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 Moveable Chords
for
Mandolin
&
Other Stringed Instruments
Tuned in Fifths
(GDAE, CGDA, etc.)

compiled by Steve Horn

© Copyright 2010-2012 Steve Horn under the conditions of the GNU license
see Appendix - “GNU” License
or visit http://ouibis.com/mandoSymmetry/copyright-policy/
Page 2
Forward
Welcome to this handy guide to moveable chords for mandolin (or any stringed instrument tuned in
fifths). Using “moveable chords” frees the player from the dependency on open strings and a limited
number of keys. This enables easy migration to any key of choice, up or down the neck or across the
strings.

While any diagram can be played in the first position on the neck and therefore use open strings, the
true value is that the diagram can be used in any position on the neck. These chord diagrams display
shapes that are of reasonable reach for any size hand. You can find wider reaches in other chord
books and find shapes that make use of open strings with fretted notes that would otherwise be be-
yond the stretch of most players’ hands. While that is useful especially with some musical styles, this
book focuses on shapes that utilize good voicing and demonstrate multiple inversions of a chord that
can move to any position and thereby transpose to any key.

This book requires an understanding of harmonic relations in music. This can come from a knowledge
of music and music theory OR it can come from practical application, practice, and a good ear. Either
way or both ways are good and with patience and persistance, you can develop an expanded sense
of musicianship and an enhanced relationship with your instrument.

This book differs from many chord encyclopedias. The chord diagrams never denote a pitch level
(A, B, C, etc.) or fret number. Instead, pitches are relative to the root of the chord and designated by
scale degree number.
dom7

3 b7 5 1
An example of a dominant 7 chord showing the chord
members as scale degrees:
Root (1) - Third - Fifth - Flatted Seventh
Place this on any fret, say the third fret of a Mandolin
for a G7

To some players this may seem foreign or complex but actually requires less memorization. Rather
than having twelve times as many pages showing the same chords for each of the twelve keys, here
we say “This is a major chord” or “This is a minor chord” and the scale degree numbers tell the rest of
the story. This book focuses more on function, less on memory, and offers a way to develop flexibility
that opens up the entire fretboard and all keys

We start by looking at Triads (see p 11). You may know many of these already. Here you can begin to
see the how this system works in presenting moveable chords. Moving a typical G-C-D-G progression
up a fret makes playing the same tune in A-flat a simple task. It’s a breeze....once you get it down.

Next come the Tetrads (four note chords - see pp 8 & 9). These are the foundation of jazz harmony.
We talk a little about these, then on the next spread, are examples of various types of tetrads in many
inversions, presented to demonstrate visually how they relate to one another. You can spend hours
and hours just on these two pages and use them as a reference companion when reading chards out
of your favorite Fake Books. Page 3

Next comes the ii-V-I progression, the most frequently found progression in jazz and popular music.
On this page, you will find suggested voicings (and there are many more to explore, too) that will give
to you the familiarity you need to feel at home looking at any jazz chart and feel like you belong in any
jazz session. This is where you will grow your sea legs.

In short, this book offers a lot of information about chords for the mandolin. It focuses on function, on
flexibility and understanding, on building a sense of familiarity with rich harmonies and ease in play-
ing in all keys and all areas of the neck.The book is laid out so the player can open to a specific page
or page spread and see chord diagrams that cover a particular range of application. If you focus on
these elements and practice regularly, you will find you can fit into any session or to play along with
any group you happen to encounter and not feel like you stick out like a sore thumb. Here’s to enjoy-
ment and to good practice.

Acknowledgements
I would like to acknowledge Thad Bonduris of Bonduris Music in Denton, Texas for help in under-
standing many musical considerations concerning the use of chords and chord voicing. Thad and his
staff teach a variety of styles of music on many instruments. Thad is a huge asset to the community
providing entertainment, education and an enthusiasm that spreads to young and old alike.

