers of Your Heart• Shepherd of My Heart• Stubborn Love
Make your own guitar chords to accompany singers in the church.
• Stubborn Love• Via Dolorosa• More Than You’ll Ever Know• The Mission• Broken and Spilled Out• Beyond the Open Door• Make Me A Servant• God Will Make A Way
‘Special Song’ Guitar Accompaniment made Easy
Table of Content
Preface
I. 1. Introduction and Acknowledgment
II. 1. Fret Board Chart Orientation
2. Chord Chart Orientation
3. The Notes of the Open Guitar Strings
4. The Notes of the Guitar Fret Board
5. Minimum Movement Principle
6. Music Notation of Notes and the Guitar Fretboard
III. 1. Basic Chord Construction
I. Constructing Chord C
II. Constructing Chord B
2. Chord Construction Table
I. Constructing Chord DmI. Constructing Chord Dm
IV. 1. Song Example 1: “Make Me a Servant”
I. Constructing Chord C/G
II. Constructing Chord G/D
III. Constructing Chord A9/C#
IV. Constructing Chord Cm6
2. Song Example 2: “God Will Make a Way”
I. Constructing Chord D2/F#
II. Constructing Chord CM7/D
III. Constructing Chord G/F
IV. Constructing Chord Eb/Bb
V 1. Special Songs with Special Chords
Appendix A: Chord Charts
Appendix B: General Forms of Chords
Appendix C: Technical Paper on How Guitar Frets are Designed
Appendix D: One Point Lesson in Guitar Chord Construction
2
I. 1. Introduction
A book on constructing pleasing chords for accompanying church special songs is what I
have been needing for many years. Most guitar enthusiasts resign from playing when faced
with chord names such as “Am7(b5)/G”, “C2(#4)”, “Bb9(13)” or just plain Cadd2 or G(no3).
For most songs, this chords can be simplified to their ‘generic’ forms or similar chords e.g.
“Am7(b5)/G” to “Am7” and most of the time it is acceptable, but what i want you to experience
is the harmony and subtle contribution of these seemingly complicated chords to your singing
and listening experience.
The purpose of this book is to improve your skill in accompanying a singer using your guitar.
If a singer asks me for guitar accompaniment to his song, what I do is find the music sheet of
that song with chords in it. The chords printed on the music sheets are applicable to piano
and guitar players. But the problem is – some chords are exotic to most guitar players. For
example, the song chord requires you to use a chord that is named “Ab(4,2)”. That is most
likely not found in the guitar chord chart anywhere. So you decide to just use Ab neglecting
the (4,2) part, and that is fine, but you may lose the subtle harmony brought by the (4,2)
notes. You can use truncated chords just to get by, but it will not improve your playing if you
do not learn how to decode these alien chord names and get the most of the harmony of the
chord progression in the song. That is the aim of this book, to get you constructing your own
chords based on its name alone.
There is no prerequisite knowledge for this course other than your interest to learn making
your own guitar chords. This book is for the guitarist who have music sheets of songs heyour own guitar chords. This book is for the guitarist who have music sheets of songs he
needs to play to accompany a singer but does not know how to construct the chords printed
with it.
I also include as bonus items – a free chord construction and guitar chords database
computer programs. You can directly download the computer programs from the download
section of my website www.benjie.potograpi.com.
Get that guitar and start singing. God bless.
3
Acknowledgment
My greatest gratitude goes to our God Almighty for the gift of Life and talent to share. Special
thanks to my guitar teacher - my Dad Ruben, and to my ever loving and caring mother –
Virginia “virgie” to whom this book is lovingly dedicated, and to my supportive and beautiful
singing sisters Benjie Lyn (which all the songs and chords in this book are made for) and
Grace, my brother in law David and my cute niece Caitlyn Nicole Hornales Hemphill.
Special thanks to my friends and singers whom I have given guitar accompaniment in the
past ten years or more.
Benjie Hornales 7:09 PM 061509 Villa Del Rio, Babag II, Lapu-lapu, Cebu, Philippines 6015
II. 1. Fret Board Chart Orientation and Notes
EB
G
D
A
E
E
B
F G A B C D E
A
EB
GD
C D E F G
F G A B C
A B C D E F
AC D E F G
F G A B C D
0 121 3 5 7 8 10
6
5
1
2
3
4Strings
Frets
It is required to know or familiarize/memorize the notes of the guitar fretboard. Figure 1
shows the notes on the guitar fret board but not showing the sharps and flats of each note.
The note in between two notes can be either a flat or sharp.
The orientation of the fret board diagram is such that you are looking down at the guitar
resting flat on your lap.
The first string or string 1 is the thinnest string and its note when plucked as open string is E.
You will notice that there is one fret in between two consecutive notes except E-F and B-C.
If you move one fret to the next adjacent fret, that is called a half step movement (in the
major scale). E and F have only half step interval. When you move to the right from E to the
next fret, you get F and not E#. The same with notes B and C.
All the other notes have 1 full step interval between them; equivalent to 2 frets movement in
the guitar fret board or having 1 fret in between them. F and G have 1 full step interval or you
move 2 frets upward to the next note G. the note in between them can technically be called
either Gb or F#.
Head stock
Fret Board
Body
Hole
Figure 1. Guitar and fretboard chart
4
EB
G
D
A
E
E
B
F G A B C D E
A
EB
GD
C D E F G
F G A B C
A B C D E F
AC D E F G
F G A B C D
0 121 3 5 7 8 10
6
5
1
2
3
4Strings
Frets
The two diagrams below show the same guitar fingerboard showing the notes of all the 12
frets of the guitar. The first diagram shows the notes of the guitar fingerboard in a more
intuitive form showing 6 strings and the notes on top of the strings at different frets. And
shows only the natural notes with no accidental notes (or sharps/flats)
While the second diagram Figure 3 shows the notes of the fretboard in table rows and
columns with natural and accidental notes or shows the complete notes of the 12 frets of the
guitar fingerboard.
These two diagrams are used throughout the book interchangeably whichever diagram is
appropriate.
II. 1.1 Guitar Fret Board and Table of Notes
E F G A B C D E6
Figure 2. Guitar Fretboard showing the natural notes.
Figure 3. Complete guitar notes shown in rows and column corresponding to strings and frets.
5
II. 2. Chord Chart Orientation
Chord charts are oriented such that you are looking at your guitar head stock upwards and
the guitar is facing you.
Left hand fingering:
1 = index
2 = middle
3 = ring
4 = pinky
X = dead string
0 = open string
Figure 4. Guitar Chord Chart Diagram sample: A9/C#
The number on the right side of the chart signifies the fret number (9th fret in the example)
and the numbers directly on top of each string designates the fingers used to press the
strings (refer to the left hand fingering assignment).
