Major
1 · 3 · 5
A major triad contains a root, major third and perfect fifth. Start with a slow change to a chord you already know.
C · two left-handed shapes →Look up one thing, then try it
The chord library covers 24 families across 12 root pitches: 288 named chords, with two playable voicings each. The scale library has 13 families across 17 root spellings: 221 lessons. Some spellings sound the same, such as C# and Db; they help explain different musical contexts rather than adding new pitches.
C chord families and formulas
Formulas count from the major scale on the chosen root. They describe notes, not fingers. A practical voicing may leave notes out; each chord lesson identifies its own omissions. Enharmonic roots share a sounding chord when the library uses another spelling.
Minor
1 · b3 · 5
A minor triad lowers the third of a major triad by one fret. Listen to the difference between the major and minor sound on the same root.
Cm · two left-handed shapes →Power chord
1 · 5
A power chord contains a root and fifth, often with the root doubled. It has no third, so the surrounding music supplies the major or minor context. Play only the strings shown.
C5 · two left-handed shapes →Dominant seventh
1 · 3 · 5 · b7
A dominant seventh combines a major triad with a flat seventh. It often creates a pull towards a chord a perfect fourth above the root, as G7 does towards C.
C7 · two left-handed shapes →Minor seventh
1 · b3 · 5 · b7
A minor seventh adds a flat seventh to a minor triad. Compare it with the plain minor chord and listen for the added colour.
Cm7 · two left-handed shapes →Major seventh
1 · 3 · 5 · 7
A major seventh adds the note one semitone below the root to a major triad. It has a different sound from a dominant seventh: maj7 and 7 are different chord symbols.
Cmaj7 · two left-handed shapes →Suspended second
1 · 2 · 5
A suspended second replaces the third with the second. There is no major or minor third; try returning to the major chord on the same root.
Csus2 · two left-handed shapes →Suspended fourth
1 · 4 · 5
A suspended fourth replaces the third with the fourth. Let that note move down to the third when you return to the major chord.
Csus4 · two left-handed shapes →Added ninth
1 · 3 · 5 · 9
An add9 chord keeps the major third and adds a ninth. It has no seventh, which distinguishes it from a dominant ninth chord.
Cadd9 · two left-handed shapes →Dominant ninth
1 · 3 · 5 · b7 · 9
A dominant ninth adds a ninth to a dominant seventh chord. Try C9 moving to F and listen to the third and flat seventh resolve.
C9 · two left-handed shapes →Dominant thirteenth
1 · 3 · 5 · b7 · 9 · 11 · 13
The full stacked formula runs up to the thirteenth. Practical guitar voicings leave notes out. Both shapes here omit the fifth and natural eleventh; the compact alternative also omits the ninth. Leaving out the eleventh avoids its semitone clash with the major third; the third, flat seventh and thirteenth give the shape its character.
C13 · two left-handed shapes →Half-diminished seventh
1 · b3 · b5 · b7
A half-diminished chord is also written m7b5. It has a minor third, diminished fifth and flat seventh. Try Bm7b5 → E7 → Am, a minor-key ii–V–i.
Cm7b5 · two left-handed shapes →Diminished seventh
1 · b3 · b5 · bb7
A diminished seventh stacks minor thirds. Its diminished seventh is written bb7, not b7. Try Bdim7 resolving upwards to C.
Cdim7 · two left-handed shapes →Augmented
1 · 3 · #5
An augmented triad raises the fifth of a major triad by one fret. Try A → Aaug → D and listen to the raised fifth move into the next chord.
Caug · two left-handed shapes →Minor major seventh
1 · b3 · 5 · 7
A minor major seventh combines a minor triad with a major seventh. Try Dm → Dm(maj7) → Dm7 and hear the descending inner voice.
Cm(maj7) · two left-handed shapes →Major sixth
1 · 3 · 5 · 6
A major sixth adds the sixth to a major triad. Compare C with C6 and listen to the extra A note; a sixth chord has no seventh.
