Table

of Contents

1…………………………………..……………………………..……………………………..………………………………..Welcome

Part 1: Chord Construction – How to Build Chords
1. …………………………..……………………………..…………………Chord Construction – How to Build Chords
3. …………………………..……………………………..……………………………………………………………Important Rules
4…………………………..……………………………..……………………………..……………….……………Common Shapes
5. …………………………..……………………………..…………………………………..……………………7th Chord Voicings

Part 2: The Chord Shape Library
6. …………………………..………………………..……………………………..……………………The Chord Shape Library
7. …………………………..……………………………………………..……………………Cmaj7 Drop 2 & Drop 3 Chords
8. …………………………..……………………………..……………………………….…..……C-7 Drop 2 & Drop 3 Chords
9. …………………………..……………………………..…………………………….….…..……C7 Drop 2 & Drop 3 Chords
10. …………………………..……………………………..……………………….…..……C-7(b5) Drop 2 & Drop 3 Chords
11. …………………………..…………………… ………………………….…..……Cmaj7(#11) Drop 2 & Drop 3 Chords
12. ……………………………..…………………… ………………………….…..……Cm(maj7) Drop 2 & Drop 3 Chords
13. …………………………..…………………… ………………………..……….…..……C7(b5) Drop 2 & Drop 3 Chords
14. …………………………..…………………… ………………………..……….…..……C7(#5) Drop 2 & Drop 3 Chords
15. …………………………..…………………… ………………..……….………………………………………….……Co7 Chords
15. …………………………..…………………… ………………..……….…………………………………………. C7(b9) Chords
15. …………………………..…………………… ………………..……….…………………………………………. C7(#9) Chords
16 - 17. …………………………..…………………… ………………..……….……………………………………….9th Chords
18. …………………………..…………………… ………………..……….………………………………………………..6th Chords
19. …………………………..…………………… ………………..……….……………………………………..6/9 & 11th chords
20. …………………………..…………………… ………………..……….……………………………………………..13th Chords
21. …………………………..…………………… ………………..……….……………………………………………….Sus Chords
22. …………………………..…………………… ………………..……….……………………………………………… Aug Chords

Part 3: Chords of a key
23. ……….…………..…………………… ………………..……….……………………………………………… Chords of a Key

Part 4: Advanced Concepts
24. ……….…………..…………………… ………………..……….………………………………………………….Voice Leading
24 - 25. ……….…………....……….………………………………………Root Movement & Tritone Substitutions

Part 5: Sample Progressions / Song Examples
26. ……….…………..……………………………….……………… Variations of a Basic 1 5 6 4 Chord Progression
27. ……….…………..…………………………………………………………………………………….……………… Chord Scales
28. ……….…………..…………………………………………………………………….……………… Jazz Standard Example
29. ……….…………..………………………….………….……………… Same Progression, Different Chord Shapes
30 - 31. ……….… ..……………………………………………………………..….……………… Go Down, Go Up, or Stay

 Welcome

Hey what’s going on guys? Brandon here! Yes, it is actually me writing this e-Book. Ask me how
excited I am about it! Yeah so writing e-books isn’t as fun as playing guitar, BUT… I know it will
help you though and that is the main reason. Whether you bought this or gave me a shoutout, I
appreciate it so I want to help you develop your knowledge of chord voicings so you can add
some new flavours to your playing. Without further delay, let’s get down to business!

This e-Book is designed for an intermediate level player. Having a knowledge of the fretboard
will give you a huge advantage when learning this information. If you know the notes of the
fretboard, you’ll be able to take the chord voicings and play them anywhere on the neck. If you
are not familiar, the keyboard shortcut CTRL+F (CMD+F for Mac users) allows you to look up
words (try searching Cmaj7). This feature will be especially useful throughout this book.


Part 1: Chord construction - How to Build Chords

Chord - a group of (typically three or more) notes sounded together, as a basis of harmony.
(Definition straight off Google haha.)

