21st Cent Chords For Guitar

21ST CENTURY CHORDS FOR GUITAR
BY STEVE BLOOM
Copyright by Steve Bloom

Cover Graphics by Katrin Lieske.
All rights reserved. No part of this book may be reproduced or utilized in any form or by any means,
electronic or mechanical, including photocopying, recording or by any information storage and
retrieval system, without permission in writing from Steve Bloom. Inquiries can be made to
www.bloomworks.com.
CONTENTS
Introduction
Tri-Chords
Inverted Tri-Chords
Tetra-Chords
11
Inverted Tetra-Chords
27
Penta-Chords
39
Inverted Penta-Chords
51
Hexa-Chords
64
Inverted Hexa-Chords
77
21st Century Chords For Guitar

Introduction
Hello and welcome to 21st Century Chords For Guitar! I hope you will find this material fresh, informative and
ear opening.
This book presents a new perspective on guitar chords. Most guitarists view chords in a way that I would
classify as traditional. The method that guitarists, most of the time, are taught to practice chords is a standard
one which works to get us through any accompaniment situation, e.g. gigs and rehearsals. In these pages I
have attempted to show that the guitar is much less limited, chordally, than is generally realized.
I have used the theories of 12-Tone music, also known as Atonal Music, to generate voicings of all the possible
playable note groups on the guitar. While I was writing out these chords I learned much more about voicings
and the visualization of the fingerboard than I expected. I had no idea it was going to have such a great effect
on my own playing. I hope you will have a similar experience by delving into these concepts. My main reason
for searching out this information was to improve my own conception of chords on the instrument, and it turned
into something I felt would benefit all guitarists.
Most guitar players have a very conventional concept of the voicings they play. I know that a lot of the chords
in this book will sound very dissonant compared to what you are used to playing. However, if you dig deeper
into the book you will also find interesting voicings for many every-day chords that you probably wouldnt
figure out using other methods. My goal is to help change the way we as guitar players think of chords on the
instrument.
Note Groups
To generate these chords I have used the concept of Note Groups. Atonal Music Theory lists all the possible
groups of notes using numbers. For example, C would be 0, C# would be 1, D would be 2, etc. until B which is
11 (0 to 11 equals 12 tones). This method allowed me to get away from Tonal chord theory and look only at the
mathematical relationship between all notes in any group. The note groups have names that are slightly
different than in Tonal music, and are as follows:
3 notes
4 notes
5 notes
6 notes
Tri-Chords
Tetra-Chords
Penta-Chords
Hexa-Chords
The first Tri-Chord is listed as 012. The zero is pronounced like the letter O, so this would be the O-OneTwo Tri-Chord, consisting of the notes C, C# and D. The next Tri-Chord would be 013, consisting of C, C#
and D#. The first Tetra-Chord is 0123, consisting of C, C#, D and D#. This method of grouping the notes
together continues all the way up until the 12-note groups. Obviously, one cannot play 12-note groups on the
guitar, so I have stopped at the 6-note groups. At first glance you might think Playable chords with 6 separate
notes on the guitar? Not too many of those available! But if you turn to the section on Hexa-Chords, you will
see a lot more of them than might be expected.
One other concept: I have started all of the chords in the book on the note C. This is to make it easier to relate
all the chords to each other. Please realize that any of these chords may be played starting on any of the 12
tones. The reason for thinking in numbers is the same as in Tonal music. Any chordal structure will have the
same numerical name no matter what note it starts on. For example: Any chord with the same interval structure
as C, C#, D will be called an 012 Tri-Chord.
How To Read The Chords
The way the book is set up is very straightforward and I have used the same concept throughout. There are
eight sections, one each on Tri-Chords, Tetra-Chords, Penta-Chords, Hexa-Chords and a section for the
Inversion of each one of those chord types. (See the text below on Inversions for more information.) At the
beginning of each section, I have put a page showing all of the note groups with their corresponding numbers.
On the pages after that, each note group is written out at the start of a new chord, followed by possible voicings.
I took each note in the group, put it on the bottom, and attempted to voice a chord on each note in the group.
(See Example 1)
Example 1: 012 Tri-Chord:
5