I would like to acknowledge Dr. Leon Peek who offers his eyes and ears as well as his fortuitous voice
to provide insight and feedback, wit and wisdom and always a different way to do whatever a person
has in mind.

I would like to acknowledge my wife Jenny and two cats for their patience as what I play isn’t always
pretty but at least it isn’t always banjo.

Printing This Document

This PDF is set up to print on US Letter Size (8.5x11 inch) paper. If your printer supports two-sided
printing or if you take this to a copy center that provides that service, please see that the title page
prints on the right side of the spread. This follows the document setup and guarantees that certain
pages open across from each other. Page spreads such as for tetrads will then be visible at a glance
without turning pages.

Did we miss an important chord?

If we missed a favorite of yours, please submit an example either by weblink or in a text version (see
below) to contact@ouibis.com.

0101
1000
0010

I will try to figure out what you send and will attribute you as a contributor either on a web page or in
future editions of this document. We cannot guarantee your submission will be added or that it hasn’t
already been submitted. Thanks for your contributions.
Page 4
I Like This Book, Can I Make a Donation?
Yes you can. While the book is free, if you would like to make a donation for the hard work that went
into this, we are working on setting up a PayPal account for this purpose. Donating does not add
any priveledges that the free copy doesn’t already come with. We do appreciate your support. In the
interim, please email us at http://ouibis.com/mandoSymmetry/donations/
 Table of Contents
List Spreads
Title 9 b9
Page m9 #9
Title Page

Forward

Table of Contents 9 m 9
Forward, etc

About Triads

Triad Examples
Table of
Content m7b9 #9
About Tetrads s

Tetrad Examples

The ii-V-I progression About

Triad
b5#9 #5b9
Exampl
Triads b5b9 #5#9
es
About Upper Tensions

Upper Tensions - 9ths, 11ths, 13ths, alt chords

About Tetrads,
∆9 b5b9 jazz chords, 11 #11
9 #5b9 m11 m#11

6/9 #5#9
m∆7 11
m∆9 m11 dim7,
7,
m6/9 #11 Dom7
m7b5, 11 #11
7b5, m 11 m #11
∆b5 m#11 6
7#5
∆º ∆11
∆+ m∆11
m∆+ ∆#11
9 m∆#11 About ii-V-I 13 13#11
ii-V-I examples m13 m13#11
m9 13
b9 m13
#9 13#11
∆9 m13#11
m∆9 ∆13 About colorations or
tensions
13 13#11
m 13 m 13#11
m7b9 m∆13
∆#9 ∆13#11
b5#9 m∆13#11 m 7
9 m 9, Appendix
9 m7&9, Shape
Appendices 6/9 m6, Duplicates
Duplicate Shapes m6/9
GNU License
Appendix
b5 +
GNU
º m +
License
Page 6
Triads

Harmony in most popular styles of music throughout the world is based on the interval of a third. That
is to say, if you take a musical scale and choose every other scale degree (or every “third” scale de-
gree), you build chords based on that interval of a third and the result is known as “tertiary harmony”.

A triad is a three-note chord and in our system of tertiary harmony an example could be scale de-
grees 1, 3, & 5; 2, 4, & 6; 3, 5, & 7, etc. In the key of C, 1-3-5 would be pitches C-E-G. The three
notes of the triad create two stacked intervals of a third.

minor
G major
G
3rd

major
E 3rd

minor
Eb
3rd
C 3rd
C
examples: a major and minor triad
showing three notes and two stacked
intervals of a third.

C E G

& ˙ ˙ ˙ ˙
˙ ˙ ˙ ˙
major minor
3rd 3rd

C Eb G

& ˙ ˙ b˙ ˙
˙ ˙ b˙ ˙
minor major
3rd 3rd

The triads we are most familiar with are major and minor triads. The major triad, such as C-E-G has
a raised third (E) while the minor triad, such as C-Eb-G, has a lowered third (E-flat). Without knowing
any of that, your ear already knows the difference in sound in familiar tunes such as Mary Had A Little
Lamb (a major key) or He’s a Mean Man, Mr Grinch (a minor key).

