v1.

This pack is part of the Tonetracer

reference library.
To download more free guides,
visit tonetracer.com

Thanks for downloading the Tonetracer Insta12 Pack reference guide. Here are some quick notes about the
features included in this pack, as well as some general pointers about how the visual design system works.

1) Chord sets are grouped within their respective families of scale tones.
2) The most common and useful shapes have been selected to showcase.
3) Chord shapes use 4 or less frets whenever possible to avoid difficult and overly complex fingerings.
4) Every chord in this pack is movable. Once you learn a shape, you automatically know 12 chords!

All Major chords use

This signifies a barre, which
this red & yellow color scheme. Single fretted notes 1 2 3
requires a finger laid flat to will appear as circles.
fret multiple notes at once. The numbers inside 4
R the circles
represent the
The white circle represents the 5
optimal finger to
root note, which will also name
2 3 use for each
the chord. They can appear
1 fretted note.
within a barre or a single note.
4 R

This label defines which string 3 5 These numbers represent the

is used to root/name the chord. scale degrees featured within
If notes have been excluded, R the chord shape. R = Root, which
they will be mentioned here. is also the “1.”
Low-E String Root
All minor chords use Chords that are neither major or
this violet color scheme. minor use this teal color scheme.
The up-arrow
R represents a root note 2

1 5 that has moved up, and 4 R

is no longer in the
b
3 chord’s bass position. 3 5

3 R 1 R
This icon represents a
slash or inverted chord. 5
The same chord notes
2
are rearranged with a
Alternate D String Root different note in the bass
(lowest note) position.
D String Inversion (2nd in Bass)

The X and dashed line represents Scale degrees appearing inside a

a string that should NOT be played. green square represent notes that are
This string should be skipped or muted. now played lower than the chord’s root.
 v1.4

BASIC TRIADS
The most basic chord is built from three notes. The root (or Tonic) is usually found in the bass of the chord, and
is always included in the chord’s name. The 3rd note (or Mediant) determines if the chord is major (natural
position) or minor (flattended half step). Finally, the 5th (or Dominant) is added. These three note chords form
the foundation for all other 7th, extended, or altered chord shapes.

Basic Major Chords - Movable Shapes

R 5 3 3

5 4 3 4 R

2 3 1 3 R 2 5
1
4 R 2 5 1 R

3 5 R

Low-E String Root A String Root D String Root

R
I ii iii IV V vi vii° 1
5

ROOT 3RD 5TH 2 3

3
Root + 3rd + 5th
R

Naming C or CMaj or Cmaj. Generally the “major” part is not part of

Examples the name to avoid any confusion with major 7th chords.
Alternate D String Root

Basic Minor Chords - Movable Shapes

R 5 2 b
3
5 2 b
3 4 R
b
3 1 4 R 3 5
1
3 R 3 5 1 R

2 5 R

Low-E String Root A String Root D String Root

R
I ii iii IV V vi vii° 1 5

ROOT 3RD
b
5TH
b
3

3
Root + 3rd + 5th
R

Naming Cm or Cmin or Cminor. The “m” is not capitalized to avoid

Examples confusion with major chords. The 5th is assumed.
Alternate D String Root
 v1.4

AUGMENTED CHORDS
An augmented chord is built by stacking major thirds from the root note. This can be achieved by taking any
major triad and sharpening the 5th. The distance between the root and 3rd note must be a major third. This
causes all augmented chords to feature a major/natural 3rd, resulting in a major chord. To use minor versions of
these chords, please see “Minor #5 Chords.”
Common Augmented Symbols: + or +

Augmented Chords I ii iii IV V vi vii°

Naming Examples: Gaug or G aug
or G+ or G+ ROOT 3RD #
5TH

4 5
#
1 R
3 R 3 #
5
1 1
R #
5 2 3
2 #
5 2 3 4 R

3 3 3 R

4 R

Low-E String Root A String Root D String Root

Augmented 7th Chords (m7b5) I ii iii IV V vi vii°

Naming Examples: Gaug7 or G 7 or G+7 or G
aug +7
ROOT 3RD #
5TH DOM 7TH

2 5
#
3 3
#
5 3 3 2 b
7
4
3 b
7 4 #
5

3 b
7 1 4 #
5 1 R

1 3 R

2 R

Low-E String Root A String Root D String Root

Augmented Maj7th Chords I ii iii IV V vi vii°

Naming Examples: G Aug or Gmaj7+ or G+ or G
Maj M7 +M7
ROOT 3RD 5TH
#
MAJ 7TH

3 3 3
1
#
5 7 2 7

2 3 2 #
5 4 #
5

7 3 3 1 R

4 R

1 R

Low-E String Root A String Root D String Root

 v1.4

DIMINISHED CHORDS
Diminished chords appear in three flavors. The half and full versions are often preferred over the basic three
note form. A basic diminished chord is composed of the root, flat 3rd, and flat 5th. A Half diminished chord
contains the root, flat 3rd, flat 5th, and flat 7th (often called a m7b5 chord). A full diminished chord is comprised
of the root, flat 3rd, flat 5th, and double flat 7th (denoted as bb7).
Common Diminished Symbols: = Diminished = Half Diminished