I’m going to be showing you a lot of different chord voicings in this book, so I want you to
understand why they are built the way they are. I’ll use C as an example

C major scale – C, D, E, F, G, A, B

1. Cmaj7 = 1, 3, 5, 7 (C, E, G, B)
2. C-7 = 1, b3, 5, b7 (C, Eb, G, Bb)
3. C7 = 1, 3, 5, b7 (C, E, G, Bb)
4. C-7(b5) = 1, b3, b5, b7 (C, Eb, Gb, Bb)
5. Co7 = 1, b3, b5, bb7 (C, Eb, Gb, Bbb)


• What do these numbers mean? They come from the major scale. Each number
represents the corresponding note to the major scale. We are using C as our example so
we will relate the notes back to the C major scale. Cmaj7 is the easiest to understand. If
you go up the major scale, you select the 1st, 3rd, 5th, and 7th note and BAM you have a
Cmaj7 chord.

• For a C-7, (the minus symbol means minor) you have to flatten the 3rd and the 7th. Minor
chords always have a flatted 3rd and if they have a 7th in them, that would be flat too.

• C7 (also called C dominant 7) is pretty similar to the construction of a Cmaj7 with the
exception of the 7th. That one note makes a huge difference.

1

• Unless you’re an avid jazz player, you probably won’t run into C-7(b5) too much. If you
do though, you’ll know that it is just a C-7 with literally a flatted 5th. The chord name
tells you what to do with the 5th so it should be easy to understand the difference
between the 2 chords.

• Again, with the Co7 (C diminished 7), you won’t see this chord a whole lot unless you are
playing jazz. At least moving forward you know how it’s built. Also, yes it has a Bbb (B
double flat) in it. Why not just name it A? If you were to name that note A, it would no
longer be considered the 7th. It would be the 6. It’s a tiny specific detail. Just take
comfort in knowing that if you aren’t playing jazz, then you don’t have to pay too much
attention to this chord. It sounds nasty anyway.


Okay, Brandon this is all great, but what happens if I see a chord like this? C+9?!?!

No need to fret! (Oh my god that was a bad joke lol). The + symbol means #5. The 9 just means
add the 9th! Pretty easy right? The chord would be built like this:

C+9 = 1, 3, #5, b7, 9 (C, E, G#, Bb, D)

Now when you see a chord like C+9, you don’t have to play all 5 notes of the chord. Some notes
aren’t as important as others. The least important note would actually be the root note which is
C. The bass player would cover that. A piano player might play all 5 notes, but on guitar we are
more limited with what we can do because we only have 6 strings.

When you see a number in the name of a chord, it’s telling you to play that note of the scale.
Here are some more examples:

1. Csus2 = 1, 2, 5 (C, D, G)
2. Csus4 = 1, 4, 5 (C, F, G)
3. C11 = 1, 3, 5, b7, 9, 11 (C, E, G, Bb, D, F)
4. Cmaj13 = 1, 3, 5, 7, 9, 11, 13 (C, E, G, B, D, F, A)
5. C-6 = 1, b3, 5, 6 (C, Eb, G, A)
6. A7(b5) = 1, 3, b5, b7 (A, C#, Eb, G – relate these notes back to A and go through the A
major scale to find them)

2

IMPORTANT RULES – READ THESE

1. If a chord only has a number in it, then it is dominant which
means it will have a b7 (C7, C9, C13)

2. If a chord has a high number in it like 11 or 13, then it will
include all the previous odd numbers behind it, but is it not
necessary to play EVERYTHING which leads me to rule number 3.

3. The most important notes of a chord are the 3rd, 7th, (these are
the guide tones) and whichever extension is included.
(Extensions would be things like b9, #5, +9, etc.) So, when you
see a big chord, you can omit certain notes. The root and 5th
being the least important.

4. In the above example, Cmaj13 and C-6 both have an A in them??
Yes. A is the 6th, but it is also the 13th. D is both the 2nd and the
9th. F is both the 4th and 11th. The difference is that if a chord has
a higher number, that means it has everything below it included.
The reason that these notes are the same is because if you go up
the scale by an octave, you will be back to the same note.