Many 1’s means the chord is barred or you use the index finger to press two or more strings.
‘0’ means the string is plucked open and x means the string is not plucked or not included
when strumming.
A9/C# is read as chord A9 over bass C#.
6
II. 3. Guitar Fretboard and its Relation to Piano Keyboard and
Musical Notation on Staff
The lower, middle and higher C of guitar, piano and musical notation on staff are shown as a
guide to the relative pitch between guitar and piano notes.
The guitar is tuned to keyboard such that the three C notes have the same pitch for guitar and
piano. In this tuning, the guitar is in the concert pitch of C or standard pitch for guitar and piano.
EB
G
D
A
E
E
B
F G A B C D E
A
EB
GD
C D E F G
F G A B C
A B C D E F
AC D E F G
F G A B C D
0 121 3 5 7 8 10
6
5
1
2
3
4Strings
Frets
Middle C
Lower C
Higher C
Middle CLower C Higher C
Figure 7. Musical Notation on Staff corresponding to the lower, middle and higher C.
Lower C
Figure 5. Guitar Fretboard showing the lower, middle and higher C.
Middle C Higher CLower C
Figure 6. Piano Keyboard showing the lower, middle and higher C.
7
II. 5. Minimum Movement Principle
One of the basic principles in guitar playing is the minimum movement principle. When you
move from one chord to the next, minimizing hand and finger movement can help prevent
error. One way to achieve this is to group your chords into a position in the fretboard where
adjacent chords are as near as possible.
Another way to achieve this is to use guide fingers. As you move to the next chord, do not
pull your fingers completely off from the fingerboard but find a finger or two to remain in
contact with the string while you slide it to form the next chord form.
More importantly, make the adjacent chords as close as possible to each other. If you have a
chord G7 and the next chord is C, these two chords must be in close proximity to avoid error
caused by moving a lot in the fingerboard. If your chord C is in the first fret, use the G7 also in
the first fret. One chord has a lot of forms in different frets, the principle is to use a particular
form of the chord in the immediate vicinity of the previous chord.
Since guitar chord jingles only show one position for every chord, there is a need to construct
your own chord shape or form so that you can select the chord form near to the next chord
and make your own fingerings to make the chord transitions very smooth that require only
minimum movement of the hand and fingers.
8
II. 6. Music Notation of Notes and the Guitar Fretboard
The first diagram below shows the different notes of the guitar fingerboard from open
string to the 12th fret while the second diagram shows the corresponding letters of the
pitch denoted by the musical notations on the former diagram.
This is for those who are familiar with piano keyboard so that they will know the pitch of
the guitar relative to piano and the musical scale that is applicable to guitar.
Figure 8. Guitar strings and frets in rows and columns and the corresponding musical
notation of the notes on staff
Figure 9. Guitar strings and frets in rows and columns with corresponding notes.
9
III. 1. Basic Chord Construction: Constructing Chord C
Chords are constructed in a very simple manner. Take for example a C major chord or simply
called C. The notes that make up this chord are taken from the C major scale.
The C major scale is: C D E F G A B.
Let us assign 1 to the first note (also called a root) of the scale, so C has a numeric
assignment of 1 in the scale, while D is 2, E is 3 and so on such that note B is number 7. And
if we continue the cycle, C again takes the number 8 and D is 9 and A is 13 as shown below:
C D E F G A B C D E F G A
1 2 3 4 5 6 7 8 9 10 11 12 13
Based on the numbered items above, every major chord consists of the notes 1, 3 and 5 –
that is the rule for all major chords . So for the C Major chord, the notes are C, E and G. C is
1, E is 3 and G is 5. That is all we need to construct the chord C, only 3 notes.
Where can we find that in the guitar fret board? It is simple to apply it in our guitar fret board
since guitars are standardized such that the 3rd fret of the 5th string is the note C (strings are
numbered 1 to 6 from the thinnest to the thickest string). Let us look at again the guitar
fretboard and its notes. If you look at the chord chart for the chord C, you will find that there
are only 3 basic notes; C, E and G. Please refer to the chord chart below. The note G is the
open of the 3rd string
.
I did not include the G on the 6th string (marked by x) because the lowest pitch of the chord
should be the C note since it is a C major chord. The note 1 ()or the root) should be the
lowest note.
This is only one way of making a chord C. There are numerous ways to make a chord C
since there are many duplicate notes of C,E and G up in the fret board.
As long as the 3 notes are present, you can duplicate as many notes as long as it sounds
good and the lowest note is the name of the chord (also called the root note).
Figure 10. Notes of Chord C encircled.
Figure 11. Major C Chord chart.
10
Each chord is taken from their own scale. For example, C is taken from C major scale, D from
D major scale, E from E major scale and so on. The following table shows the different Major
scales. The number assignment will also change according to the scale used. The number 1 is
always assigned to the first note of the scale (also known as the root). The major scale table
below is your dictionary in making guitar chords.
The 2nd table in Table 1 shows the keys with b’s and #’s. C# and Db are technically the same
notes. Let us take another example. How do we construct the B major chord or simply chord
B? We use the B major scale in this case. Find the notes 1, 3 and 5. So we have notes B(1),
D#(3) and F#(5). How do one locate that in the guitar fingerboard? Refer to the fret board
and chord charts.
Table 1. The Different Major Scales.
Constructing Chord B
1 2 3 4 5 6 7
C D E F G A B
D E F# G A B C#
E F# G# A B C# D#
F G A Bb C D E
G A B C D E F#
A B C# D E F# G#
B C# D# E F# G# A#
Major Scales
1 2 3 4 5 6 7
C# D# E# F# G# A# B#
Db Eb F Gb Ab Bb C
Eb F G Ab Bb C D
D# E# F# G A# C D
F# G# A# B C# D# E#
Gb Ab Bb B Db Eb F
Ab Bb C Db Eb F G
G# A# B# C# D# F G
Bb C D Eb F G A
A# B# C## D# E# F## G##
Major Scales (with #'s and b's)
and chord charts.
The encircled letters in the fret board are the notes of chord B. If you look at the chord chart,
you will notice that some notes are duplicated like the notes B and F#. If you look at the fret
board diagram, there are a lot of the same note in different octaves.
Therefore, a chord can have many forms; it depends on what particular position of the
fretboard you want to form the chord as long as the bass of your chord is the note B, the rest
of the notes must be higher in pitch than the note B and you must have the rest of the notes in
the immediate vicinity or within reach of your fingers in the location where you selected your
bass note to be.
B
F#F#
B
D#
Figure 12. Notes of B Chord encircled.Figure 13. Chord chart for B chord.
