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Selecting and Playing Styles
Chord Name/[Abbreviation]
Major [M]
Add ninth [(9)]
Sixth [6]
Sixth ninth [6(9)]
Major seventh [M7]
Major seventh ninth [M7(9)]
Major seventh add sharp eleventh [M7(#11)]
Flatted fifth [(b5)]
Major seventh flatted fifth [M7b5]
Suspended fourth [sus4]
Augmented [aug]
Major seventh augmented [M7aug]
Minor [m]
Minor add ninth [m(9)]
Minor sixth [m6]
Minor seventh [m7]
Minor seventh ninth [m7(9)]
Minor seventh add eleventh [m7(11)]
Minor major seventh [mM7]
Minor major seventh ninth [mM7(9)]
Minor seventh flatted fifth [m7b5]
Minor major seventh flatted fifth [mM7b5]
Diminished [dim]
Diminished seventh [dim7]
Seventh [7]
Seventh flatted ninth [7(b9)]
Seventh add flatted thirteenth [7(b13)]
Seventh ninth [7(9)]
Seventh add sharp eleventh [7(#11)]
Seventh add thirteenth [7(13)]
Seventh sharp ninth [7(#9)]
Seventh flatted fifth [7b5]
Seventh augmented [7aug]
Seventh suspended fourth [7sus4]
One plus two plus five [1+2+5]
44
Normal Voicing
Chord (C) Display
1 - 3 - 5
C
1 - 2 - 3 - 5
C(9)
1 - (3) - 5 - 6
C6
1 - 2 - 3 - (5) - 6
C6(9)
1 - 3 - (5) - 7 or
CM7
1 - (3) - 5 - 7
1 - 2 - 3 - (5) - 7
CM7(9)
1 - (2) - 3 - #4 - 5 - 7 or
CM7(#11) CM7(#11)
1 - 2 - 3 - #4 - (5) - 7
1 - 3 - b5
C(b5)
1 - 3 - b5 - 7
CM7b5
1 - 4 - 5
Csus4
1 - 3 - #5
Caug
1 - (3) - #5 - 7
CM7aug
1 - b3 - 5
Cm
1 - 2 - b3 - 5
Cm(9)
1 - b3 - 5 - 6
Cm6
1 - b3 - (5) - b7
Cm7
1 - 2 - b3 - (5) - b7
Cm7(9)
1 - (2) - b3 - 4 - 5 - (b7)
Cm7(11)
1 - b3 - (5) - 7
CmM7
1 - 2 - b3 - (5) - 7
CmM7(9)
1 - b3 - b5 - b7
Cm7b5
1 - b3 - b5 - 7
CmM7b5
1 - b3 - b5
Cdim
1 - b3 - b5 - 6
Cdim7
1 - 3 - (5) - b7 or
C7
1 - (3) - 5 - b7
1 - b2 - 3 - (5) - b7
C7(b9)
1 - 3 - 5 - b6 - b7
C7(b13)
1 - 2 - 3 - (5) - b7
C7(9)
1 - (2) - 3 - #4 - 5 - b7 or
C7(#11)
1 - 2 - 3 - #4 - (5) - b7
1 - 3 - (5) - 6 - b7
C7(13)
1 - #2 - 3 - (5) - b7
C7(#9)
1 - 3 - b5 - b7
C7b5
1 - 3 - #5 - b7
C7aug
1 - 4 - (5) - b7
C7sus4
1 - 2 - 5
C1+2+5
• Notes in parentheses can be
C
omitted.
C(9)
• Playing two same root keys in the
adjacent octaves produces
C6
accompaniment based only on
C6(9)
the root.
• A perfect fifth (1 + 5) produces
CM7
accompaniment based only on
the root and fifth which can be
CM7(9)
used with both major and minor
chords.
• The chord fingerings listed are all
in "root" position, but other inver-
Cb5
sions can be used — with the fol-
lowing exceptions:
CM7b5
m7, m7 b 5, 6, m6, sus4, aug,
Csus4
dim7, 7 b 5, 6(9), 1+2+5.
Caug
• Inversion of the 7sus4 and
m7(11) chords are not recog-
CM7aug
nized if the notes shown in
parentheses are omitted.
Cm
• The auto accompaniment will
Cm(9)
sometimes not change when
related chords are played in
Cm6
sequence (e.g. some minor
Cm7
chords followed by the minor sev-
enth).
Cm7(9)
• Two-note fingerings will produce
Cm7(11)
a chord based on the previously
played chord.
CmM7
CmM7(9)
Cm7b5
CmM7b5
Cdim
Cdim7
C7
C7(b9)
C7(b13)
C7(9)
C7(#11)
C7(13)
C7(#9)
C7b5
C7aug
C7sus4
C
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