012
(sharp)
41
41
3
4
1
4
1
2
4
3
1
4
3
1
41
3
In the first measure the notes of the chord are written as a short line. All of the chords are written this way so
that it is easier to visualize which notes are in a given chord. In this example there is a chord built on each of
the notes C, C#, and D. The number of the chord (012) is written above those first notes and sometimes you
will see a description of the sound (i.e. sharp, bland, etc.) or an actual Tonal chord name. This is to help
bridge the gap between Tonal and Atonal perspectives.
The chords are written out in standard notation, a guitar chord frame above each one, and fret-hand fingering
numbers next to the notes. The fret number of the chord frames is to the left of each frame, and the fingering
numbers are to the right of the notes.
In some cases there wasnt a playable voicing on every note, and sometimes there wasnt a playable voicing at
all. Even if there wasnt a voicing for a given chord, I have included it anyway. There is always the possibility
that there is a voicing starting from a note other than C. I didnt put transpositions in the book because it
would become too confusing if I started doing that in addition to all the other concepts. If you find voicings for
these chords then you will really get what these concepts are all about. The only two sections that have note
groups with unplayable voicings are the Hexa-Chords and Inverted Hexa-Chords.
ii
Techniques & Theory

a) Fingerings.
I have included many challenging fingerings as well as easier voicings. All the chords are playable (I have
played them myself). Some chords may be more suited for people with longer fingers, or a shorter scale guitar,
etc. For the record, I have average length fingers.
Sometimes you may need to do things like reach around with the thumb, play two strings with the tip of one
finger, or slant the first finger across two frets. Also, some of the chords are easier to play if you use the righthand fingers or a pick-and-fingers approach because of unusual string groupings. Many of the chords are
technically very easy and you will be surprised that you dont need a lot of technique to play these sounds,
unusual or familiar.
Please note: these are not the only fingerings. Many of the chords have alternate fingerings, especially the 3and 4-note groups. I use four fingers more often than barring because it is easier to voice lead between chords.
If you prefer to barre the chords, or use any other fingering method, feel free to do so. Many guitarists might
prefer to play the chords in different positions, use other string groupings, etc. Play through the written
fingerings, as there are many interesting ideas embedded in the chords over the course of the book. Take any of
the ideas here and find the best way to make them your own. Experiment!
b) Rotation
The Atonal word for Inversion is Rotation. The word Inversion, in Tonal music, means playing a chord with
each successive note as the lowest tone. This generates more than one form of each chord. Rotation has the
same function in that you take the lowest note in a chord and move it above the other notes in the chord or note
group. I have voiced out every Rotation for each chord in the book. (See Ex. 2)
c) Tonal vs. Atonal chord naming
Since I covered all possible note groups, many of the chords are Tonal in nature. Each chord is labeled with the
Atonal number 0158, etc, and the Tonal name, if possible, as in Ex. 2 below Dbmaj7.
When a chord is Tonal I arranged the chords in guitar inversions going up the neck. (See Ex. 2) The concept is
to take the notes of the arpeggio and move each note to the next one on the SAME STRING. Thinking up and
down each string is the quickest way to learn the instrument. Sitar players, for example, have been thinking that
way for centuries. If you think this way, you will get faster results, and find chords you wouldnt find
otherwise.
Example 2: 0158 Tetra-Chord, or DbMaj7:
(Excerpt, see Tetra-Chord section for the rest.)
DbMaj7
0158
1
31
4
1
2
3
4
31
2
4
iii
2
1
4
3
4
2
3
1
3
41
2
4
1
1
1
d) Voicings: Open vs. Fretted Strings