Diminished Chords I ii iii IV V vi vii°

Naming Examples: G or Gdim or G dim ROOT 3RD
b b
5TH

3 b
3

3 b
3 4 7

2 b
3 4 R 2 5

4 R 2 b
5 1 R

3 b
5 1 R

1 R

Low-E String Root A String Root D String Root

Half Diminished Chords (m7b5) I ii iii IV V vi vii°

Naming Examples: G or Gm7 5 or Gm7dim5 or G
b 7
ROOT 3RD
b b
5TH DOM 7TH

b
3

1 b
5 3 b
3 2 b
7

4 b
3 b
7 b
5

3 b
7 1 2 b
5 1 R

2 R

Low-E String Root A String Root D String Root

Full Diminished Chords I ii iii IV V vi vii°

Naming Examples: G 7 or G or G 7 dim7
ROOT 3RD
b b
5TH 7TH
bb

R 5
b
3 b
3

4 bb
7 1 4 3
b bb
7
1
b
3 bb
7 2 b
5

3 R 3 b
5 R

2 b
5 2 R
R

Low-E String Root A String Root D String Root

 v1.4

MINOR #5 CHORDS
A minor chord featuring a sharpened 5th is - for all practical purposes - a minor augmented triad. However, an
augmented chord’s basic triad must have notes separated by a major 3rd, so creating a minor version is not
possible. In modern music, the minor #5 chord is often used to transition from a root minor triad, to the m#5,
then to the six chord (as this creates an ascending 5th melody).

Minor #5 Chords - Movable Shapes

R R

2 #
5 2 b
3 1 2 #
5
b
3 3 R b
3
1
3 R 4 #
5 3 R

4 5
#
1 R

Low-E String Root A String Root D String Root

I ii iii IV V vi vii°
ROOT 3RD
b #
5TH 4 b
3

2 5
Root + 3rd + 5th
#

1 b
3
Naming Cm#5 or Cm 5 or Cmin#5 or Cmin 5 or Cm . Augmented
# # #5
3 R
Examples symbols should be avoided since this is a minor chord.
Alternate D String Root

Minor 7#5 Chords - Movable Shapes

R 4 #
5 3 b
3

2 #
5 R 2 b
7
b
3 1 3 b
7 4 #
5
1
b
7 b
3 1 R

4 #
5 2 R

Low-E String Root A String Root D String Root

4 b
7
I ii iii IV V vi vii° 2 b
3

ROOT 3RD
b #
5TH DOM 7TH
b
7

1 3 5
Root + 3rd + 5th + 7
#

R
Naming Cm7#5 or Cm7 5 or Cmin7#5 or Cmin7 5. Augmented
# #

Examples symbols should be avoided since this is a minor chord.

Alternate A String Root
 v1.4

FLAT FIVE CHORDS

Flat five chords feature a basic triad structure, but the 5th (or Dominant) note is flattened a half-step. 7th Flat
Five chords are basic dominant 7th chords that also feature a flattened 5th scale degree.
Note: Flat five minor chords (which also feature a flat 3rd) are called “Half-Diminished Chords,” and can
be found within the Diminished Chords guide.

Flat Five Basic Triads - Movable Shapes

3 3
b
5 3 4 R
3
3 3 R 2 b
5
1
4 R 2 b
5 1 R
3 1 R

2 R

Low-E String Root A String Root D String Root

I ii iii IV V vi vii°
ROOT 3RD 5TH
b 3 3

4
Root + 3rd + 5th
R

2 b
5
Naming Cb5 or Cb5 or Cb5. Generally the “major” part is not part of 1 R
Examples the name to avoid any confusion with major 7th chords.
Alternate Low-E String Root

7 5 Chords - Movable Shapes

b
5 4 3
b
5 4 3 3 b
7
1
4 3 3 b
7 2 b
5
1
3 b
7 3 1 R

3 2 R

2 R

Low-E String Root A String Root D String Root

4 b
7
I ii iii IV V vi vii° 3 3

ROOT 3RD b
5TH DOM 7TH
b
7

1 2
Root + 3rd + 5th + 7th
b
5
R
Naming C7 5 or C7 or C7b5. The “flat 5” part of the name is an
b b5

Examples alteration, and should be placed at the end of the name.

Alternate D String Root
 v1.4

6TH CHORDS
A 6th chord is built by adding the 6th scale degree to a major or minor triad. This includes the root, 3rd (or flat 3
for minor), the 5th, and the 6th. They can be used as substitutions for any chord in a progression. 6th and 13th
chords BOTH add the 6th scale degree, but a 6th chord doesn’t include the 7th or other tones required from
extended chord rules. This makes 6th chords unique compared to 7th, 9th, 11th, or 13th chords.