Now you have an idea of how to build chords. If you are a serious musician, I suggest that you
spend a lot of time learning this process. I’ve provided a few examples, but most of them were
C chords. There are thousands of chords that I didn’t mention here simply because it would
increase the page count of this book to an unnecessary length. If you aren’t as serious of a
musician, then I have good news, you don’t have to understand this process. It will only help
you in the end, but if you aren’t interested, then don’t worry about it ;).

3
Common Chord Shapes

Rather than learning how to play a G bar chord, then an A bar chord, it’s better to for both us of
to just show you the shapes. These are moveable chord shapes. Look at the first example,
Major E string root. That’s an F chord if you play it at the first fret. If you move that up to the 3rd
fret, it becomes a G. If you move it to the 5 fret, it becomes A. Assuming you understand the
fretboard, you should know exactly what I’m talking about.

These chords are all simple major and minor triads. They contain 1, 3, 5 (b3 if minor). I’ve
included ways to play them without bass notes in case you are playing with a bass player or you
simply cannot play the full chord.

Major E string root Major (no bass notes) Minor E string root Minor (no bass notes)

Major A string root Major (no bass notes) Minor A string root Minor (no bass notes)

Major D string root Major (no bass notes) Minor D string root Minor (no bass notes)

4
7th Chord Voicings (1, 3, 5, 7)

While knowing triads is cool, you are minimizing your knowledge by not learning 7th chords. If
you are an intermediate guitar player, you should already be able to play some and understand
how they work.

So how do they work?

Glad you asked! 7th chords always want to resolve to something, so they primarily act as
tension builders. They are usually followed by a chord that resolves it. A 12-bar blues can be all
7th chords and still sounds great. In blues that is quite common, but from a jazz perspective,
they almost always emphasize tension. Let’s have a look at some chord structures. (Chord
structure = the way a chord is voiced)

There are 2 categories of voicings when it comes to 7th chords. Drop 3 and drop 2. Drop 2 chord
voicings are more useful than drop 3. They are used more often in a group setting. For
example, if you were playing in a jazz trio, you would mostly use drop 2 chords. Drop 3 chords
tend to have low bass notes which makes them more useful if you were playing solo jazz guitar.

Drop 3 Structures THIS IS ALSO IMPORTANT. COME BACK IF YOU NEED TO:

Root position: 1-7-3-5
1st Inversion: 3-1-5-7
2nd Inversion: 5-3-7-1
3rd Inversion: 7-5-1-3

Drop 2 Structures:

Root position: 1-5-7-3
1st Inversion: 3-7-1-5
2nd Inversion: 5-1-3-7
3rd Inversion: 7-3-5-1

Inversion means that the chord has been inverted. If you are playing a 1st inversion chord, then
that means the lowest note is the 3rd of the chord. If you are playing a 2nd inversion chord, then
the lowest note is the 5th of the chord, etc. The structures are organized from lowest note to
highest note. This means that a root position drop 3 chord has the root as its lowest note and
the 5th as its highest note. I HOPE THIS MAKES SENSE TO YOU!

I want you to understand drop 2 and drop 3 chord voicings because they are going to take up
the bulk of the chord library. Now that we have covered it, let’s move on to the beast…

5
Part 2: THE CHORD SHAPE LIBRARY

I don’t want to talk too much in this section, because that’s not what this section is designed
for, but I have to make sure you understand what this library is made of.

These are chord C CHORD SHAPES. This means that the entire chord library is filled with C
chords. The shapes are labelled with fret numbers. So, if you wanted to play a D13, you would
move the chord shape up 2 frets higher. If you wanted to play a Bb13, you would move the
shape down 2 frets lower. I strongly recommend learning the fretboard so you know what
notes are where. You are only limiting yourself by not doing so.

There are OVER different shapes here. It’s not necessary to learn every single one. Learn as
many as you want to suit your own needs.