Wherever possible I have avoided using open strings so that the chords may be transposed anywhere up and
down the neck. However, many of the chords can only be played using open strings. This is especially true in
the sections on the 5- and 6-note groups.
Feel free to come up with new voicings for these chordsIm sure I havent found them all. Also, try them on
different frets. If a chord is too difficult lower down, try it higher up where the frets are closer together. Also,
you can move them down so that some of the strings are open. Some of them also sound interesting on different
types of guitars, or with effects, different pickup choices, with a volume pedal, etc.
One voicing idea that happens very often is that a chord might be played higher up the neck but there are open
strings in the chord. In order to make many of the chords playable I had to use every string combination. So it
is possible that a chord could be played in 10th position, for example, but you might have one or two open
strings at the same time. The fret number is indicated to the left of each chord frame but watch out for the openstring notations.
Inversions
Inversion in Atonal Music doesnt mean the same thing as in Tonal Music. In a Tonal chord, the bottom note is
moved one octave higher, or the top note is moved one octave lower. In Atonal theory this is called a Rotation,
as explained previously. All the chords in this book are generated using the idea of Rotation. The Atonal
perspective on Inversion is to view the intervals of the chord as in a mirror image. For example, if you had a
chord of only two notes, C and D, the inversion of that interval would be C down to Bb. In the first chord there
is an ascending whole step interval and in the second chord, a descending whole step interval. Look at the next
example that shows the inversion of a Tri-Chord.
Example 3: Inversion of an 037 Tri-chord or C minor triad:
037 Cmin
FMaj
From the note C, the C minor triad goes up a minor third to Eb and then, from Eb, up a major third to G. The
inversion, starting from C, goes down a minor third to A and then, from A, down a major third to F.
Structurally these two chords are mirror images of each other. Therefore, according to Atonal music theory,
these two chords are inversions of each other.
There are two types of inversions in Atonal music: non-symmetrical and symmetrical. A non-symmetrical
inversion is one like in Example 3 above, where the two chords are not exactly the same. Most of the
inversions in the book are of this type. The other type, symmetrical inversion, is slightly different. When you
are finished inverting the second chord, it will be exactly the same structure intervallically as the original.
iv
Example 4: Symmetrical Inversion of an 036 Tri-chord or C diminished triad:
036 Cdim
F#dim
Take a look at Ex. 4. In the first measure, C goes up a min 3rd to Eb, which goes up a min 3rd to Gb. In the
second measure C goes down a min 3rd to A, which goes down a min 3rd to F#. According to Atonal theory,
these two chords are the same thing because they are intervalically, or structurally, exact mirror images of each
other.
When you start playing through the Inverted sections of each note group (i.e., Inverted Tri-chords, etc.), the
symmetrical chords will be listed as such. These chords generally wont be written out again, since they are
structurally the same. However, there are some exceptions because I found some interesting shapes or the
combination of open and fretted strings makes the same structures visually unrecognizable on the fingerboard.
All of the symmetrical note groups are labeled as such in the Inverted sections.
How to Practice
1. The first and most immediately productive method of practicing these voicings is as follows: Flip through
the book until you find a Tonal chord name that you are familiar with. Play through the voicings of only that
chord for a few days, a week, or even longer. After that you will be used to the chord and you should be able to
use it in a live playing situation or for composing, etc. Since the book is a reference you can use it over a long
period of time. When you find a Tonal group that has inversions up and down the guitar neck, practice
switching between the voicings until you can play them smoothly.
2. Take one chord and follow it through its evolution in each section. For example take the 014 Tri-Chord.
When you get to the Tetra-Chord section, you will see that there are 4 Tetra-Chords built on the 014 Tri-Chord.
If you know the Tri-Chord very well, it will be easier to visualize the Tetra-Chord. This concept continues into
the other sections as well.
3. Other ways of using these chords in Tonal situations will come up as you dig into the material. For example,
any note-group using whole steps will generally work over Dom7(b5) or (#5) chords.
4. Another way to work with this material is to look at it from an Atonal perspective. The nice thing, to me,
about calling these chords by their number name as opposed to C7 etc., is that it changes your thinking
process. The chords become SOUNDS. They create a different energy when viewed in this manner. If you can
get away from the traditional idea of the function of a chord, you will open up a new world of sounds to
yourself and your audience.
Using All 12 Notes
Since it is not possible, as on a piano, to play a chord of all 12 notes at once, you can cycle through all 12 notes
using various chord combinations. Groups of two Hexa-Chords, three Tetra-Chords, or four Tri-Chords, as well
v
as any other combination, will all work. In order to set this up properly, you must arrange what is called a Tone
Row in advance.
A Tone Row, is a scale using all 12 notes. The most obvious Tone Row is the chromatic scale. Lets break
up the chromatic scale into component parts as an exercise. The chromatic scale could be broken up into the
following groups:
Four 012 Tri-Chords
Three 0123 Tetra-Chords
Two 012345 Hexa-Chords
Example 5:
012
012
0123
0123
012345
012
0123
012345
012
Line 1 has a Tri-Chord built on C, D#, F#, and A,