11
Chord spelling Notation Notes on the Scale
Major 1, 3, 5
Minor m 1, b3, 5
Diminished dim, o , mb5 1, b3, b5
Diminished 7th dim7, o 7, dim 1, b3, b5, bb7
Half diminished m7b5, ø 1, b3, b5, b7
Augmented aug 1, 3, #5
5th 5 1, 5
7th 7 1, 3, 5, b7
Minor 7th m7 1, b3, 5, b7
Major 7th maj7 1, 3, 5, 7
Minor/major 7th m/maj7 1, b3, 5, 7
Suspended 4th sus4 1, 4, 5
Suspended 2nd sus2 1, 2, 5
7th suspended 4th 7sus4 1, 4, 5, b7
7th suspended 2nd 7sus2 1, 2, 5, b7
III. 2. Chord Construction Table
The table below shows the formula for constructing different kinds of chords. The numbers
denotes the numbered notes on the particular scale used. This formula is also true for
constructing chords on piano.
7th suspended 2nd 7sus2 1, 2, 5, b7
Added 2nd add2 1, 2, 3, 5
Added 9th add9 1, 3, 5, 9
Added 4th add4 1, 3, 4, 5
6th 6 1, 3, 5, 6
Minor 6th m6 1, b3, 5, 6
6/9 6/9 1, 3, 5, 6, 9
9th 9 1, 3, 5, b7, 9
Minor 9th m9 1, b3, 5, b7, 9
Major 9th maj9 1, 3, 5, 7, 9
11th 11 1, 3, 5, b7, 9, 11
Minor 11th m11 1, b3, 5, b7, 9, 11
Major 11th maj11 1, 3, 5, 7, 9, 11
13th 13 1, 3, 5, b7, 9, 11, 13
Minor 13th m13 1, b3, 5, b7, 9, 11, 13
Major 13th maj13 1, 3, 5, 7, 9, 11, 13
7th sharp 9th 7#9, 7+9 1, 3, 5, b7, #9
7th flat 9th 7b9, 7-9 1, 3, 5, b7, b9
7th sharp 5th 7#5, 7+5 1, 3, #5, b7
7th flat 5th 7b5, 7-5 1, 3, b5, b7
Table 2. Formula for Constructing Different Kinds of Chords.
12
Let us show how to make a chord from each chord formula. We have already shown how to
make major chords for C and B. We used the formula 1,3 and 5.
Now, let us make a minor chord. Take for example the chord Dm. Based on table 2 (Chord
formula), the formula for a minor chord is 1,b3 and 5. the 3rd note is flat. This is what makes
the chord flat - the b3.
First step: Determine the scale to use. From table 1, the scale for D is D, E, F#, G, A, B, C#.
Second step: Identify the notes to use. The formula for a minor chord is given in Table 2. A
minor chord uses notes 1, b3 and 5. D is 1, F# is 3 and F is b3 and 5 is A.. The flat of F# is
F, so b3 is F. So now we have the 3 basic notes for D minor or Dm chord; D, F and A notes.
Third step: Locate the notes of the chord on the fretboard. Encircle all the notes D,F and A in
the fretboard diagram to identify it.
Fourth step: Select the most appropriate Chord form. The bass for Dm is D note. D should
be the lowest sounding note of the chord. We have D in the 4th string.. F and A are within
reach of the finger so we have found an easy form of the chord Dm shown in the chord chart
of Figure 15.
Constructing Chord Dm
Figure 15. Chord chart for Dm chord.Figure 14. Notes for the Dm chord.
We do not include the notes A and F on the 5th and 6th string because it will change the
chord from Dm to Dm/A (Dm over bass A) or Dm/F (Dm over bass F) depending on what
bass note are we going to include. The lowest note of the chord is the bass. Bass notes are
taken from the 4th, 5th and 6th strings. So if the chord is only Dm, the lowest note should be
the root of the chord or the number 1 note in the scale which is note D in our case for Dm
chord.
13
Constructing Another Form of Chord Dm
Figure 16. Notes for the Dm chord. Figure 17. Dm (Form 2)
We can also get the notes of Dm in the 5th fret and take advantage of the open 4th string
bass as the root or bass. Alternately, we can also use the bass D of the 5th string. The
choice of the chord form is greatly affected by the neighboring chords in the chord
progression of a song. The important thing is you can adapt the shape and location of the
chord into a form that facilitates easy and smooth transition between chords.
Figure 19. Dm (Form 3)
Figure 18. Notes for the Dm chord.
The notes of Dm, namely: D,A and F are also found in the 10th fret if you want that location.
For example the previous chord in the song is in the 10th fret and the next chord is Dm, it
would be cumbersome if you go back to the Form 1 and 2 of Dm; the best move is to use
the chord form that requires only minimum movement of hand and fingers for easy and
smooth transition. Of course you also consider the succeeding chords.
14
Assignment 1: Make other forms of chord C.
The 3 given chord charts above are the common forms of chord C. Understand how these
different chord forms are constructed and identify the name of the notes in each form and
the corresponding number in the scale.
Assignment 2: Construct the major chords D, E F G and A.
Figure 20. Several Forms of Chord C.
To construct the chord D, use the D scale and then find the notes 1, 3 and 5. Locate the
notes in the guitar fingerboard and chose a form other than given here.
Figure 21. D, E, F, G and A Chord Forms.
15
IV. 1. Exercise 1
Let us get our feet into the water, we learn to swim by swimming and we learn to construct
chords by learning the chords of a song. Let us take the song entitled “Make Me a Servant”.
We will construct the chords of the encircled ones in the song. The rest of the chords will be
easy after this exercise.
Figure 22. The encircled chords of the song “Make Me a Servant” will be used as an
example in constructing chords.
16
Constructing Chord C/G
The first chord to construct is the slash chord named C/G. This is read as chord C using
bass note G. It is an ordinary C chord but the lowest note used is the G instead of the root
of the chord which is note C.
First step: Determine the scale to use. From table 1, the scale for C is C, D, E, F, G, A, B.
Second step: Identify the notes to use. The formula for a major chord given in Table 2 is 1,
3 and 5. or the C(1), E(3) and G(5). See Fig 23.
Third step: Locate the notes of the chord on the fretboard. Encircle all the notes C, E and G
in the fretboard diagram to identify it. The bass note to use is the note G.
Figure 23. Make Me a Servant
1 2 3 4 5 6 7
C D E F G A B
Major Scales
Fourth step: Select the most appropriate Chord form. Fig. 25 shows the different forms of
C/G chord. We will use the form 2 for our song since it is the easiest and perhaps simplest
form.