Now that we have cleared that up, here are a few chord shapes ;)

6
Cmaj7 Drop 3 chords (yes all of these chords are Cmaj7) 1, 3, 5, 7

E string bass note

Root 1st Inversion 2nd Inversion 3rd Inversion


A string bass note

Root position 1st Inversion 2nd Inversion 3rd Inversion


Cmaj7 Drop 2 chords

A string bass note

Root Position 1st Inversion 2nd Inversion 3rd Inversion

D string bass note

Root Position 1st Inversion 2nd Inversion 3rd Inversion

7
C-7 Drop 3 chords. Other chord names include m7, mi7, min7. 1, b3, 5, b7

E string bass note

Root position 1st Inversion 2nd Inversion 3rd Inversion

A string bass note

Root position 1st Inversion 2nd Inversion 3rd Inversion


C-7 Drop 2 chords

A string bass note

Root Position 1st Inversion 2nd Inversion 3rd Inversion

D String bass note

Root Position 1st Inversion 2nd Inversion 3rd Inversion

8
C7 Drop 3 chords. 1, 3, 5, b7

E string bass note

Root Position 1st Inversion 2nd Inversion 3rd Inversion

A string bass note

Root Position 1st Inversion 2nd Inversion 3rd Inversion

C-7 Drop 2 chords

A string bass note

Root Position 1st Inversion 2nd Inversion 3rd Inversion

D string bass note

Root Position 1st Inversion 2nd Inversion 3rd Inversion

9
C-7b5 (C half diminished) Drop 3 chords. 1, b3, b5, b7

E string bass note

Root Position 1st Inversion 2nd Inversion 3rd Inversion

A string bass note

Root Position 1st Inversion 2nd Inversion 3rd Inversion


C-7b5 Drop 2 chords

A string bass note

Root Position 1st Inversion 2nd Inversion 3rd Inversion

D string bass note

Root Position 1st Inversion 2nd Inversion 3rd Inversion

10
Cmaj7(#11) Drop 3 chords. 1, 3, 5, 7, (9), #11

E string bass note

Root Position 1st Inversion 2nd Inversion 3rd Inversion

A string bass note

Root Position 1st Inversion 2nd Inversion 3rd Inversion

Cmaj7#11 Drop 2 chords

A string bass note

Root Position 1st Inversion 2nd Inversion 3rd Inversion

D string bass note

Root Position 1st Inversion 2nd Inversion 3rd Inversion

11
Cm(maj7) Drop 3 chords. 1, b3, 5, 7

E string bass note

Root Position 1st Inversion 2nd Inversion 3rd Inversion

A string bass note

Root Position 1st Inversion 2nd Inversion 3rd Inversion

Cm(maj7) Drop 2 chords

A string bass note

Root Position 1st Inversion 2nd Inversion 3rd Inversion

D string bass note

Root Position 1st Inversion 2nd Inversion 3rd Inversion

12
C7(b5) Drop 3 chords. 1, 3, b5, b7,

E string bass note

Root Position 1st Inversion 2nd Inversion 3rd Inversion

A string bass note

Root Position 1st Inversion 2nd Inversion 3rd Inversion

C7(b5) Drop 2 chords

A string bass note

Root Position 1st Inversion 2nd Inversion 3rd Inversion

D string bass note

Root Position 1st Inversion 2nd Inversion 3rd Inversion

13
C7(#5) Drop 3 chords. 1, 3, #5, b7,

E string bass note

Root Position 1st Inversion 2nd Inversion 3rd Inversion

A string bass note

Root Position 1st Inversion 2nd Inversion 3rd Inversion

C7(#5) Drop 2 chords

A string bass note

Root Position 1st Inversion 2nd Inversion 3rd Inversion

D string bass note

Root Position 1st Inversion 2nd Inversion 3rd Inversion

14
 End of Drop 3 & Drop 2 chord voicings

Co7 (Cdim7) 1, b3, b5, bb7

E string root A string root D string root

Note: What is cool about diminished chords is that they can be moved a distance of a minor 3rd
in either direction (up or down) and still be the same diminished chord. If you do that with any
of these shapes, you will still be playing a Co7 chord.