While the major and minor triads are the most common and basic, there are two more to consider that
are commonly used: the diminished triad (1-b3-b5) and the augmented triad (1-#3-#5). Both these
have a stronger pull in our structure of harmony and want to resolve to either a major or minor triad.

The following page offers examples of these chords, all of which move to any position on the neck.
You also see the chord members listed (1-3-5) with the third of the major and minor chords empha-
sized. You will also notice that the example of the augmented chord, each diagram has more than
one functional application. You will see more examples of this as you read on in this book.
 Page 7
Mandolin Chords
Major • Minor • Augmented • Diminished

Maj min aug(+) dim(o)

1 5 b3 1 1 #5or 3 1 1 b5 b3 1
1 5 3 1
3 1 or#5 3
#5 3 1 #5
Maj min dim(o)
aug(+)

3 1 5 1 b3 1 5 1 b3 1 b5 b3
1 3 or 1 #5
3 #5or 3 1
Maj min #5 1 #5 3 dim(o)
aug(+)

5 1 5 3 5 1 5 b3 1 b5 b3 b5

1 #5or 3 #5
3 1 or#5 1 dim
Maj min
#5 3 1 3

5 3 1 5 5 b3 1 5 b5 1 b5 b3

These are the basic building blocks

on which the more complex chords
(6ths, 7ths, 9ths, 11ths, and 13ths)
are built.
Page 8
Tetrads

While the three-note triad is made up of two stacked intervals of a third, the tetrad is a four-note chord
and (for our purposes) is made up of three stacked intervals of a third.

minor
Bb minor
Bb
G G
3rd 3rd
minor major

E Eb
3rd 3rd

major minor
3rd
C 3rd
C
Examples of two tetrads, a dominant 7
chord and a minor 7 chord.

The 6th and 7th chords are the foundation of jazz harmony and are presented in the following pages
in ways that show how they relate to each other, how they are similar and different, what elements
give them their individual character.

Like the triads on the previous page, these examples can move to any location on the neck. You will
see that, as we add more notes to these chords, we find more variations of each. You also will notice
that some chords (which may sound very different from one another) will use the same chord shape*
(e.g.: minor 6 chords and ø7 or half diminished 7). All this appears complex at first, but with time and
patience, the pieces of the puzzle will start to fit together. Please remember that as mysteries reveal
themselves, so broadens our musical landscape.

As the triad is the basic building block of many styles of music, in jazz the tetrad becomes the basic
ingredient. Please take time to become familiar with these sounds and we will later explore further
into upper tensions and altered chords.

The functions of these 6 and 7 chords (the tetrads on the following page) is a subject that can involve
years of study, much more than this book can hope to cover. But I would like to point out some char-
acteristics of these as they can function quite differently from one another. While this doesn’t come
close to a full embrace of harmonic theory, this introduces some basic concepts.

Dominant 7
This is most likely the strongest chord in our music. It is often used for color-only in blues and rock
(example: She’s a Woman by Lennon-McCartney where every chord used is a dominant 7 chord).
But looking at the chord functionally, this chord frequently resolves to a chord up a fourth as in the V-I
chord progression of most of our classical music, church hymns, and many familiar musical styles.
For example, a C7 would like to resolve to an F chord. This is true in major keys but also applies to
minor keys where sharps are added to the V chord to give it more pull to resolve to the tonic. You find
the Dominant used 7 frequently in all major and minor keys.
Major Major 7 (Δ7) and the 6 chords Page 9

Adding the major 7th or 6th scale degrees to a major chord adds richness to the sonority. The major
major 7 chord (as used in Chicago’s “Color My World”) is lush and introspective in nature. The 6th
scale degree is somewhat similar and resembles the major key’s relative minor, and depending on the
usage is no more than that. This can be a handy way to diffuse the major or minor identity in harmo-
nies.