Figure 24. Encircled notes of chord C
Figure 25. Different forms for C/G chord
Form 1 Form 2 Form 3 Form 4 Form 5
17
This is the same type of chord in the previous example. First step is look at the G major scale
to locate the 1,3,5 notes and then add the bass note D.
From the table above, the notes are G (1), B (3), D (5) and the bass to use is note D. So
there are only 3 unique notes. G,B and bass D. Let us locate that in the fret board.
Constructing Chord G/D
Figure 26. G Major Scale
1 2 3 4 5 6 7
G A B C D E F#
Major Scales
I encircled all the notes G, B and D in the fret board. It is for you to decide which group of
notes you would like to form as long as you have the 3 basic notes. You can duplicate the
notes as long as the bass or the lowest pitch is the note D.
I would normally find first the appropriate location for my bass note D, which can be in the
open 4th string, 5th fret, 10th fret or 12th fret (can you find it?). So there are many possible forms
of the chord. The different forms are shown below in the chord charts below on Fig 28 . The
fret number on the right side is either in Arabic or Roman numeral.
Form 4 is a simplified version of form 2. You can actually omit other duplicate notes as long
as you still have at least 1 unique note left. So with the different forms of the same chord, you
now have the flexibility to choose which one is well suited to the chord progression of the
song. You decide to use the form that ensures smooth transition from the previous chord and
into the next chord in the progression. We will use the form 1 for its simplicity.
Form 1 Form 2 Form 3 Form 4 Form 5 Form 6
Figure 27. Encircled notes of chord G
Figure 28. Encircled notes of chord C
18
Now let us construct the chord A9/C# of this song. Chord A9/C# is chord A9 with bass C#.
Constructing Chord A9/C#
The formula for a 9th chord is shown by Fig. 30 taken from Table 2.
So what we need are the notes, 1, 3, 5, b7 and 9. Look again at the major scales table below.
Minor 6th m6 1, b3, 5, 6
6/9 6/9 1, 3, 5, 6, 9
9th 9 1, 3, 5, b7, 9
Minor 9th m9 1, b3, 5, b7, 9
Figure 30. Chord Formula for a 9th chord.
Figure 29. Scale Table
1 2 3 4 5 6 7
A B C# D E F# G#
Major Scales
1 2 3 4 5 6 7
A B C# D E F# G#
Major Scales
Figure 26. Scale of Chord A.
Number 8 note is back to A and so on. So the 7 note is G#, but we need b7, the flat of G# is
G. so b7 is G. The 9 note is B. So we have A (1), C# (3), E (5), G (b7) and B (9).
Do not forget that our bass is C# (should be the lowest pitch) not A. Let us take these notes
into the guitar fret board. One form of the chord A9/C# is shown below.
Figure 28. Encircled notes of A9 in the fret board. A (1), C# (3), E (5), G (b7) and B (9).
8 9 10
19
How did I come up with this fingering or form in the particular position of the fret board? First, I
chose where to get my bass C#, it is better to get it at the 4th fret since I know the rest of the
notes that I need are just close by and the second reason I want that location is because I am
also considering the next transition, that is, the chord Cm6 in the song which is convenient to
form in the 3rd fret. So if I position my chord in the 4th fret, I only need to move 1 fret back to
have my transition to Cm6.
Take note that I can also position A9/C# in the 9th fret, but it would take a lot of movement to
get to the next chord Cm6. Try to form these chords below and practice smooth transition and
choose which one of the three forms presented for A9/C# is more convenient to use for
smooth transition to the next chord Cm6. The left hand fingering here is just a suggestion, you
may make your own.
Figure 29. Encircled notes of A9 in the fret board
Form 1 Form 2 Form 3
B
Constructing Chord A9/C# Continuation…
You can drop the number 5 note of A9/C# chord notes: A (1), C# (3), E (5), G (b7) and B (9). In
this case I dropped the note 5 of the scale which is note E. Try to experiment dropping some
notes like note 5 and then next try omitting note b7 and listen if it still sounds good from chord
to the next (use your musical judgment). I also dropped the note A due to its unavailability in
the vicinity.
Your objective in dropping some notes is to simplify the form because perhaps there is no way
you can reach all the notes with your finger in that fret board position or you want a simpler
form for convenient and smoother transition.
It is important that you need to listen to the modified chord forms and select the best sounding
chords.
G
B
G
C#
Figure 30. Form 3 of Chord A9/C#
20
Constructing Chord Cm6
To construct the Cm6 chord, we need to know the formula of a minor 6th chord.
Based on Table 2, the formula is 1, b3, 5 and 6. The note b3 means that it is a
minor and the note 6 makes it a minor 6th.
Then we look at the C scale to identify the notes corresponding the formula numbers. The
note 1 is C, b3 is Eb, 5 is G and 6 is A.
And we locate those notes in our guitar fretboard. Locate the bass note C, the minor Eb,
the 5th G and sixth A. I encircled all the notes for the Cm6 chord.
Figure 31. C Scale.
Figure 30. Formula for Minor 6th chord.
1 2 3 4 5 6 7
C D E F G A B
Major Scales
Select the form that is easy and convenient for you taking into consideration the chords
that will be before and after it. The chord charts below shows the possible chords forms
that we can select from.
Figure 33. Different Forms for Cm6.
Figure 32. Chord Progression from A9/C# (2 Forms) to Cm6.
Form 1 Form 2 Form 3
21
Here is the final song with complete chords.
22
IV. 2. Exercise 2
Let us try take another exercise on the song entitled “God Will Make a Way”.
The song is in the key of G. If it were in the key of Ab, I will transpose the key to A or G
depending on the pitch of my singer. I prefer a key that is not a bar chord such as the keys
of C, D, E, G, A. If the key of the song is different from these, I transpose the key to the
nearest key of C, D, E, G or A.
I then rewrite the music sheet with only the lyrics, chords above it and the chord charts.
23
I. God will make a way where there seems to be no way.G D2/F# D/F# C/E G/D
The chord D2/F is chord Dadd2 over bass F. D2 is the same with Dadd2 which has the
formula of 1, 2, 3 and 5. It is a major chord with an additional 2nd note of the scale.
The notes for D2 is D(1), E(2), F#(3), A(5). The F#(3) is used as the bass. I just encircled
The first line of the song has 5 chords. We use the common form of the chord G. I will show
how to construct the chords for the 4 slash chords.
Construction of Chord D2/F#
Figure 35. Scale for D Major.
Figure 34. First Line of the song and the firs 5 chords.
1 2 3 4 5 6 7
D E F# G A B C#
Major Scales
The notes for D2 is D(1), E(2), F#(3), A(5). The F#(3) is used as the bass. I just encircled
the notes of the chord form that I have chosen to use.