C7b9 1, 3, 5, b7, b9

A string root Diminished shape D string root

Note: If you look at the third Co7 and the second C7b9 chord, you can see that they are the
same shape. They are not substitutes for each other, but it’s worth knowing that 7b9 chords
can also be moved 3 frets up and down while maintaining the same shape.

C7#9 1, 3, 5, b7, #9 (The “Jimi Hendrix Chord” is E7#9)

The Jimi Hendrix chord b7, 3, #5, #9 1, 3, b7, #9

15
 9 Chords

Cmaj9 1, 3, 5, 7, 9

3, 1, 9, 5, 1 1, 3, 7, 9 1, 3, 7, 9


C9 1, 3, 5, b7, 9

3, b7, 9, 5 1, 3, b7, 9

b7, 9, 3, 1 b7, 3, 5, 9 1, 3,b7, 9

Csus9 1, 4, 5, b7, 9

1, b7, 9, 4 1, b7, 9, 4

16
C-9 (Cm9, Cmi9, Cmin9) 1, b3, 5, b7, 9

1, b3, b7, 9 b7, b3, 5, 9 b3, 5, b7, 9 1, b3, b7, 9

Some harder, but beautiful voicings

5, 9, b3, b7 b7, 9, b3, 1 b3, b7, 1, 9 (hardest voicing in the book)


Cadd9 1, 3, 5, 9 C-add9 (Cmadd9) 1, b3, 5, 9

1, 5, 9, 3, 5, 1 1, 5, 9, 3, 5 1, 5, 9, b3, 5, 1 1, 5, 9, b3, 5




End of 9 Chords

17
 6 Chords

C6 1, 3, 5, 6

1, 5, 1, 3, 6 1, 5, 6, 3 3, 6, 1, 5

1, 6, 3, 5 6, 3, 5, 1 1, 5, 6, 3


C-6 1, b3, 5, 6

1, 6, b3, 5 6, b3, 5, 1 5, 1, b3, 6

1, 6, b3, 5 b3, 6, 1, 5

18
C6/9 1, 3, 5, 6, 9

1, 3, 6, 9, 5 1, 3, 6, 9, 5 1, 9, 6, 1, 3

C-6/9 1, b3, 5, 6, 9

End of 6 Chords


11 Chords
C11 1, 3, 5, b7, 9, 11

1, 3, b7, 1, 11 1, 11, b7, 3, 5 1, 11, b7, 3

C-11 1, b3, 5, b7, 9, 11

1, 11, b7, b3, 5, 1 1, 11, b7, b3, 5 1, 11, b7, b3 1, b3, b7, 1, 11

End of 11 Chords

19
 13 Chords

Cmaj13 1, 3, 5, 7, 9, 11, 13

1, 7, 3, 13, 9 1, 5, 7, 9, 13 1, 9, 13, 7, 3 3, 13, 9, 5, 7

C-13 (Cm13, Cmi13, Cmin13) 1, b3, 5, b7, 9, 11, 13

1, 5, b7, b3, 13 b3, 13, 9, 5, b7 b3, b7, 9, 13 b3, b7, 13, 9

C13 1, 3, 5, b7, 9, 11, 13

1, b7, 3, 13 1, 3, b7, 9, 13 b7, 1, 3, 13

End of 13 Chords

20
 Sus Chords

Csus2 1, 2, 5

1, 5, 1, 2, 5 1, 5, 1, 2 1, 2, 5, 1 1, 2, 5, 1

Csus4 1, 4, 5

1, 5, 1, 4, 5, 1 1, 5, 1, 4, 5 1, 5, 1, 4

4, 5, 1, 5 4, 5, 1, 5 5, 1, 4, 1

C7sus 1, 4, 5, b7

1, 5, b7, 4, 5 1, 5, b7, 4 4, b7, 1, 5 b7, 4, 5, 1

End of Sus Chords

21
 Augmented Chords

C+ (Caug) 1, 3, #5

#5, 1, 3, #5 1, 3, #5, 1 3, #5, 1, 3

What is cool about augmented chords is that you can slide this shape up 4 frets and it’ll still be
the same chord.

1, 3, #5 3, #5, 1

The same concept can be applied to this shape.