The Minor 7, Minor 6, and Minor Major 7 (mΔ7) Chords

Here we are getting more colorful and complex. The minor 7 chord is quite common in minor keys
and in the Dorian mode . The minor 6 is often used in the same way as the minor 7 but has a more
exotic flavor that to some peoples’ taste can easily become overused. However, the minor 6 chord is
found frequently in the style of Django Reinhardt and in Parisian “Gypsy” Jazz of the early and mid
20th century. The minor major 7 chord is fun to experiment with and adds an even more exotic flavor
such as can be found in more complex colors found in examples later in this book.**

Major Major 7 Dominant

Triad (∆7) 7 6

1 5 3 1 1 5 3 ∆ 1 5 3 b7 1 5 3 6

This diagram shows how moving the tonic (1)

ot the Major Triad creates a Major 7, Dominant
7, and 6 chord.

* You will notice that some shapes appear again and again with a different label.
Please refer to the appendix at the end of this book that identifies these similari-
ties.
** Please refer to “Adding More Color - The Upper Tensions” (p 14), the addition of
the 9th (pp 16 & 17) and examples of altered chords, 11 and 13 chords (pp 18-
33).
 Page 10
Mandolin Chords
Major Seven • Dominant Seven • Six Minor Maj 7 Minor 7 Minor 6
Notice how these examples relate to each other as well as
the examples on the previous page. The major 7, minor 7, mΔ7 m7 m6
and 6 chords often can be easily found by moving the tonic
note down to the corresponding scale degree.
Δ7 dom7 6

1 5 b3 Δ7 1 5 b3 b7 1 5 b3 6

mΔ7 m7 m6
1 5 3 Δ7 1 5 3 b7 1 5 3 6
Δ7 dom7 6

b3 Δ7 5 1 b3 b7 5 1 b3 6 5 1

3 Δ7 5 1 3 6 5 1
mΔ7 m7 m6
3 b7 5 1
Δ7 dom7 6

5 1 Δ7 b3 5 1 b7 b3 5 1 6 b3

5 1 Δ7 3 5 1 b7 3 5 1 6 3 mΔ7 m7 m6
Δ7 dom7 6
Δ

1
Δ7 b3 1 5 b7 b3 1 5 6 b3 1 5
Switching the 1 and th 7
Δ7 3 1 5 b7 3 1 5 6 3 1 5 makes a better voicing
Δ7 6 but a difficult reach:
Here are some nice voicings but it uses an extended reach,
especially with the ^7
mΔ7 m7 m6

1 3 Δ7 5 1 6 3 1
Δ7

1 Δ7 3 5 1 b7 3 5 1 6 3 5

3 1 5 Δ7
 Mandolin Chords Page 11

Fully Diminished Seven & 7b5 7#5

Half Diminished Seven

o7 ø7 7b5 7#5

1 b5orb3 bb7 1 b5 b3 b7 1 b5or 3 b7 1 #5 3 b7

b3 bb7orb5 1 b5 1 b7 3
b5 1 orbb7 b3 ø7 7#5
bb7 b3 1 b5 7b5
Note:
See how raising
any note of the
fully diminished 7
chord creates a
different inver- b3 b7 b5 1 3 b7 #5 1
3 b7orb5 1
sion of the half
b7 3 1 b5
diminished 7 ø7
chord. The note 7#5
you raise
becomes the 7th
scale degree of
the new chord.