Major 6th Chords - Movable Shapes

6 1 R

3 5 3 4 6
3
4 3 R 2 3

1 6 5 3 R

1 R

2 R

Low-E String Root A String Root D String Root

I ii iii IV V vi vii° 3 5

ROOT 3RD 5TH 6TH 4 3

Root + 3rd + 5th + 6th

6
1
3
Naming C6 or C6. Generally the “major” part of the name is omitted 2 R
Examples to avoid any confusion with major 7th chords.
Alternate Low-E String Root

Minor 6th Chords - Movable Shapes

R 4 5 2 b
3

3 5 R 6
b
3 1 2 6 1 3 5

1 6 b
3 R

3 R

2 R

Low-E String Root A String Root D String Root

R
I ii iii IV V vi vii° 4 6

ROOT 3RD
b
5TH 6TH
b
3
1
3
Root + 3rd + 5th + 6th
R

2 5
Naming Cm6 or Cm or Cmin6 or Cmin . The “minor” part of the
6 6
R
Examples name will always describe the 3rd of the chord.
Alternate Low-E String Root
 v1.4

6/9 CHORDS
6/9 Chords are an extension to standard 6th Chords. They add the 6th and 2nd (same as the 9th) scale degree,
but unlike a 9th chord, there is no 7th present. By removing the 7th degree (aka the leading tone), a 6/9 chord
has a very different character, and completely avoids the dissonance from the Maj7th and the root. They are
also an excellent substitution for any Maj7 chord when the lead harmony lands on the root note.

Major 6/9 Chords - Movable Shapes

R 5 9
3 3 3
5 9 6

9 6 1 3
3
1 6 3 2 R

3 2 R

2 R

Low-E String Root A String Root D String Root

9
I ii iii IV V vi vii° 6
1
ROOT 9TH 3RD 5TH 6TH 3 5

Root + 3rd + 5th + 6th + 9th

R

Naming C6/9 or C69 or C6/9 or C69 or C add6 add9 or Cadd6add9

Examples
Alternate D String Root

Minor 6/9 Chords - Movable Shapes

4 9 9
3
3 5 4 9 6
b
3 2 6 1 b
3
1 6 1 b
3 2 R

3 R

2 R

Low-E String Root A String Root D String Root

I ii iii IV V vi vii°
ROOT 9TH b3RD 5TH 6TH 4 b
3

2
Root + 3rd + 5th + 6th + 9th
6

1 9
Naming Cm6/9 or Cmin6/9 or Cm69 or Cm or Cm or Cm add66/9 69
3 R
Examples add9 or Cmadd6add9. The “minor” is describing the 3rd.
Alternate Low-E String Root
 v1.4

7TH CHORDS
7th Chords are the first chord family to use the extended chord stacking rules. A standard 7th chord is a
dominant 7th chord featuring a flat 7. A C7 chord will include a flat 7 (which makes it dominant), while
a C Maj7 will have a major/natural 7th. A “C7” and “C dominant 7” are the same chord. Like basic triads,
7th chords sound stable by themselves (without a chord progression).

7th Chords - Movable Shapes

R 5 4 3

5 4 3 2 b
7

2 3 1 b
7 3 5
1
b
7 2 5 1 R

3 5 R

Low-E String Root A String Root D String Root

I ii iii IV V vi vii° 1 R

ROOT 3RD 5TH DOM 7TH 4 b

7

2 3
Root + 3rd + 5th + 7th 3 R
Naming C7 or C dom7. The 7th is always assumed to be
Examples dominant (flat) unless otherwise stated in the name.
Alt A String Root (no 5th)

Minor 7th Chords - Movable Shapes

R 5 3 b
3
5 2 b
3 2 b
7
b
3 1 b
7 4 5
1
b
7 3 5 1 R

2 5 R

Low-E String Root A String Root D String Root

I ii iii IV V vi vii° R

ROOT 3RD
b
5TH DOM 7TH 1 3 b
7

3
Root + 3rd + 5th + 7th
b

2 R
Naming Cm7 or Cmin7 or C-7. The “minor” part refers to the
Examples 3rd, while the 7th is already flat (dominant).
Alt A String Root (no 5th)
 v1.4

Major
7TH CHORDS
Major 7th chords incorporate a major 7 instead of a dominant (flat) 7. The “Major/Maj” part of the name is
describing the 7th (not the 3rd) of the chord. That means you can build a minor major 7 chord. The major
version of these chords can be described as sounding majestic, ethereal, or rich. The minor versions sound
very dark and mysterious - such as the final chord heard in the James Bond theme.

Maj
7th Chords - Movable Shapes
R 5 3

5 4 3 3 7

3 3 1 2 7 5
1
2 7 3 5 1 R

4 5 R

Low-E String Root A String Root D String Root

1 3
I ii iii IV V vi vii° 2 7

ROOT 3RD 5TH MAJ 7TH 3 5

4
Root + 3rd + 5th + 7th
R

Naming Cmaj7 or CMaj7 or CMaj7 or C 7. The “Major” part is

Examples referring to the 7th, which is no longer dominant/flat.
Alt A String Root

Minor Maj7th Chords - Movable Shapes

R 5 2 b
3
5 3 b
3 4 7
b
3 1 2 7 3 5
1
2 7 4 5 1 R

3 5 R

Low-E String Root A String Root D String Root

I ii iii IV V vi vii° 3 5

ROOT 3RD
b
5TH MAJ 7TH 2 b
3

Root + 3rd + 5th + 7th 4 7

Naming CmMaj7 or CminMaj7 or Cm 7 or C- 7. The “major” 1 R

Examples part of the name refers to the major 7th.
Alt Low-E String Root
 v1.4

7 9 CHORDS
#

Also commonly known as “The Hendrix Chord.”