Line 2 has a Tetra-Chord built on C, E, and G#,
Line 3 has a Hexa-Chord built on C and F#.
The name for each note group is written above each measure. You will find voicings for each of these note
groups in the appropriate section in the book. For example, go to the Tetra-Chords section, look up the 0123
chords and transpose voicings to each of the above notes, and you have a substantial set of chord groups.
The concept here is that you take each note group and build a chord using only those notes. In the case of Ex. 4
all the chords will sound the same because the starting row is the chromatic scale. I chose the chromatic scale
as a beginning point. Of course, it is possible to arrange a Tone Row by choosing any group of notes. Instead
of using only one Tri-Chord, it is possible to arrange a Tone Row using various groups of notes within one row.
Lets see what happens if we build some chords using different Tri-, Tetra-, and Hexa- Chords.
The row I now choose is as follows:
A C# Bb B G# F# D D# E F G C
I did not start this row from C. I started all the chords in the book on C but, of course, all Chords and Tone
Rows may be transposed to any note. Look at Example 6 below to see this row written out with labeled note
groups.
vi
Example 6:
014
025

0124

023457
012
0146
027
0457

023457
This row is a lot more interesting than the one in Example 5. There are a lot of ideas happening here. Why did
I choose this particular arrangement of notes? In Atonal music, you will find that choices are made based on
what type of sound area the composer wishes to create. I happen to like the 012 Tri-Chord a lot, so I wanted to
include at least one. I also wanted to have a suspended or fourths sound so I included an 027 Tri-Chord,
which has that character. This left me with six notes so I analyzed what was left.
Over time you will become used to the sound of each chord or group, just as in Tonal music you can hear the
difference between a Major and a Minor chord. An 012 Tri-Chord has a very different character than an 027 or
an 014, or any other group.
I began this row thinking about four different Tri-Chords. The Tetra- and Hexa-Chords that I found after that
were not planned. For example, I was not expecting to arrive at two of the same Hexa-Chords; that was a
surprise. The Tetra-Chords are also very nice. By the way, you could also arrange your row as one PentaChord, one Tri-Chord, and one Tetra-Chord; the possibilities are up to you.
Once you have come up with your row and analyzed the chords you have many voicing choices. You could
simply find voicings based on the notes in the row, or you could look up your chord choices in the book and get
ideas that way.
Normal Form
Another question raises itself at this point: How does one figure out which number/name goes with a group of
notes?
In Atonal Theory, there is a concept called the Normal Form. In Tonal music, the equivalent concept for the
words Normal Form is Root Position. If you have the notes G, C, and E in Tonal music, it is common
knowledge that this is a C major triad, and that C, E, G would be the root position of that chord. Atonal chords
or note groups have an equivalent process in order to figure out the original name for the group. In order to find
the Normal Form you check all rotations and find the one with the smallest distance between the outer interval.
In Atonal music, intervals are listed by counting half-steps. C to E would be 0-4. The distance from the note C
to the note E is 4 half-steps. The largest interval in Atonal will be 11. Intervals larger than 11 are then figured
from 0 again: 12 would be 0, 13 would be 1, 14 would be 2, etc. In other words, base 12 mathematics.
vii
Lets take the notes E, C#, and C. In relation to C, C=0, C#=1, and E=4. If we list all three rotations, we
obtain three different numbers for the outer interval:
1.
2.
3.
C C# E = 0,1,4 = 4 half-steps
C# E C = 1,0,4 = 11 half-steps
E C C# = 4,1,0 = 9 half-steps
The smallest outer interval is Rotation 1, therefore 014 is the normal form of C C# and E and is the name of that
Tri-Chord. You can repeat this process with any note group. However, it gets a lot more complicated when
you have a Tetra-, Penta-, or Hexa-Chord. Very often I will check my answers with a published list of all note
groups.
Conclusion
I hope you will enjoy the material in this volume. There is a lot of information here, and there is plenty of room
for development. In the preceding text I have tried to give an overview of some 12-Tone techniques. There is a
lot more theory than is explained here, however I explained only what I thought would be relevant to chord
formation. One thing about 12-Tone theory, there is a lot of math involved, i.e. formulas, theorems, equations,
etc. I did not get into that for the sake of brevity and clearness. An excellent book, if you are looking for more
information is The Structure of Atonal Music by Allen Forte, 1973, Yale University Press. Im sure there are
many other texts as well.
Please take this material and run with it! As guitarists, the way we play chord voicings gives us a unique sound.
You can change the entire sound and energy of any group you are in just by the type of chords you choose. It is
possible to always find new ways to play chords and I hope this book will be a springboard in that direction. I
feel that these ideas will help you in the search to find your own voice. I hope you will enjoy looking through
these pages as much as I enjoyed writing them down.
I would like to thank the following people for all the help and advice I have received over the years. I couldnt
have done any of this without you!:
Henry Martin, Reggie Workman, Maya Milenovi, Vic Juris, Pat Martino, Andrea Lieske (my love) for all the
wonderful text editing, Adam Rafferty, Ron Gonzalez, Danny Gonzalez, Martin Mueller, and anyone else who
listened to me while getting through this book.
Steve Bloom
New York City, Summer 2003
viii
Tri-Chords
012
016
027
013
024
014
(Maj9)