END OF CHORD LIBRARY

22
Part 3: CHORDS OF A KEY

Remember, because I can’t stress this enough: You have just finished going through the chord
SHAPE library. All of those chords were a variation of a C chord to some degree. Whether it was
major, minor, suspended, dominant, whatever! For example, if you wanted to play a Gmaj13,
you would have to go into the library, find the Cmaj13, then adjust your fretting hand
accordingly. This is why I recommended this book to the intermediate player in hopes that they
would have an understanding of the fretboard already. That being said, shall we move on?

I would hate for you to be able to play all these different chord shapes and not actually be able
to apply them to anything. In this short section, I’m going to outline which chords fit within
each key (the brackets represent the relative minor)

Key 1 2 3 4 5 6 7

C (Am) Cmaj7 D-7 E-7 Fmaj7 G7 A-7 B-7b5

G (Em) Gmaj7 A-7 B-7 Cmaj7 D7 E-7 F#-7b5

D (Bm) Dmaj7 E-7 F#-7 Gmaj7 A7 B-7 C#-7b5

A (F#m) Amaj7 B-7 C#-7 Dmaj7 E7 F#-7 G#-7b5

E (C#m) Emaj7 F#-7 G#-7 Amaj7 B7 C#-7 D#-7b5

B (G#m) Bmaj7 C#-7 D#-7 Emaj7 F#7 G#-7 A#-7b5

Gb Gbmaj7 Ab-7 Bb-7 Cbmaj7 Db7 Eb-7 F-7b5

(Ebm)
Db Dbmaj7 Eb-7 F-7 Gbmaj7 Ab7 Bb-7 C-7b5
(Bbm)
Ab (Fm) Abmaj7 Bb-7 C-7 Dbmaj7 Eb7 F-7 G-7b5

Eb (Cm) Ebmaj7 F-7 G-7 Abmaj7 Bb7 C-7 D-7b5

Bb Bbmaj7 C-7 D-7 Ebmaj7 F7 G-7 A-7b5

(Gm)
F (Dm) Fmaj7 G-7 A-7 Bbmaj7 C7 D-7 E-7b5

C (am) And The Cycle Repeats Blah Blah Blah

23
Part 4: ADVANCED CONCEPTS

You don’t have to worry too much about this section if you aren’t interested in learning jazz
guitar. That’s where these following concepts are the most important. For example, root
movement is important in all aspects of music, but in jazz especially.

Voice Leading

I’m confident I could write an entire separate e-Book on this subject alone. Since this is a mainly
a chord shape library e-Book, I will keep things light.

Basically, when you are playing chords in a jazz context, you want the chords to be relatively
close together. A general rule is that the highest note of the chord should not be more than a
minor 3rd (3 frets) away from the next.

What do I mean by that?

Let’s say you have a G chord. If your next chord is D. If you play an open G chord, you know that
the highest note is the 3rd fret on the high E string. When transition to D, the highest note
becomes the 2nd fret of the high E string. The distance between those 2 notes is a minor 2nd
which is safe.

In the jazz standard example, you will see that the highest note is generally never too far from
the next.

Root Movement and Tritone Substitutions

If you don’t know what a root is by this point and time in the book, I’m judging you. In a C
chord, C is the root. Easy.

When writing chord progressions, it’s important to have strong root movement… But what is
strong root movement? And what makes it strong?

A semitone, 4th, and 5th are all examples of strong root movement. Referring again to the jazz
standard example, do you notice that all the chords are a distance of a 4th or 5th away from
each other? C to F is a 4th, but it could also be a 5th if you go down the neck instead of up. For
example:

If you are playing a C-7 root position drop 2 chord on the A string (see chord library) and then
play an F7 root position drop 2 chord on the A string, you have to go up to the 8th fret. You’re
travelling a perfect 4th up the neck. BUT if you go from your C-7 to an F7 root position drop 3
chord on the E string, you just travelled down a perfect 5th.

24

So, if you’re looking to write your own chord progressions, it’s worth knowing what are
examples of strong root movement. This is why tritone substitutions work so well.