This unique sounding chord contains a natural 3rd, which technically makes it a major chord. However,
the added #9 (which is also an added 2nd scale degree moved up one half step) lands where a minor
3rd would normally occur. This makes the chord sound major AND minor at the same time.

Due to the complexity of the chord shape, it’s common to remove the 5th when playing some movable
barre versions. This chord voicing can be heard to great effect in songs such as Hendrix’s “Purple Haze,”
“Foxey Lady,” and AC DC’s “Shoot to Thrill.”

7#9 Chords - Movable Shapes

R #
9
3
5 4 9
# b
7
3
#
9 3 b
7 1 3
b
7 1 3 2 R

1 3 2 R

2 R

Low-E String Root A String Root (no 5th) D String Root (no 5th)

I ii iii IV V vi vii° Naming Examples:

E7#9 or E7#9. There is no need for a minor
ROOT 9TH 3RD
#
5TH DOM 7TH version of this chord, as the flat 3rd and
sharp 9th are the same note!
Root + 3rd + 5th + 7th + 9th

7#9 Inversions - Movable Shapes

Below are chord inversions or “slash chords.” They are comprised of the same notes, but rearranged
with a different tone in the bass. Playing an inverted chord after the standard version can generate
a more dynamic progression as the new voicing will sound quite different, yet function the same.

R 3 4 b
7

5 4 R 3
2
#
9 5 1 R
1
b
7 3 #
9 5

1 3 2 b
7 3 #
9

3 2 b
7

Low-E String Inversion (3rd in Bass) B String Inversion (3rd in Bass) G String Inversion (7th in Bass)
 v1.4

9TH CHORDS
9th chords follow the extended chord stacking rules. The dominant 7 is included in the voicing. If you wish
to play the 9th without the 7th, you would use an “add9” chord. The 9th scale degree is the same as the
2nd scale degree, simply one octave higher. The 2 is not used in names to avoid confusion with basic
triads and suspended chords.

9th Chords - Movable Shapes

4 9 5 3 9

5 3 9 4 b
7

2 3 b
7 1 3

1 b
7 1 3 2 R

3 5 2 R

Low-E String Root A String Root D String Root (no 5th)

I ii iii IV V vi vii° 4 5

ROOT 9TH 3RD 5TH DOM 7TH 9

1 3 7
Root + 3rd + 5th + 7th + 9th
b

3
Naming C9 or G9 or E9. A 9th chord is understood to include the 2 R
Examples dominant (flat) 7 and the 9.
Alt Low-E String Root

Minor 9th Chords - Movable Shapes

3 9 5 3 9
5 3 9 4 b
7
b
3 b
7 1 b
3

1 b
7 1 b
3 2 R

2 5 2 R

Low-E String Root A String Root D String Root (no 5th)

9
I ii iii IV V vi vii° 3 b
7

ROOT 9TH b3RD 5TH DOM 7TH 1 4 5

1 R
Root + 3rd + 5th + 7th + 9th 5
Naming Cm9 or Cmin9 or C-9. The”minor” in the name specifies the 2 b
3
Examples flat 3. The chord will include the dominant (flat) 7 and 9. Alt D String Inversion (3rd in Bass)
 v1.4

Major
9TH CHORDS
Major 9th chords follow the extended chord stacking rules, which includes the 7. However, Major 9 chords
feature a major 7th that is not dominant (flat). The 9th scale degree is the same as the 2nd scale degree,
simply one octave higher. The 2 is not used in names to avoid confusion with basic triads and suspended
chords. A C9 and CMaj9 sound very different because of the altered 7th’s sound.
Major
9th Chords - Movable Shapes
9

3 5 3 9 4 7
1
1 9 4 7 3 5

4 7 1 3 R

2 R

2 R

Low-E String Root A String Root D String Root (no 5th)

5
I ii iii IV V vi vii° 9

ROOT 9TH 3RD 5TH MAJ 7TH 1 2 7

3
Root + 3rd + 5th + 7th + 9th
5

R
Naming CMaj9 or CMaj9 or C 9. The “Major” part of the name
Examples describes the major 7th (not the 9th).
Alt A String Root (no 3rd)

Minor Major 9th Chords - Movable Shapes

4 9 2 b
3
5 3 9 4 7
b
3 4 7 3 5

1 2 b
7 1 b
3 R

3 5 2 R 1 5

R 9

Low-E String Root A String Root D String Inversion (9th in Bass)

I ii iii IV V vi vii°
ROOT 9TH b3RD 5TH MAJ 7TH 2 9

Root + 3rd + 5th + 7th + 9th

1 4 7

1 b
3
Naming CmMaj9 or Cm 9 or Cm 9. The “minor” describes the
Maj
3 R
Examples minor 3rd. The “Major” describes the major 7th.
Alt Low-E String Root (no 5th)
 v1.4

ADD 9 CHORDS
An add9 chord is very similar to a standard 9th chord without the additional 7th scale degree. Because of
extended chord stacking rules, a 9th chord should include the 7th, but an add9 chord sidesteps this
requirement. The 9th scale degree is identical to the 2nd scale degree (only an octave higher). Add2 and
Add9 chords are constructed from the same set of notes.