b9
b5 1 b7 b3
b7 3 1 #5
ø7

3 b7or 5 b9
5 b9orb7 3
b9 5 3 b7
b7 b3 1 b5
The same chord
played against a
different root or
bass note can
render a b9
chord. That root
would either be a
1/2 step, major
3rd or perfect 5th
below the lowest
note of this
mandolin chord.
Page 12
The ii-V-I Progression
This chord progression is found with great frequency in jazz and popular music. In a major key (ii-V7-
I) this would be made up of a minor ii followed by the dominant V7 followed by the (major) tonic. In
a minor key (ii Ø-V7-i), that would be a half-diminished ii ø followed by the dominant V7 followed by
the (minor) tonic. It is an embellishment of the age-old practice in harmony of the progression from
subdominant (in this case the minor ii chord) to the dominant (V7) to the tonic. Some styles may tend
to substitute a major IV in place of the minor ii or there also may be the use of tht viiº (fully dimin-
ished) in place of the V7. Yet, in jazz, the favorite is ii-V-I, or in minor keys ii Ø-V7-i. You can find this
progression everywhere, sometimes in fragment. If you take time to familiarize yourself with these
changes, you will find comping much easier as the ground you are exploring will be all the more famil-
liar.

The examples provided show these moveable chords with optional notes in grey which are included
as a matter of choice and of convenience for the player. In some instances, an added 9th makes for
an easier fingering or may work more suitably in a particular context. There are ways to consider em-
bellishing the standard tetrad once you have familiarity and feel willing to take the plunge into more
colorful chords.
 Page 13
ii7 - V7 - IΔ7 iiø7 - V7 - i7
(Major Keys) (Minor Keys)
ii7 V7 IΔ7 iiø7 V7 i6-i7-iΔ7

1 5 3 7 5 1 7 3 1 5 3 7 1 b5 3 7 5 1 7 3 1 5 3 #6
7
#7

ii7 V7 IΔ9-IΔ7 iiø7 V7 i6-i7-iΔ7

3 7 5 1 7 3 1 5 3 7 5 1 3 7 b5 1 7 3 1 5 3 #6 5 9
9 7
#7

ii7 V7 IΔ9 iiø7 V7 i6-i7-iΔ7

5 1 7 3 1 5 3 7 5 1 6 3 b5 1 7 3 1 5 3 7 5 1 #6 3
9 #7 7
#7

ii7 V7 IΔ7 iiø7 V7 i6-i7-iΔ7 i6

-or-

7 3 1 5 3 7 5 1 1 3 7 5 7 3 1 b5 3 7 5 1 b7 #6 3 1 5
#7 7
1 5 3 #6
7 #7
#7
Page 14
Adding More Color - Upper Tensions

With four note chords or tetrads being the basic building blocks for jazz chords, how can an instru-
ment with only four strings possibly add more notes? That’s a good question with a very certain an-
swer. The first notes to go are always the root and the fifth.

Some may find that hard to believe but it is true due to several reasons. One is that the root is almost
allways provided by the bass or by the accompaniment (piano or guitar). A second reason is that in
the context of the music the root and fifth are implied and therfore most likely to be “added” by the ear.
Another reason and probably the most important of all is that the relationship between the 3rd and the
7th of any chord is if utmost importance, particularly when the tritone is involved. The quick-and-easy
answer is simply, “sacrifice the root or the fifth”.

Another consideration for mandolins and other 4 string instruments is this. The nature of our instru-
ments is more for adding color than for providing the basic foundation of the music. This isn’t good
information in terms of job security but accepting this offers us the practical ability to give the best we
have to offer musically. Accepting our place in the ensemble is critical to being a contributing member-
--it’s our home base, the point from which to deviate, to explore and to develop as musicians. Also,
it is good to be aware that it is not required to include the upper tensions, 9ths, 11ths and 13ths. You
can play it safe and stick to a seven chord even when you see these more complex chords in your
charts. It is more critical to add the correct 7th (Δ 7 or b7) and the correct 3rd (major or minor). As
your ear develops, you will be able also to determine when a b9 or a b5 is in line or a #11. Until then,
the seven chords are a great safe haven in which to reside.