Wait a minute…. WTF IS A TRITONE SUBSTITUTION?!

Glad you asked!

Sticking with our C-7 to F7 chord transition, let’s figure out what our tritone sub is for F7.
Tritone substitutions for the most part are only used with dominant 7 chords. There are
exceptions, but I rarely ever see them. From this you can probably guess that we are going to
be swapping out our F7 for a tritone sub.

A tritone = 3 whole steps. It’s literally the halfway point of the next octave. F to F is a full
octave. F to B is a tritone. Makes sense yes? 3 whole tones up from F is B. So, B is the root of
our tritone sub. But what is the chord? Simple! It’s just a B7 chord.

How does this work? F7 and B7 have the same guide tones (guide tones = 3rd and 7th).

F7 = 1, 3, 5, b7 = F, A, C, Eb
B7 = 1, 3, 5, b7 = B, D#, F#, A

The 3rd and 7th of F7 are A and Eb
The 3rd and 7th of B7 = D# (Eb) and A.

The root changes from F to B, and what did we say earlier was a good example of strong root
movement? A semitone. Going from C to B is 1 semitone. That is strong root movement. The
guide tones are the same as the F7, and you can omit the 5 entirely. If you want to add it in,
then the F# would be the b9 of F7 which is a perfectly acceptable extension in a 7 chord.

Now you know what a tritone sub is!









Part 5: SAMPLE PROGRESSIONS / SONG EXAMPLES

25
 Variations of a Basic 1 5 6 4 Chord Progression
Brandon D'Eon
Standard tuning
= 120
G D Em C
1 2 3 4
s.guit.

3 2 0 0
3 3 0 1
0 2 0 0
0 0 2 2
2 2 3
3 0

G D Em C
5 6 7 8

3 7
3 7 8 5
4 7 9 5
5 7 9 5
5 5 7 3
3

G D Em C

9 10 11 12

10 7 8
12 10 8 8
12 11 9 9
12 12 9 10
10 12 7 10
10 8

G D Em C
13 14 15 16

7 2 3
8 3 5 5
7 2 4 5
5 0 2 5
3

G D Em C
17 18 19 20

3
3 7 5 5
4 7 4 5
5 7 5

G D Em C

21 22 23 24

15 14 12 12
12 15 12 13
12 14 12 12
12 12 14 10

1/2
 Chord Scales
Brandon D'Eon
All of these lines belong to the same key
Standard tuning
= 120
Cmaj7 D-7 E-7 Fmaj7 G7 A-7 Bm7(b5) Cmaj7

1 2 3 4
s.guit.

5 6 8 10 12 13 15 17
4 5 7 9 10 12 14 16
5 7 9 10 12 14 15 17
3 5 7 8 10 12 14 15

Cmaj7 D-7 E-7 Fmaj7 G7 A-7 Bm7(b5) Cmaj7

5 6 7 8

3 5 7 8 10 12 13 15
1 3 5 6 8 10 12 13
4 5 7 9 10 12 14 16
2 3 5 7 9 10 12 14

Cmaj7 D-7 E-7 Fmaj7 G7 A-7 Bm7(b5) Cmaj7

9 10 11 12

7 8 10 12 13 15 17 19
5 6 8 10 12 13 15 17
5 7 9 10 12 14 16 17
5 7 9 10 12 14 15 17

Gmaj7 A-7 B-7 Cmaj7 D7 E-7 F#m7(b5) Gmaj7

13 14 15 16

3 5 7 8 10 12 13 15
4 5 7 9 11 12 14 16
4 5 7 9 10 12 14 16
3 5 7 8 10 12 14 15

Gmaj7 A-7 B-7 Cmaj7 D7 A-7 F#-7(b5) Gmaj7

17 18 19 20

7 8 10 12 14 15 17 19
7 8 10 12 13 15 17 19
7 9 11 12 14 16 17 19
5 7 9 10 12 14 16 17

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 Jazz Standard Example
Chord Progression Examples by Brandon D'Eon
Standard tuning
= 120
C-7 F7(b9) Bbmaj7 Ebmaj7
1 2 3 4
s.guit.