Add9 Chords - Movable Shapes

4 R 3 4 9
1
3 4 9 1 5

R 5 2 3
1
5 2 3 3 R

9 3 R

3 R

Low-E String Root A String Root D String Root

I ii iii IV V vi vii° 3 5

ROOT 9TH 3RD 5TH 9

1 4 R
Root + 3rd + 5th + 9th 3
Naming Cadd9 or C or Cadd2 or C
add9 add2
. The 2nd and 9th are the 2 R
Examples same scale tone.
Alt Low-E String Root

Minor Add9 Chords - Movable Shapes

4 9 3 9
5 4 9 5
1
b
3 1 5 b
3

1 3 R 2 b
3 2 R

2 5 3 R

Low-E String Root A String Root D String Root (no 5th)

I ii iii IV V vi vii°
ROOT 9TH b3RD 5TH 3 9

1 5
Root + 3rd + 5th + 9th 2 b
3
Naming Cmadd9 or Cm or Cmadd2 or Cm
add9 add2
. The 2nd and 9th 4 R
Examples are the same scale tone.
Alt Low-E String Root
 v1.4

11TH CHORDS
WE HAVE A MAJOR PROBLEM
11th Chords that feature a major 3rd are problematic. Since there’s a half-step between the 3rd and 4th (also the
11th), these notes clash against each other and cause significant dissonance. Generally, a full 11th chord that
includes the major 3rd is avoided. There are two “fixes” for this dissonance problem. You can leave the 3rd out of the
chord, or play a #11 (#4) instead. Both of these solutions are covered separately. Minor 11th chords do not have this
problem. The minor version has a full step between the flat 3rd and added 11th (4th).

Unaltered 11th Chords (dominant 7th)

WARNING: STRONG DISSONANCE AND RARELY USED!

3 9 5 3 3
5 3 3 2 b
7

2 3 1 b
7 11

1 b
7 11 1 R

11 R

Low-E String Root A String Root D String Root

I ii iii IV V vi vii° Root + 3rd + 5th

ROOT 9TH 3RD 11TH 5TH DOM 7TH + 7th + 9th + 11th
Naming Examples: C11 or C11. Unless noted, it will be up the player to decide which fix (if any) to use.

Unaltered Maj11th Chords (Major 7th)

WARNING: STRONG DISSONANCE AND RARELY USED!

4 9 5 3
3
5 3 3 7

3 3 1 2 7 11

1 2 7 11 1 R

11 R

Low-E String Root A String Root D String Root

I ii iii IV V vi vii° Root + 3rd + 5th

ROOT 9TH 3RD 11TH 5TH MAJ 7TH + 7th + 9th + 11th
CMaj11 or CMaj11 or C 11. Unless noted, it will be up the player to decide which
Naming Examples:
fix (if any) to use.
 v1.4
11TH CHORD FIX 1:
REMOVE THE 3RD
Because of the strong dissonance between the 11 chord’s natural 3rd and added 4th (also the 11th), it’s
common practice to alter the voicing. One available solution is to remove the 3rd from the chord. However,
common chord construction rules would view this as replacing the natural 3rd with the 4th, which is exactly
what a suspended 4 chord does. Because these chords are now suspended, they are technically neither
major or minor.
11th Chords (Fix 1: The 3rd removed)
9sus4 Chord (ex: Asus4 add7) 9sus4 Chord (ex: Asus4 add7) 9sus4 Chord (ex: Asus4 add7)
4 9 5 9

5 9 2 b
7
1
3 11 1 b
7 11

1 b
7 11 R

11 R

Low-E String Root (no 3rd) A String Root (no 3rd) D String Root (no 3rd/5th)

I ii iii IV V vi vii° Naming Examples:

G11 or G11
ROOT 9TH 11TH 5TH DOM 7TH Unless specifically noted, it’s up to the
player to choose which modified voicing to
Root + 5th + 7th + 9th + 11th use for an 11th chord!