We just use the common forms of the chords D, C and G. And then just add the bass note to
use.
Figure 37. D2/F#
Figure 36. Encircled Notes for the Chord D2/F# in the fretboard.
Figure 38. Slash Chords. The bass is denoted by the arrow and the chord is encircled.
Chord C/EChord D/F#
F#
E
Chord G/D
D
24
He works in ways we can not see, C G/B
He will make a way for me.Am7 CM7/D D
Construction of Chord CM7/D
The second line of the song has the familiar chords like C, Am7 and D. I will only show how
to construct the chord CM7/D. Chord G/B is just a simple chord G with a bass B.
The chord formula for CM7 is 1,3, 5 and 7 based on Table 2. The scale for C has no Flats or
sharps: C, D, E, F, G, A, B. Therefore the notes of the chord CM7 are: C(1), E(3), G(5), and
B(7). Locating these notes in the fret board will give you opportunity to chose the easiest
and most convenient chord form for the chord progression.
Figure 39. 2nd Line of the Song.
The bass note that we need to use is note D. It should be the lowest sounding note of the
chord. We can use the open 4th string to be our bass D. That means we drop the notes E
and C. There is an E in the 1st string so no problem. We are faced with dropping the note C
of the chord which is the root. Since the bass note is not the root note, we can drop the root
if we have no choice and if the chord still sounds good or else we need to find another
location in the fretboard to accommodate all the notes of the chord.
So what we are left are the first four all open string notes. E, B, G and D notes.
Figure 40. Encircled Notes for CM7 in the fretboard.
Figure 41. Chord CM7
Figure 42. Chord CM7/D
25
II. __ By a road way in the wilderness He’ll lead me.
G G/F Eb F Eb/Bb Bb
Construction of Chord G/F
The first line of the 2nd stanza of the song has the not-so-common slash chords G/F and
Eb/Bb.
For the chord G/F. Just add the F note to the common form of the chord G. I have encircled
the notes of G in the fretboard – showing the common chord form for the chord G. The notes
are based on the 1, 3, and 5 notes of the scale shown below.
Figure 43. 1st Line of the 2nd Stanza of the Song.
Figure 44. First step in Constructing Chords is to know the chord formula, second is to identify the notes in
the scale. I encircled the notes 1, 3 and 5 in the scale – chord formula for Major Chords.
1 2 3 4 5 6 7
G A B C D E F#
Major Scales
Figure 46. My Chosen Chord Forms for G/F.
the scale. I encircled the notes 1, 3 and 5 in the scale – chord formula for Major Chords.
Figure 45. Third step in Chord Construction: Locate the Notes in the Fret Board. I Only Encircled the Notes
That I Will Use to Construct the Chord G. There are Other Forms in Other Locations of the Fret Board.
This slash chord uses the 5th note as the bass. It is also called a second inversion of the
chord. When the 3rd or b3rd (for minor chords) is used as the bass, it is called first inversion
of the chord.
26
Construction of Chord Eb/Bb
Like in the previous examples in constructing slash chords, first step is to get the chord
formula for Eb. The formula for major chords is 1, 3 and 5. Second, identify the notes in the
scale that will be used to form the chord.
1 2 3 4 5 6 7
Eb F G Ab Bb C D
Major Scales
I encircled the notes in the fretboard which I will use to form the chord Eb/Bb. You can make
another form of the chord using the duplicate notes in the fretboard.
Figure 47. Eb/Bb Chord.
Figure 49. Eb/Bb Chord.
Figure 48. Eb/Bb Chord.
The chord charts shown in Fig 49 show two chord forms that can be used in the song
depending on the forms of the previous and the next chord in the progression. I would pick
form 1 since the previous chord is F formed at the 1st fret and the next chord is Bb formed also
at the 1st fret so it is best to use form 1 which also has its bass note in the first fret so that you
do not need to move your first finger. Talk about minimum movement principle.
27
God Will Make a Way
I. God will make a way where there seems to be no way.G D2/F# D/F# C/E G/D
He works in ways we can not see, C G/B
He will make a way for me.Am7 CM7/D D
He will be my guide, hold me closely to His side __
G D2/F# D/F# C/E G/D G/B
He will be my guide, hold me closely to His side __
With love and strength for each new dayC G/B Em7
He will make a way __ __
Am7 D/A Am7 D/A
He will make a way. __ __ __ __ (repeat from the beginning)
CM7/D G Am D/A C/D D
28
II. __ By a road way in the wilderness He’ll lead me.
G G/F Eb F Eb/Bb Bb
__ And rivers in the desert will I see. __ __ __F/G Gm7 Eb F Gsus4 G Gsus4 G
Heaven and earth will fadeC D/C
But his word will still re - mainBm B/D# Em
He will do some thing new to day. __ __ (repeat I).C D Bsus4/E E B7sus4/F#
29
V. 1. Special Songs with Special Chords
The next part of this book are the special songs that I compiled in the last 8 years or more.
Most of these songs have been sung by my sister Benjie Lyn. The chords that are used in
these songs are usually not simplified but are displayed including all notes if possible. You
may find the chord forms to be difficult for you to execute since the chords here are for
advance guitarists. One can choose to simplify the chords using the methods outlined in this
book.
I sometimes drop the whole chord if I do not like its sound or it gets too much crowded in a
particular passage of the song, sometimes you encounter a song with so many chords such
that you do not have time for smooth execution of the transitions between them, I normally
drop few chords but making sure the harmony of the chord progression is not affected.
There are also times I have to change the chord to my liking or substitute a better sounding
chord. Just remember that making music is an art and it comes from within, every art is
intentional. The sounds you will hear is only the manifestation of the art inside you. The real
art is you!
All the chords in these songs are used every time I play these songs. I hope you find the
instructions clear and get the most of your guitar playing in accompanying singers in the
church.church.
So, look for music sheets of the songs you have been wanting to sing and accompany with
your guitar and make the most of the chords printed together with it. And you will be amazed
at the nice sounding harmonics and pleasant mix of excellent chord forms that you can
create.
30
Special Song Titles
1. Empower Me
2. My Life is in your Hands
3. When Answers Aren’t Enough
4. In the Name of the Lord
5. His Strength Is Perfect
6. Seekers of Your Heart
7. Shepherd of My Heart
8. Stubborn Love
9. Via Dolorosa
10. More Than You’ll Ever Know
11. The Mission
12. Broken and Spilled Out
13. Beyond the Open Door
31
Nobody knows how weak I am better than you Nobody sees all of my needs better than you;
Nobody's eyes see through my soul better than yours and nobody's love can make me whole no love but yours.