If you need to get your ear in shape, listen to music and experiment with the examples we offer here.
In the next pages, you will find some examples of how the 9th can be added into the already familiar
6 and 7 chords. The most likely note in a 7 or 6 chord to become the 9th would be the root. Depend-
ing on the example and the context, you later may find that for both 11th and 13th chords, the likely
note to replace would be the 5.
Page 16 Mandolin Chords
Δ9 Major 9 • 9 • 6/9
9 6/9
We now move on to exploring upper tensions in
jazz chords. On these two pages, we look at a
handful of examples of adding the 9th scale
degree to our now familiar tetrads. For a more
complete listing of chords using upper tensions, 1 3 9 Δ7 1 3 9 b7
please take a look at the pages that follow. There 1 3 9 6
you will find 9ths, 11ths, 13ths of many varieties. Δ9 9 6/9

1 5 9 Δ7 1 5 9 b7 1 5 or 9 6
5 9 6 3
Δ9 9 6/9

3 Δ7 5 9 3 b7 5 9 3 6 or 5 9
6 9 1 5
Δ9 9 6/9

5 9 Δ7 3 5 9 b7 3 1 5 or 9 6
5 9 6 3
Δ9 9 6/9

Δ7 3 9 5 b7 3 9 5 6 3 9 5
Δ9 9 6/9

9 5 3 Δ7 9 5 3 b7 5 1 or 6 9
9 5 3 6
 Mandolin Chords Page 17

Minor Major 7 & 9 Minor 7 • Minor 9 Minor 6 • Minor 6/9

mΔ7 x mΔ7 m7
x m9 m6 m6/9

b3 Δ7 5 1 5 b3 b7
or 9 5 b3 b7 1 5 b3 6 9 5 b3 6
5 b3 Δ7
or
Δ7 5 b3 m7 m9
m6/9
This configuration which is an
augmented chord, can be used as
the the third, fifth, and seventh
degrees of the mΔ7 and mΔ9
chords.
mΔ7 mΔ9 b3 b7 5 1 b3 b7 5 9
b3 5 9 6
m7 m9 m6 m6/9

1 5 b3 Δ7 9 5 b3 Δ7
Moving the tonic up a step
5 1 b7 b3 5 9 b7 b3
creates a useable Δ9 chord. b3 6 5 1 b3 6 5 9
mΔ7 mΔ9
m7 m9 m6 m6/9

b3 Δ7 5 1 b3 Δ7 5 9
b7 b3 1 5 b7 b3 9 5 5 1 6 b3 5 9 6 b3
Perhaps a better
voicing would be: m6
mΔ9
This demonstrates how moving
the tonic note up a whole step
transfers a minor7 chord into a
minor9. Jazz chords can have as
many as six or seven notes in
them. On a four course instru-
6 b3 1 5
b3 5 9 Δ7 ment such as mandolin, it is
mΔ9 common to sacrifice the root or
the fifth in order to add color
tones such as the 9th, 11th or
13th.

5 9 Δ7 b3
Page 18 Mandolin Chords
∆b5 (see ∆#11) ∆°
major 7 flat 5 major 7 diminished

3 ∆7 #11 9 3 1 #11 ∆7 1 3 ∆ #11 1 b5 b3 ∆7 b5 1 ∆7 b3 ∆7 b3 1 b5

b3 ∆7 b5 1 b3 1 b5 ∆7
 Mandolin Chords Page 19

∆+ m∆+
major 7 augmented minor major 7 sharp 5

1 #5 3 ∆7 ∆7 3 1 #5 3 1 #5 ∆7 1 #5 b3 ∆7 b3 1 #5 ∆7
Page 20 Mandolin Chords
9 m9
dominant 9 minor 9

1 3 9 b7 1 5 9 b7 3 b7 5 9 1 b3 9 b7 1 5 9 b7 b3 b7 5 9

5 9 b7 3 b7 3 9 5 9 5 3 b7 5 9 b7 b3 b7 b3 9 5 9 5 b3 b7

9 b7 3 1 b7 9 1 3 3 1 5 9 9 b7 b3 1 b3 1 5 9 1 b7 9 6

3 1 b7 9 1 b7 b3 9 b3 b7 9 1
 Mandolin Chords Page 21

b9 #9
dominant 7 b9 dominant 7 #9

3 b7or 5 b9 b9 b7 3 1 3 b9 5 1 b7 3 1 #9 1 3 #9 b7 b7 3 #9 b7
5 b9orb7 3
b9 5 or 3 b7
b7 3 b9 5