C6 · two left-handed shapes →Minor sixth
1 · b3 · 5 · 6
A minor sixth uses a minor third and a natural sixth. That sixth is not flattened by the word minor. Try Am moving to Am6.
Cm6 · two left-handed shapes →Major ninth
1 · 3 · 5 · 7 · 9
A major ninth adds a ninth to a major seventh chord. Cmaj9 contains B, the major seventh. Some guitar shapes omit the fifth; check each voicing's note omissions.
Cmaj9 · two left-handed shapes →Minor ninth
1 · b3 · 5 · b7 · 9
A minor ninth adds a ninth to a minor seventh chord. Keep the minor third and flat seventh clear, and compare the colour with the simpler minor triad.
Cm9 · two left-handed shapes →Suspended dominant seventh
1 · 4 · 5 · b7
A 7sus4 chord replaces a dominant seventh chord's third with the fourth. A7sus4 contains D rather than C#. Try letting D move to C# as you change to A7.
C7sus4 · two left-handed shapes →Dominant eleventh
1 · 3 · 5 · b7 · 9 · 11
A dominant eleventh extends a dominant ninth with an eleventh. Both practical shapes here omit the third and fifth, so they also sound as 9sus4 chords. C11 is voiced C-F-Bb-D; E belongs to the full formula but is not played in these shapes. Try C11 moving to C7.
C11 · two left-handed shapes →Major thirteenth
1 · 3 · 5 · 7 · 9 · 11 · 13
A major thirteenth keeps the major seventh and adds the colour of a natural thirteenth. Both guitar shapes omit the fifth and eleventh; the compact shape also omits the ninth. Cmaj13 has B as its major seventh and A as its thirteenth. Compare it with C13, which has Bb.
Cmaj13 · two left-handed shapes →Minor eleventh
1 · b3 · 5 · b7 · 9 · 11
A minor eleventh adds an eleventh to a minor ninth sound. The first shape omits the fifth; the alternative omits the ninth. Cm11 adds F to a Cm7 colour. Compare the two voicings slowly and keep each barre relaxed.
Cm11 · two left-handed shapes →Minor thirteenth
1 · b3 · 5 · b7 · 9 · 11 · 13
A minor thirteenth uses a minor third, flat seventh and natural thirteenth. From C, that thirteenth is A, not Ab. Practical grips omit several stacked notes; check the selected voicing's omissions. Try Cm7 moving to Cm13 over a C minor groove that supports A natural.
Cm13 · two left-handed shapes →C scales: choose a sound to explore
A scale suggestion needs a musical context. Read each lesson’s use and practice advice rather than assuming every scale fits every song in its key.
C Major · 1 – 2 – 3 – 4 – 5 – 6 – 7 →C Natural Minor · 1 – 2 – b3 – 4 – 5 – b6 – b7 →C Major Pentatonic · 1 – 2 – 3 – 5 – 6 →C Minor Pentatonic · 1 – b3 – 4 – 5 – b7 →C Minor Blues · 1 – b3 – 4 – b5 – 5 – b7 →C Major Blues · 1 – 2 – b3 – 3 – 5 – 6 →C Dorian · 1 – 2 – b3 – 4 – 5 – 6 – b7 →C Mixolydian · 1 – 2 – 3 – 4 – 5 – 6 – b7 →C Harmonic Minor · 1 – 2 – b3 – 4 – 5 – b6 – 7 →C Melodic Minor (Jazz) · 1 – 2 – b3 – 4 – 5 – 6 – 7 →C Phrygian · 1 – b2 – b3 – 4 – 5 – b6 – b7 →C Lydian · 1 – 2 – 3 – #4 – 5 – 6 – 7 →C Locrian · 1 – b2 – b3 – 4 – b5 – b6 – b7 →
Make your own reference notes
Use the blank worksheet pack for chord shapes, fretboard notes, ordinary tablature and a simple practice log. Every page is branded and clearly labels its view. Tab keeps high e on the top line for both left-handed and right-handed players.
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