Things get even more complicated when trying to describe a Maj11th chord without a 3rd scale
degree. The actual chord names below varies depending on if the 5th, 7th, or 9th is present.
Maj
11th Chords (Fix 1: The 3rd removed)
9sus4 Chord (ex: Asus4 add7) 9sus4 Chord (ex: Asus4 add7) 9sus4 Chord (ex: Asus4 add7)
R 5 4 11

5 9 7
3
3 11 1 2 7 5
1
2 7 11 1 R
11 R

Low-E String Root (no 3rd) A String Root (no 3rd) D String Root (no 3rd/5th)

I ii iii IV V vi vii° Naming Examples:

Gmaj11 or GMaj11
ROOT 9TH 11TH 5TH MAJ 7TH Unless specifically noted, it’s up to the
player to choose which modified voicing to
Root + 5th + 7th + 9th + 11th use for an 11th chord!
 v1.4
11TH CHORD FIX 2:
SHARPEN THE 11TH
Because of the strong dissonance between the 11 chord’s major 3rd and added 4th (also the 11th), it’s
common practice to alter the voicing. One available solution is to raise the 11th by a half step. This
modification changes the name of the chord to a 9#11 (featuring a dominant 7th) or Maj9#11 (featuring a
major 7th).

9#11 Chords - Movable Shapes

4 9 5 9

5 9 3 b
7
1
3 3 1 b
7 2 11
#

1 b
7 2 11
#
R

2 11
#
R

Low-E String Root A String Root (no 3rd) D String Root (no 3rd/5th)
4 R
I ii iii IV V vi vii° 11
#

ROOT 9TH 3RD #

11TH 5TH DOM 7 9
1
3 b
7
Root + 3rd + 5th + 7th + 9th + 11th 3
Naming Altered voicing: C9#11 or C9 11 or C # 9#11
2 R
Examples Original chord name: C11 or C11 D String Root (no 5th)

Maj
9#11 Chords - Movable Shapes
7 11
#
9
11
#
9 3 7
1
1 9 1 3 7 2 11
#

3 7 2 3 R

3 R

2 R

Low-E String Root (no 5th) A String Root (no 5th) D String Root (no 3rd/5th)
11
#

I ii iii IV V vi vii° 3 9

ROOT 9TH 3RD #

11TH 5TH MAJ 7 4 7

3
Root + 3rd + 5th + 7th + 9th + 11th 2 R
Naming Altered voicing: CMaj9#11 or C or C 9 11 Maj9#11 #

Examples Original chord name: CMaj11 or C or C 11

Maj11
D String Root (no 5th)
 v1.4

MINOR 11TH CHORDS

The minor versions of 11th chords do not share the 3rd and 4th dissonance found in the major versions. A full
minor 11th chord will require all 6 strings of a guitar to play the individual notes. It is very common for some
notes to be omitted, such as the 5th and/or the 9th. Minor 11th chords are far more practical than their minor
Maj
11th flavor, and allow complex harmonic interactions with other 7th and extended chords.

Minor 11th Chords - Movable Shapes

3 9 5 b
3
2
5 2 b
3 b
7
b
3 1 b
7 11

1 b
7 11 1 R
11 R

Low-E String Root A String Root (no 9th) D String Root (no 5th/9th)
Naming Examples:
I ii iii IV V vi vii° Gm11 or Gm11 or Gmin11
ROOT 9TH 3RD
b
11TH 5TH DOM 7TH Unless specifically noted, it’s up to the player to
choose which modified voicing to use for a minor
Root + 3rd + 5th + 7th + 9th + 11th 11th chord!

Minor Maj11th Chords - Movable Shapes

WARNING: STRONG DISSONANCE AND RARELY USED!
While it’s far more common to see minor Maj7 or minor Maj9 chords, you’re unlikely to encounter a minor Maj11
variation. If such a voicing was desired, it would not be uncommon to see it listed as (for example) an “AmMaj9
add4” or “Am(Maj)9 add4.” The chord name will change depending on what notes are omitted.

mMaj11 (or mMaj9 add4) m add4 add7 (ex: Aadd4 add7) m add4 add7 (ex: Aadd4 add7)
3 9 5 2 b
3
5 2 b
3 3 7
b
3 1 7 11

1 2 7 11 1 R
11 R

Low-E String Root A String Root (no 9th) D String Root (no 5th/9th)

I ii iii IV V vi vii° Naming Examples:

ROOT 9TH 3RD
b
11TH 5TH DOM 7TH Altered “fixed” voicing: GmMaj9 add4 or Gm 9add4
Original chord name: GmMaj11 or Gm 11
Root + 3rd + 5th + 7th + 9th + 11th
 v1.4

ADD 4 CHORDS
An add4 chord is similar to a standard 11th chord without the additional 7th or 9th scale degree. Because
of extended chord stacking rules, an 11th chord should include the 7th and 9th, but an add4 chord
sidesteps this requirement. The 4th scale degree is the same note as the 11th scale degree (only an octave
lower). Add4 and Add11 chords are constructed from the same set of notes.