And nobody has the power to change me to what I was born to be __ Jesus be strong
and nobody has the power to lift me to reach for eternity __ Jesus break through
Empower Me (1 of 2)
in my weak ness em power me!
all my defen ses em power me!
Empower me __ like a rushing river flow ing to the sea
Chord Construction by Benjie B Hornales. 2009. 32
Lord send your Holy Spirit flow ing now through me _ Til im liv ing as your child __
vic to ri ous and free Send the power of your love empower me
Send the po wer of your love em pow er me! __ Send the power of your love __
em power em power me em power me Send your love and Lord em po wer me!
(1st time) (Back to beginning)
(2nd time)
Empower Me (2 of 2)
Chord Construction by Benjie B Hornales. 2009. 33
Life can be so good Life can be so hard Never knowing what each day will bring to where you are __
My Life Is In Your Hands (1 of 2)
Nothing is for sure nothing is for keeps All I know is that your love will live eternally __
Sometimes I forget and sometimes I cant see That whatever comes my way you'll be with me. __ __
So i will find my rest and I will find my peace Knowing that you'll meet my every need. __ __
My Life is in your hands My heart is in your keep _ing I’m never without hope
34
Not when my future is with you. __ __
Chord Construction by Benjie B Hornales. 2009.
(Chorus) My Life is in your hands_ and though I may not see clearly I will lift my voice_ and sing
cause your love does amaz_ing things Lord I know my life is in your (Go to 1st, 2nd, then 3rd time)
(2nd time) hands __ When I'm at my weakest oh you carry me
(1st time) hands. __ __ __ __ (back to beginning)
My Life Is In Your Hands (2 of 2)
Then I become my strongest Lord in your hands __ __ __ (Back to chorus)
(3rd time) hands.
Chord Construction by Benjie B Hornales. 2009. 35
When Answers Aren't Enough (1 of 2)
You have faced the mountain of desperation __ you have climbed you have fought you have won.
But this valley that lies coldly before you __ is a shadow you cannot overcome, __ __ __
And just when you thought you had it all together __ you knew every verse to get you through
But this time all the sorrow broke more than just your heart and reciting all those verses just wont do __
When answers aren't enough, there is Je - sus He is more than just an answer to your prayer __
36
And your heart will find a safe and _ peaceful _ refuge _ When answers aren't enough He is there.
Chord Construction by Benjie B Hornales. 2009.
Instead of asking why did it happen think of where it could lead from here __
And as your pain is slowly easin’ you can find a greater reason to live your life triumphant the tears. __
When answers aren't enough, there is Je - sus He is more than just an answer to your prayer __
When Answers Aren't Enough (2 of 2)
And your heart will find a safe and peaceful refuge __ When answers aren't enough He is there. __
__ When answers aren't enough, there is Je - sus He is more than just an answer to your prayer
And your heart will find a safe and peace ful re fuge__ When answers aren't enough He is there.
__ ___ When answers aren't enough He is there.
Chord Construction by Benjie B Hornales. 2009. 37
In The Name Of The Lord (1 of 3)
Crowds have lined the narrow street to see this man from Galilee __
_ Just a carpenter some say leading fools astray _ __yet many kneel to give Him praise _ _
__ __ and in his eyes they glimpse the pow’r _ that sees the hearts of all men ___ __ and in his eyes they glimpse the pow’r _ that sees the hearts of all men _
And He knows His Father’s mind He speaks His fa _ ther’s words for He comes in the name of the Lord. __
There is strength in the name of the Lord - There is pow’r in the name of the Lord
38Chord Construction by Benjie B Hornales. 2009.
There is hope in the name of the Lord __ __
Blessed is He who comes in the name of the Lord
When my Plans have fallen through and when my strength is nearly gone __
In The Name Of The Lord (2 of 3)
And when we call upon your name, __ Your strength thru weak - ness to show
__ We can know the Master’s plan extend the Master's hand When we come in the name of the Lord
When there’s nothing left to do but just depend on you __ __ and the power of your name __ __
Chord Construction by Benjie B Hornales. 2009. 39
__ There is Lord His name will be worshipped forever, __ Cre - ator Redeemer and King
(D.S. al Coda)
__ There is strength in the name of the Lord There is pow’r in the name of the Lord
There is hope in the name of the Lord __ __ Blessed is He who comes __ __
In The Name Of The Lord (3 of 3)
Blessed is He who comes __ __ Blessed is He
__ __ The name of the Lord
who comes __ in the name of the Lord
40Chord Construction by Benjie B Hornales. 2009.
His Strength Is Perfect (1 of 2)
I can do all things _ through Christ who gives me strength But sometimes I wonder whats
We can on_ly know _ the power that_ He holds When we truly see _ how deep
He can do_ through me __ __ __ No great success to show _ _no Glory on _my own_
_ our weak _ness goes __ __ __ His strength in us begins_ _when ours come to_ an end_
yet in my weakness He is there to let me know
our strength is gone _He’ll car - ry us when we cant car - ry on
_ He hears our humble _cry and proves again
41
His strength is perfect when
Chord Construction by Benjie B Hornales. 2009.
__ His strength is per - fect; _ his strength is per - fect
Coda:__ His strength is per – fect __
His Strength Is Perfect (2 of 2)
(2nd time to Coda)_ Raised in His po - wer the weak be - come strong _
Back to Beginning
His strength is per - fect; _ Raised in His pow - wer the weak _
His strength is per - fect; _ his strength is per - fectbe - come strong _
Chord Construction by Benjie B Hornales. 2009. 42
Seekers of Your Heart (1 of 2)
_Until we give you first place , _ Until we let you begin, __ __
_Because your heart was bro - ken, _ because you saw the need __ __
to fill us with your spi - rit, renew us from within.
Because you gave so fre ely __because of Cal va - ry
__ No - thing mat - ters, __ noth -ings gained. With - out your holy pres - sence our lives are lived
__We can now be __ called your own Com - ple - ted cre - a - tions filled with you
Lord we want to know you, live our lives to show you
43
in vain
a lone
Chord Construction by Benjie B Hornales. 2009.
all the love we owe you, we’re seek- ers of __ your heart
heart __ __ Lord we want to know , you, live our lives to show you
__ all the love we owe, you, were seek - ers of __ your heart __ __
(2nd time)
Seekers of Your Heart (2 of 2)
back to beginning
(1st time)
Seek - ers of your heart
Chord Construction by Benjie B Hornales. 2009. 44
Mak - er of this heart of mine You know me ver - y well __
Keep –er of this heart of mine Your patience knows no end __
Giv – er of this heart of mine you’re what im liv - ing for __
You un - der – stand my deep est part more than I know my – self
Shepherd of My Heart (1 of 3)
You’ve loved me back in – to your arms time and time againYou’ve loved me back in – to your arms time and time again
For all my deep –est grat - i - tude you love me even more
So when I face the dark - ness , when I need to find my way __ __ I’ll trust in you
So if I start to wander like a lamb that’s gone astray __ __ I’ll trust in you
So if I walk through val-leys listening for the master’s call __ __ I’ll trust in you
45Chord Construction by Benjie B Hornales. 2009.