036
(dim)
025
037
(min/maj)
(min7)
(minor)
015

026
048
(Maj7)
(dom7)
(aug)
Tri-Chords
5
012
(sharp)
2
41
3
1
3
41
(bland)
4
3
1
2
1
2
1
(min/maj)
1
1
2
1
3
2
2
1
3
31
4
3
1
3
4
1
3
1
1
1
2
4
3
1
41
3
014
1
4
013
4
3
1
1
2
3
2
1
1
014
3
2
1
4
2
1
1
3
2
015
(Maj7)
3
1
2
3
2
1
(sharp)
4
2
1
2
1
1
4
1
1
4 1
2
4
3
1
1
2
1
4 1
2
3
1
4
1
3
4
2
1
1
3
2
016
4 1
1
3
1
2
4 1
4 1
3
1
1
1
2
1
1
4
2
024
(Maj9)
01
3
4
31
1
4
4
31
31
4
1
1
2
3
2
1
4
3
1
21
4
4
3
1
2
1
1
025 (min7)
4
1
2
4
1
3
1
2
1
1
3
2
2
1
1
1
4
026 (dom7)
1
42
1
42
3
1
2
1
1
31
1
3
1
2
4
1
1
4
3
1
31
2
2
1
3
027 ("McCoy")
027
1
31
3
1
31
2
4
1
4
3
1
1
2
2
3
1
4
1
2
3
1
2
1
3
1
2
4
1
3
1
1
1
4
2
4
2
1
1
1
2
2
3
1
037 (min)
4
1
1
2
4
1
1
1
10
036 (diminished)
41
3
1
2
1
1
3
2
10
4
3
1
2
4
1
2
4
1
048 (aug)
2
3
1
1
2
3
1
2
3
11
2
3
1
1
1
2
3
1
3
4
1
2
3
1
2
4
12
3
1
3
1
3
4
1
Inverted Tri-Chords
012
016
027
013
024
036
(min9)
014
025
(dim)
037
(maj)
015
026
048
(Maj7)
(dom7,b5)
(aug)
Inverted Tri-Chords
012
Symmetrical (same as 012, previous section)
013 (min9)
4
2
1
1
1
2
20
3
1
3
4
1
4
1
1
4
3
1
1
3
10
3
014
2
1
3
1
2
3
4
31
41
3
4
2
1
1
1
3
015 (Maj7)
3
41
3
1
4
1
1
1
3
4
3
31
4
016
024
2
41
3
1
2
4
3
1
41
3
1
3
2
4
1
1
2
3
1
3
2
1
4
31
41
2
1
3
2
4
2
1
1
2
3
025
(dom7)
026
(dom7,b5)