Add4 (or Add11) Chords - Movable Shapes

R 5 3

5 3 3 1 2 R

2 3 1 2 R 5
1
3 R 4 4 4

4 R 3 R

Low-E String Root A String Root Alternate A String Root

R
I ii iii IV V vi vii° 5

ROOT 3RD 4TH 5TH 1 2 3

3 R
Root + 3rd + 4th + 5th 4
Naming Cadd4 or Cadd4 or Cadd11 or Cadd11. The 4th and
Examples 11th are the same scale tone. D String Inversion (4th in Bass)

Minor Add4 (or Add11) Chords - Movable Shapes

R 5 4 b
3
5 2 b
3 1 5
b
3 1 3 R 3 4
1
3 R 4 2 R
4 R

Low-E String Root A String Root D String Root

R
I ii iii IV V vi vii° 5

ROOT 3RD
b
4TH 5TH 1 b
3

3 R
Root + 3rd + 4th + 5th 4
Naming Cmadd4 or Cm or Cmadd11 or Cm or C- add4
add4 add11

Examples or C- add11. The 4th and 11th are the same scale tone. D String Inversion (4th in Bass)
 v1.4

13TH CHORDS
13th chords are the most complex of the extended chord families. They include a 13th (same as the 6th)
and follow the extended stacking rules. A true unaltered 13th chord actually contains the entire key’s scale!
Not only does this cause significant dissonance, but is also physically impossible to play using a six string
guitar. Notes must be omitted. Because of the 11th (same as the 4th) and major 3rd clashing (a problem
starting with 11th chords), the 11th should be dropped . The 5th and 9th are also excluded as needed.

13th Chords - Movable Shapes

R 13 2 b
7
3
4 13 3 3

2 3 b
7 R
1 1
b
7 1 2 5 3 13

3 5 R 9

R 4 R

Low-E String Root (no 9th/11th) A String Root (no 9th/11th) Alt Low-E String Root (no 5th/11th)

I ii iii IV V vi vii° Naming Examples:

C13 or C13. Unless specifically noted, it will be
ROOT 9TH 3RD 11TH 5TH 6TH DOM 7TH up to the player to choose what voicing to use
and which notes to remove.
Root + 3rd + 5th + 7th + 9th + 11th + 13th

13th Chords - Alternate Movable Shapes

3 3
Unfortunately, there is no option for a D String Root
position shape using less than a five fret spread. 2 b
7

4 13

Because of the multiple options for note exclusions, there 1 R

are plenty of shape variations available. Below are some
other commonly used shapes (though some may be
difficult to construct - especially lower on the fretboard):
D String Root (no 5th/9th/11th)
4 13 13
1
4 13 9 3
3
3 3 b
7 2 9

2 b
7 1 3 4 b
7

2 R

1 R 3 R

Low-E String Root (no 5th/9th/11th) A String Root (no 5th/11th) Low-E String Root (no 5th/11th)
 v1.4

Major
13TH & MINOR 13TH CHORDS
Major 13th chords are the same as standard 13th chords except the 7th is no longer dominant (flat). 13th
chords follow the extended stacking chord rules. The 11th, 5th, and 9th are removed when necessary to play
each shape. Minor 11th chords feature a flat 3rd, which makes the chord minor.

Maj
13th Chords - Movable Shapes
7 4 13 13

3 5 9 9
1
1 9 2 7 3 7
1
13 3 5 5

3 R 4 R

2 R

Low-E String Root A String Root Alt A String Root (no 5th)
9
I ii iii IV V vi vii° 3
13

ROOT 9TH 3RD 11TH 5TH 13TH MAJ 7TH 3

2
7
Root + 3rd + 5th + 7th + 9th + 11th + 13th
Naming CMaj13 or C Maj13 or C 13. The “major” part of the name is 1 R
Examples describing the major 7th.
Alt Low-E String Root

Minor 13th Chords - Movable Shapes

b
7 3 13 R
11 2 b
3 3 13

1 3 9 b
7 b
3
1
2 13 1 11 b
7
b
3 R 2 5

4 R R

Low-E String Root (no 5th) A String Root (no 5th/9th) Alt Low-E String Root (no 9th/11th)
9
I ii iii IV V vi vii° 3
13

ROOT 9TH b3RD 11TH 5TH 13TH DOM 7TH

b
3
b
7
Root + 3rd + 5th + 7th + 9th + 11th + 13th 1
11
Naming Cm13 or Cmin13 or Cm or C-13. The “minor” part of the
13
R
Examples name is describing the minor 3rd. Alt Low-E String Root (no 5th)
Note: Minor Maj13th chords can be created, but the extra tension between the major 7th and root note render them unusable in
any practical composition. In other words - they sound terrible.
 v1.4

SUSPENDED CHORDS
A suspended chord is created when the 3rd scale degree is “lifted” from the normal voicing and moved to the 2nd or
4th scale position. This is a great way to create movement and add interest to a progression when used with basic
triads. Since the mediant (3rd) of the chord determines if the chord is major or minor, suspended chords are neither.
To suspend a major or minor chord in a progression, the same sus2 or sus4 chord can be used.
Note: Sus2 chords move the 3rd down a whole step, while sus4 chords only move the 3rd up a half-step.

Sus2 Chords - Movable Shapes

5 2 2

2 4 R 4 R
1
1 4 R 3 5 3 5

3 5 R 1 R

R 5

Low-E String Root A String Root (no 5th) D String Inversion (2nd in Bass)
5
I ii iii IV V vi vii° 1
2
ROOT SUS 2ND 5TH 4 R

Root + 2nd + 5th 3

2
5

2
Naming Csus2 or C . No minor version is necessary. Don’t
sus2

Examples use “add2” as that would include a 3rd.