Shep - herd of my heart __ __ Shep - herd of my heart __
__ You’re the bea – con of my nights You’re the sun light of my days __
I can rest - within your arms I can know - Your loving ways __
Shepherd of My Heart (2 of 3)
(1st and 2nd times) (3rd time)
Shep - herd of my heart __
Rage all a - round I’ll trust in you
46
So let the cold winds blow and let the storms
Chord Construction by Benjie B Hornales. 2009.
Shep - herd of my heart __ You’re the bea – con of my nights You’re the sun light of my days __
I can rest - within your arms I can know - Your loving ways __
So as I walk through valleys lis-t’ning for my Master’s call __ __ I trust in you
Sheperd of My Heart (3 of 3)
I’ ll trust in you Shep - herd of my heart __
Ooo Shep - herd of my heart.
Shep - herd of my heart __ __
47Chord Construction by Benjie B Hornales. 2009.
Stubborn Love (1 of 2)
Caught a-gain your faith-less friend; Don’t you e-ver tire of hear - ing what a fool I’ve been?
Guess I should pray but what can I say? Oh it hurts to know the hun - dred times I’ve caused you pain;
The for - give me sound so emp - ty when I ne - ver change
Funny me just couldn’t see Even long before I knew you, you were lov - ing me.
Some times I cry; you must cry too, When you see the broken prom – is - es I’ve made to you.
I keep say - ing that I’ll trust you, though I sel - dom do,
It’s your stub - born love that never lets go of me; I don’t under - stand how you can stay;
Yet you stay and say I love you still for giv - ing me time and time a – gain
48Chord Construction by Benjie B Hornales. 2009.
Yet you stay and say you love me still, know - ing some day I’ll be like you.
Per - fect love, em brac ing the worst in me, how I long for your __ stub - born love.
how I long for your __ stub - born love.
(2nd time)
It’s your stub - born love, __ that never lets go of me; I don’t un - der - stand how you can stay;
(1st time)
Stubborn Love (2 of 2)
Instrumental
Per - fect love, em – brac - ing the worst in me, And you’ll ne - ver let me go __,
I be - lieve __ I fin’lly know, (I can’t live with – out your stub - born love.)2x
It’s your stub - born love, __ that never lets go of me; I don’t un - der - stand how you can stay;
1st time 2nd time
love
Chord Construction by Benjie B Hornales. 2009. 49
Via Dolorosa (1 of 2)
__ Down the Via Dolo - ro - sa in Jeru - sa - lem that day the sol - diers tried to clear the narrow streets
but the crowd pressed in to see the man __ condemned to die on Calva - ry
__ He was bleed - ing from a beat - ing there were stripes upon His back and He wore a crown of thorns upon His head
And He bore with every step the scorn of those who cried out for His death
__ Down the Via- Dolo – ro – sa called the way of suffering __ like a lamb came the Mes - siah Christ the King
($)
50
__ But He chose to walk that road out of His love for you and me,
(2nd time Go to Coda)
Chord Construction by Benjie B Hornales. 2009.
The blood that would cleanse the souls of all men made its way through the heart of Je – ru – sa – lem ___
(Back to $)
Down the Via Dolo – ro - sa all the way to Cal - va - ry.
Down the Via Dolo – ro - sa all the way to Calva - ry. __ __
Via Dolorosa (2 of 2)
(Coda)
Chord Construction by Benjie B Hornales. 2009. 51
More Than You’ll Ever Know
If I could find __ the right words to say to tell you just what Christ means to me __ __
I’d say He’s more than I could show and more than you’ll ev - er know! __
You’d know why He’s more than I could show and more than you’ll ev - er know! __
If you could have seen me __ just yes - ter - day You’d know why He’s life and He’s breath to me. __ __
Christ means more to me than you’ll ev - er know, __ Christ means more to me than I could possibly show! __
More, more, so much more, More than you’ll ev - er know __
More, more, so much more, More than you’ll ev - er know! __
52Chord Construction by Benjie B Hornales. 2009.
The Mission (1 of 2)
__ There’s a call going out across the land in ev - ery na - tion, __ __
a call to all who swear allegiance to the cross of Christ __
A call to true hu – mi - lity to live our lives res – pon - si – bly to deep - en our de – vo - tion to the cross at any price.
Let us then be sober moving on - ly in the spi – rit __ __
The mes - sage we’re pro – claim - ing is re – pent - ance and forgive - ness,
as a - liens and strangers in a hos - tile for - eign land; _
spill - ing light unsparingly through - out a dark - ened room; __
53Chord Construction by Benjie B Hornales. 2009.
As a can - dle is consumed by the pas - sion of the flame, __ __
Let us burn to know Him deep - er; then our ser - vice flaming bright __
To love the Lord our God is the heart - beat of our mis - sion, the spring from which __ our ser - vice overflows __
__ A-cross the street or around the world the mis - sion’s still the same,
The Mission (2 of 2)
The of - fer of sal – va - tion to the dy - ing race of man __
Will ra - diate His pas - sions and blaze with holy light __
__ __ __ __Pro - claim and live the truth in
(D.S.) (2nd)
__ Pro - claim and live the truth in Jesus’ name
Pro - claim and live the truth in Je - sus’ name,
Je – sus’ name. __ __ __ __ __
54Chord Construction by Benjie B Hornales. 2009.
Broken and Spilled Out (1 of 3)
One day a plain village wo - man __ Driven by love for her Lord, __ Reck - lessly poured out a valuable essence
dis – re – gard - ing the scorn, _ And once it was broken and spilled out, __ a frag - rance filled all the room
Bro - ken and spilled out, and poured at your feet, in sweet a – ban - don,
Like a prisoner re - leased from his shackles, __ __ like a spi - rit set free from the tomb __
Bro - ken and spilled out, just for love of you Je - sus, __
My most pre - cious trea - sure la - vished on thee. __ __
55Chord Construction by Benjie B Hornales. 2009.