3 1 5 b9 1 b7 3 b9 b7 3 #9 5 3 b7 5 #9 #9 b7 5 3

3 1 #9 7
Page 22 Mandolin Chords
∆9 m∆9
major major 9 minor major 9

1 5 9 Δ7 3 Δ7 5 9 9 5 b3 ∆7 b3 ∆7 5 9 b3 5 9 ∆7
1 3 9 Δ7

5 9 Δ7 3 Δ7 3 9 5 9 5 3 Δ7

9 ∆7 3 1
 Page 23
Mandolin Chords
m7b9 ∆#9
minor 7 b9 major 7 #9

5 b9 b7 b3 b9 5 b3 b7 1 5 #9 ∆7
b3 b7 5 b9 5 #9 ∆7 3 1 3 #9 ∆7

b9 b7 b3 1 b7 b3 b9 5

3
Page 24
Mandolin Chords
ALT(b5#9) ALT(b5b9)

b7 3 #9 b5 b5 #9 b7 3 3 b7 b5 #9 b7 3 b9 b5 b9 b5 3 b7 3 b7 b5 b9

1 5 #9 b7 1 3 #9 b7 b5 1 3 #9 b5 b9 b7 3

b5 3 b7 #9
 Page 25
Mandolin Chords
ALT(#5b9) ALT(#5#9)

b7 3 b9 #5 #5 b9 b7 3 3 b7 #5 b9 #9 b7 #5 3 #5 #9 b7 3 3 b7 #5 #9

b9 #5 3 b7 3 #5 #9 b7
Page 26
Mandolin Chords
11 m11

b7 3 1 11 3 b7 11 9 3 b7 11 1 1 b3 9 11 b7 b3 1 11 b7 b3 9 11

b7 11 1 3 3 1 11 9 5 3 b7 11 1 11 b3 b7 b3 b7 11 1 b3 b7 11 9

3 1 b7 11 b3 1 b7 11
 Page 27
Mandolin Chords
#11 m#11
dominant 7 sharp 11 minor # 11