G String Inversion (2nd in Bass)

Sus4 Chords - Movable Shapes

R 5 R
1
5 4 4 5
1
4 4 3 R 4
1
3 R 4 3 R

4 R

Low-E String Root A String Root D String Root

5
I ii iii IV V vi vii° 4 4
1
ROOT SUS 4TH 5TH 3 R

Root + 4th + 5th 4

Naming Csus4 or Csus4. No minor version is necessary. Don’t

Examples use “add4” as that would include a 3rd.
G String Inversion (4th in Bass)
 v1.4

7TH SUSPENDED CHORDS

A suspended 7th chord is created when the 3rd scale degree is “lifted” from the normal voicing and moved to the 2nd
or 4th scale position. These chords also include a dominant (flat) 7th. Since the mediant (3rd) of the chord determines if
the chord is major or minor, suspended chords are neither. To suspend a major or minor chord in a progression, the
same sus2 or sus4 chord can be used. Note: Sus2 chords move the 3rd down a whole step, while sus4 chords only
move the 3rd up a half-step.

7th Sus2 Chords - Movable Shapes

R 2

4 5 2 2 b
7
1
1 2 1 b
7 3 5

3 b
7 3 5 R

2 R

Low-E String Root A String Root D String Root

2
I ii iii IV V vi vii° 2 b
7
ROOT SUS 2ND 5TH DOM 7TH 3 5

Root + 2nd + 5th + 7th 1 R

5
Naming Csus2 or C . No minor version is necessary. Don’t
sus2
2
Examples use “add2” as that would include a 3rd.
D String Inversion (2nd in Bass)

7th Sus4 Chords - Movable Shapes

R 5 3 3

5 3 3 2 b
7

2 3 1 b
7 4
1
b
7 4 1 R

4 R

Low-E String Root A String Root D String Root

5
I ii iii IV V vi vii° 3 3
ROOT SUS 4TH 5TH DOM 7TH b
7
1
Root + 4th + 5th + 7th 4

R
Naming Csus4 or Csus4. No minor version is necessary. Don’t 5
Examples use “add4” as that would include a 3rd.
A String Inversion (5th in Bass)
 v1.4

SUS2 POWER CHORDS

A suspended chord is created when the 3rd scale degree is “lifted” from the normal voicing and moved to the
2nd or 4th scale position. The following Sus2 chords became popular during the post-grunge/early 90s rock
era, and have a unique open sound. While they are not minor chords (there’s no 3rd), they can still create a
floating/mysterious tone. Both shapes are identical, with each note moved down one string for the A string
root version. You may encounter these chords labeled as “Add9 Power Chords,” but they are technically a
suspended 2 chord.

Sus2 Power Chords - Movable Shapes

I ii iii IV V vi vii° Naming Examples:
Csus2 or Csus2 or C5add2 or C5add9.
ROOT SUS 2ND 5TH
Can be used as a substitute for a
Root + 2nd + 5th major or minor chord.

4 2

2 5

1 R

Low-E String Root

4 2

2 5

1 R

A String Root
 v1.4
EXTENDED
SUSPENDED CHORDS
A suspended chord is created when the 3rd scale degree is “lifted” from the normal voicing and moved to the 2nd or 4th
scale position. The following chords show some useful suspensions for extended chords (9s, 11s, and 13s). Some
extended chords can’t have specific suspensions applied to them. For example: A 9th chord already has a 2nd added, so
a sus2 chord can’t be created. Because the 9th and 11th notes are the same as the 2nd and 4th, naming these chords can
become tricky . For clarity, it’s best to name the suspension in relation to the chord it changes into (or from). Note how
the 9th and 11th chords below use the same shapes. Only the scale degrees are different.

9sus4 Chords I ii iii IV V vi vii°

Naming Examples: C9sus4 or C9 sus4 ROOT 9TH SUS4 5TH DOM 7TH

4 9 5 9

5 9 2 b
7
1
3 4 1 b
7 4

1 b
7 4 R

4 R

Low-E String Root A String Root D String Root

SAME CHORD SHAPE SAME CHORD SHAPE SAME CHORD SHAPE

11sus2 Chords I ii iii IV V vi vii°

Naming Examples: C11sus2 or G11 sus2
ROOT SUS2 11TH 5TH DOM 7TH

4 2 5 2

5 2 2 b
7
1
3 11 1 b
7 11

1 b
7 11 R

11 R

Low-E String Root A String Root D String Root

13sus4 Chords I ii iii IV V vi vii°

Naming Examples: G13sus4 or G13 sus4
ROOT 9TH SUS4 5TH 13TH DOM 7TH

9 3 13 13

4 13 9 3 4

4 b
7 1 R
1
b
7 4 5

1 3 5 R 9

R 2 b
7

Low-E String Root A String Root G String Inversion (7th in Bass)