Lord You were God’s precious trea - sure, __ __ His loved and his own perfect son __
Sent here to show me, the love of the father, __ yes just for love it was done, __
let me be spilled out and used up for thee. __ __ __ __
Broken and Spilled Out (2 of 3)
You gave up your - self will – ing - ly, __ __ you spared no ex - pense for my par – don __ __
God’s most pre – cious trea - sure la vished on me. __ __
you were used up and wasted for me. Bro - ken and spilled out, __ just for love
of me Je - sus,
__ and though you were perfect and Holy __ ____
Chord Construction by Benjie B Hornales. 2009. 56
Bro - ken and spilled out, __ and poured at my feet, __ __ in sweet a – ban - don,
in sweet a – ban - don, Lord you were spilled out and used up for me. __
Lord you were spilled out and used up for me. __ __ __
Broken and Spilled Out (3 of 3)
57Chord Construction by Benjie B Hornales. 2009.
Beyond the Open Door (1 of 2)
In the things familiar you find security Re – sis - ting all the changes the days and years can bring __
Hear the spirit calling to wake the living dead, to reach the huddled masses who cry out for living bread. __
When God decides to lead you, through an open door, In – vi - ting you to walk in realms you’ve never known before. __
A - rise O mighty Army, take up thy shield and sword, For the Fa - ther lifts His golden lamp beside the open door. __
Be - yond the open door __ is a new and fresh anoint - ing, Hear the spirit call -__ ing you to go __
Walk on through the door for the Lord will go before you,
In - to a great – er po - wer you’ve ne - ver known be - fore ___ ___
58
(1st time) go to II
Chord Construction by Benjie B Hornales. 2009.
be - fore. Be - yond the open door is a new and fresh
Walk on through the door __ for the Lord will go before __ you,
anoint - ing, Hear the spirit call - ing you to go __
Beyond the Open Door (2 of 2)
(2nd time)
In - to a grea – ter po - wer you’ve ne – ver known. __
Where He leads me I will fol - low, where He leads me
__ Into a great - er power, you’ve ne - ver __ known before __
I __ will fol - low, Where He leads me I will fol - low
59Chord Construction by Benjie B Hornales. 2009.
Appendix A: Guitar Chord Charts
Chord Construction by Benjie B Hornales. 2009. 60
Appendix A: Guitar Chord Charts
61Chord Construction by Benjie B Hornales. 2009.
Appendix A: Guitar Chord Charts
Chord Construction by Benjie B Hornales. 2009. 62
Appendix A: Guitar Chord Charts
Chord Construction by Benjie B Hornales. 2009. 63
Appendix B: Chords Complete Note Display
64
Appendix B: Chords Complete Note Display
65
Appendix B: Chords Complete Note Display
66
Appendix B: Chords Complete Note Display
67
Appendix B: Chords Complete Note Display
68
Appendix B: Chords Complete Note Display
69
Appendix B: Chords Complete Note Display
70
Appendix B: Chords Complete Note Display
71
Appendix B: Chords Complete Note Display
72
Appendix B: Chords Complete Note Display
73
Appendix B: Chords Complete Note Display
74
Appendix B: Chords Complete Note Display
75
Appendix B: Chords Complete Note Display
76
Appendix B: Chords Complete Note Display
77
Appendix B: Chords Complete Note Display
78
Appendix B: Chords Complete Note Display
79
Appendix B: Chords Complete Note Display
80
Appendix B: Chords Complete Note Display
81
Appendix C: Fret Placement Calculation
82
Appendix C: Fret Placement Calculation
83
Appendix C: Fret Placement Calculation
84
Appendix D: One Point Lesson in Guitar Chord Construction
1 2 3 4 5 6 7 8 9 10 11 12 13
C# D# E# F# G# A# B# C# D# E# F# G# A#
Db Eb F Gb Ab Bb C Db Eb F Gb Ab Bb
Eb F G Ab Bb C D Eb F G Ab Bb C
D# E# F# G A# C D D# E# F# G A# C
F# G# A# B C# D# E# F# G# A# B C# D#
Gb Ab Bb B Db Eb F Gb Ab Bb B Db Eb
Ab Bb C Db Eb F G Ab Bb C Db Eb F
G# A# B# C# D# F G G# A# B# C# D# F
Bb C D Eb F G A Bb C D Eb F G
A# B# C## D# E# F## G## A# B# C## D# E# F##
Major Scales
1 2 3 4 5 6 7 8 9 10 11 12 13
C D E F G A B C D E F G A
D E F# G A B C# D E F# G A B
E F# G# A B C# D# E F# G# A B C#
F G A Bb C D E F G A Bb C D
G A B C D E F# G A B C D E
A B C# D E F# G# A B C# D E F#
B C# D# E F# G# A# B C# D# E F# G#
Major ScalesChord spelling Notation Notes on the Scale
Major 1, 3, 5
Minor m 1, b3, 5
Diminished dim, o , mb5 1, b3, b5
Diminished 7th dim7, o 7, dim 1, b3, b5, bb7
Half diminished m7b5, ø 1, b3, b5, b7
Augmented aug 1, 3, #5
5th 5 1, 5
7th 7 1, 3, 5, b7
Minor 7th m7 1, b3, 5, b7
Major 7th maj7 1, 3, 5, 7
Minor/major 7th m/maj7 1, b3, 5, 7
Suspended 4th sus4 1, 4, 5
Suspended 2nd sus2 1, 2, 5
7th suspended 4th 7sus4 1, 4, 5, b7
7th suspended 2nd 7sus2 1, 2, 5, b7
Added 2nd add2 1, 2, 3, 5
Added 9th add9 1, 3, 5, 9
Added 4th add4 1, 3, 4, 5
6th 6 1, 3, 5, 6
Minor 6th m6 1, b3, 5, 6
6/9 6/9 1, 3, 5, 6, 9
9th 9 1, 3, 5, b7, 9
Minor 9th m9 1, b3, 5, b7, 9
Major 9th maj9 1, 3, 5, 7, 9
11th 11 1, 3, 5, b7, 9, 1111th 11 1, 3, 5, b7, 9, 11
Minor 11th m11 1, b3, 5, b7, 9, 11
Major 11th maj11 1, 3, 5, 7, 9, 11
13th 13 1, 3, 5, b7, 9, 11, 13
Minor 13th m13 1, b3, 5, b7, 9, 11, 13
Major 13th maj13 1, 3, 5, 7, 9, 11, 13
7th sharp 9th 7#9, 7+9 1, 3, 5, b7, #9
7th flat 9th 7b9, 7-9 1, 3, 5, b7, b9
7th sharp 5th 7#5, 7+5 1, 3, #5, b7
7th flat 5th 7b5, 7-5 1, 3, b5, b7
First step: From the name of the chord, determine the scale to use.
Second step: Identify the notes to use based on the chord formula.
Third step: Locate the notes of the chord on the fretboard.
Fourth step: Select the most appropriate Chord form.
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