1 3 9 #11 b7 3 or 1 #11 3 b7 #11 9 b3 1 #11 9 b3 b7 #11 9 1 #11 3 b7

3 b7 #11 1

b7 3 9 #11 3 b7 #11 9 b7 b3 1 #11

1 5 9 #11 b7 #11 1 3 5 3 b7#11

3 ∆ #11 9 3 1 #11 ∆ 1 3 ∆ #11

Page 28
Mandolin Chords
∆11 m∆11
major major 11 minor major 11

11 ∆ 5 9 11 ∆ 5 3 3 ∆ 11 9 11 ∆ 5 9 11 ∆ 5 b3 b3 ∆ 11 9

9 11 3 ∆ 1 11 3 ∆ 11 9 ∆ 3 9 11 b3 ∆ 1 11 b3 ∆ 11 9 5 b3

11 9 5 3 11 ∆ 3 9 11 ∆ b3 9
 Mandolin Chords Page 29

∆#11 m∆#11
major major #11 minor major 7 #11

3 ∆ #11 9 3 1 #11 ∆ 1 3 ∆ #11 b3 ∆ #11 9 b3 1 #11 ∆ 1 b3 ∆ #11

3 ∆ #11 1 1 #11 9 ∆ 1 #11 3 ∆ b3 ∆ #11 1 1 #11 9 ∆ 1 #11 b3 ∆

#11 1 3 ∆
Page 30
Mandolin Chords

13 m13

13 9 b7 3 9 13 3 b7 1 b7 3 13 9 13 b3 b7 b3 b7 9 13 b7 5 b3 13

9 b7 3 13 5 b7 13 3 3 b7 13 3 b7 b3 13 5 1 b7 b3 13 b7 b3 9 13

9 b7 13 3 b7 3 9 13 b7 3 13 5
 Mandolin Chords
Page 31

13#11 m13#11

1 b7 #1113 #11 1 3 13 b7 #11 9 13 b7 #11 9 13 b7 #11 b3 13 1 #11 b3 13

or
b3 13 #11 1
or
#11 1 or13 b3
13 b3 1 #11

1 #11 9 13
Page 32 Mandolin Chords

∆13 m∆13
major major 13 minor major 13

1 13 3 ∆7 13 3 ∆7 5 3 ∆7 13 9 1 13 b3 ∆7 13 b3 ∆7 5 5 9 13 b3

3 13 5 ∆7 1 3 ∆7 13 ∆7 5 or 9 13 b3 13 5 ∆7 9 13 b3 ∆7 ∆7 5 b3 13
3 1 5 9

9 13or 3 ∆7
1 5 9 13
or
5 9 13 3
 Page 33
Mandolin Chords
∆13#11 m∆13#11
major major 13 #11 minor major 13 #11

13 3 ∆7 #11 #11 13 3 ∆7 #11 ∆7 13 3 13 b3 ∆7 #11 #11 ∆7 13 b3 #11 1 ∆7 13

3 13 #11 ∆7 ∆7 #11 3 13 #11 1 ∆7 13 b3 13 #11 ∆7 ∆7 #11 b3 13

Page 34
Appendix - Shape Dupicates
Sooner or later, you will find that various shapes all start looking the same or you may experience what appears to be
the phenomenon of Deja Vu. You may say to yourself, “Didn’t I already work on this shape?” or “Wait, this is a ø7, I
thought it was a m6” . . .
Actually, many shapes do bear resemblence and some are absolutely identicle. Identifying this issue is the first step in
turning a curse into a blessing. Firstly, I suggest you acknowledge this phenomenon and let it become more familiar,
and secondly always remember Easy Does It. This appendix references many of the duplicate shapes you will find
yourself sorting through.
Common duplicates that you may first notice are these:
• 6 chords, m7 chords and ∆9 chords
• dominant 7, m7b9 and others
• m6, ø7(m7b5) and others
• ∆7 and m9

Found in
dominant 7, m7b9,
b5b9, and
m∆13#11

Found in
m6, ø7, 9, #5b9
and m#11

Found in
∆7 and m9

Found in
6, m7 and ∆9
 Page 35
Shape Dupicates (cont’d)

Found in o7, b9 Found in Found in

and m13#11 m∆7, 6/9,
Due to the shape’s ∆#9 and 11,
symmetry, each of m#11 m11,
these chords has 4 ∆13,
variations. ∆13#11

Found in Found in Found in

m6, m6/9 and #5#9 13 and #9
ø7,
9,
b5#9 and
#5b9
m#11,
Page 36
Appendix - “GNU” License
The information found on this document is intellectual property and is protected by copyright with
the restrictions as outlined in the GNU project which is designed for open sharing of content without
requiring payment but also denies the right to take and use the content for profit. While this largely
applies to software, this applies to any content in this document regardless of the nature of the media,
either in digital or printed format, whether taken for free or a gratis, whether written by the author or
other contributors.

The copyright owners of this GNU-designated property agree that you may use, copy and share this
content but may not resell, charge or earn profit from it. You may include this content in your services
or with your products with proper attribution to its source and you may charge only for the services
or product content you add and not for the content you take from this source and you must present
that content as such. Example: if you print this document and sell it, you must designate this as a free
document that you printed and that purchaser is paying for the printing of the document.

Please read more at http://www.GNU.ORG and particularly about their licensing policy.

Appendix - Editorial Contributions

The following is a list of people from the Mandolin Comminuty who have offered helpful tips and edito-
rial suggestions of various natures. Thank you for your time and efforts.
Thad Bonduris

Peter Braccio

Maristella Feustle