8 7 6 8
8 8 7 7
8 7 7 8
8 6
8 6

A-7(b5) D7(b9) G-7

5 6 7 8

4 4 3 (3)
5 5 3 (3)
5 4 3 (3)
5
5 3 (3)

C-7 F7(b9) Bbmaj7 Ebmaj7

9 10 11 12

11 11 10 10
11 10 10 8
12 11 10 8
10 10 8 8

A-7(b5) D7(b9) G-7 (G-7)

13 14 15 16

8 8 6 3
8 7 6 3
8 8 7 3
7 7 5 3

C-7 F7(b9) Bbmaj7 Ebmaj7

17 18 19 20

6 5 6 6
4 4 6 4
5 5 7 7
5 4 7 5

A-7(b5) D7(b9) G-11

21 22 23 24

8 11 10 (10)
8 10 11 (11)
8 11 10 (10)
7 10 10 (10)
10

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 Same Progression, Different Chord Shapes
Brandon D'Eon
Standard tuning
= 120
E-7(b5) A7(b9) D-7 D7(b9)

1 2 3 4
s.guit.

10 9 8 8
8 8 6 7
9 9 7 8
8 8 7 7

G-7 C7(b9) Fmaj7 E-7(b5) A7(#5) D-11

5 6 7 8

6 6 5 3 3
6 5 5 3 2 6
7 6 5 3 3 5
5 5 3 2 2 5
5

E-7(b5) A7(b9) D-7 D7(b9)

9 10 11 12

6 5 5 8
8 5 3 4 7
7 6 5 5 8
8 5 3 4 7
7

G-7 C13 Fmaj7 E-7(b5) A7(b9) D-7

13 14 15 16

10 8 8 10 9 10
8 10 10 8 8 10
10 9 9 9 9 10
8 8 10 8 8 10

E-7(b5) A7(#5) D-7 D7(b9)

17 18 19 20

5 6 3 4
7 6 5 5
5 5 3 4
6 5 5 5

G-7 Gb7 (Tritone sub for C7) Fmaj7 E-7(b5) A7 D-7

21 22 23 24

3 2 1 3 2 3
3 3 2 3 2 5
3 2 2 2 2 3
3 2 1 3 3 5

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 Go up, Go down, or Stay
There are the 3 different ways to navigate the neck
Brandon D'Eon
Have a look at the chords and pay attention to where your hand is on the neck
Standard tuning
= 120
A-7 (We're going up!) D-7 G7 Cmaj7 C7

1 2 3 4
s.guit.

1 3 6 8 8
2 5 7 9 9
2 3 5 9 8
3 5 7 8 8

Fmaj7 B-7(b5) E7 A-7 A7(b9)

5 6 7 8

6 10 9 10 11
9 10 9 12 12
7 9 9 10 11
8 10 10 12 12

D-7 G7 Cmaj7 (Time to go down) E-7 Eb7 (Tritone sub for A7)

9 10 11 12

13 15 17 12 11
14 16 16 12 12
12 15 17 12 11
15
13 15 12 11

D-7 G7(b9) Cmaj7 B-7(b5) Bb7

13 14 15 16

10 9 8 6 6
10 10 9 7 7
10 9 9 7 6
10 10 8 7 6

A-7 D-7 G7 Cmaj7 (I like it here, I'll stay)

17 18 19 20

5 3 3 5
5 5 4 4
5 3 3 5
3
5 5 3

Fmaj7 B-7(b5) E7(b9) A-7 A7

21 22 23 24

5 5 4 5 5
5 3 3 5 5
5 4 4 5 6
3 3 3 5 5

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 D-11 G7 E-7 A7(b)
25 26 27 28

5 7 7 6
6 6 5 5
5 7 7 6
5 5 5 5
5

D-11 G7 Cmaj7 B-7(b5) E7(b9)

29 30 31 32

5 7 7 7 7
6 6 5 6 6
5 7 5 7 7
5 5 5 7 6
5

A-7
33

8
8
9
7

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