027
1
3
1
3
1

048 (aug)
2
1
3
1
1
1
2
1
1
4
1
2
4
2
1
1
2
Symmetrical
037 (Maj)
Symmetrical
036 (diminished)
4
1
3
2
3
1
1
3
1
2
3
2
1
3
1
2
1
Symmetrical
10
2
3
1
1
4
1
2
4
1
2
1
4
3
1
3
1
Tetra-Chords
0124

0134
0145

0156
Eb-7(%)
0247
0235
C-11
E-7(#5)
C/D
C^9
Bb7(9/#5)
E7(9/#5)
D7(b5)
0268

0123
Db^7(9)
Eb7(9/13)

0135
0146

0157
0248
Db^7(b5)
D7(b9)
A7(b5)
E7(#5)

0136
Eb-7(13)
Ab7sus
0147
Eb7(13/b9)
C/Db
0158
Db^7

C-/E
C/Eb
Eb^7(13)
A7(11)
C-9
0237
0257
Dsus
Gsus
Csus
Bb6
F-7

0347
0126

0236
0125
0358
11
0127
0137

0148
Db-^7

Eb7(13/#9)
A7(13/#9)

0167
0246
0258
Eb7(13)
D7(9)

Bb7(9)
D7
F-6
Dim7
0369
Tetra-Chords
8
10
1
1
4
3
0123
10
2
1
10
1
2
4
3
1
1
1
1
2
4
1
2
3
2
4
1
12
4
1
3
1
3
2
3
2
4
1
3
2
4
3
3
4
41
3
2
3
4
2
1
10
41
4
3
10
1
3
1
3
4
1
2
2
4
1
3
1
4
0125
1
4
0124
3
4
2
3
4
3
2
1
3
1
2
0125
1
3
4
2
2
1
4
3
2
3
4
2
1
4
3
2
2
1
1
4
1
3
2
3
2
1
1
1
1
4 1
3
1
2
1
4
3
4
4
2
1
3
1
4
2
1
4
3
13
4
2
2
1
1
1
41
3
2
4
3
1
3
2
41
3
1
4
2
41
3
2
1
3
2
10
4 1
3
2
4
3
1
3
2
1
4
2
42
3 0
1
4
3
1
41
0127
4 1
2
4
3
0126
10
2
4 1
3
4
2
1
1
Db-^7(9)
Eb713(#11)
13(b9)
#9(b9)
2
4
3
2
3
1
3
11

0134
1
1
2
3
Eb7(9)(13)
0135
3
4
2
1
2 1
4
3
2
3
1
3
2
1
Eb-7(13)
Ab7sus
0136
1
2
4
1
3
1
3
2
1
4
1
2
3
3
2
4
14
1
3
2
4
1
3
3
2
4
1
1
4
1
41
1
4
3
2
1
1
1
3
4
1
2
31
2
4
2
1
3
1
4
2
3
1
3
4
2
1
1
2
1
3
11
2
4
1
1
4
1
1
3
4
3
4
1
2
1
2
Db^7(9)
0
3
2
4
10
3
4
2
1
2
1
1
4
1
1
4
1
3
4
1
2
0136
9
4
3
2
1
1
2
4
3
0137
4
3
1
1
4
3
2
1
3
4
1
1
4
1
2
1
1
2
1
3
1
3
1
2
1
3
1
4
1
1
2
3
0
4
1
1
2
2
3
4
2
3
1
1
3
4
3
2
2
4
3
1
15
1
3
2
3
2
1
3
2
1
1
1
4
1
2
4
3
1
1
4
3
1
2
4
3
1
2
1
3
2
3
2
4
1
2
1
4
3
11
3
4
4
2
1
3
1
4
2
4
2
1
1
1
1
1
4
2
4
4
0145
11
2
4
3
3
2
1
10
1
4
2
1
4
2
Eb7(13)
10
2
4
1
3
4
3
2
0146
3
4
2
1
4
1
2
1
3
2
1
Eb7 13(b9)
2
3
1
2
4
1
3
3
3
1
3
4
2
4
3
2
1
2
4
1
2
1
2
1
1
1
2
4
3
2
1
16
1
2
3
3
3
1

3
2
1
1
12
1
1
2
1
2
1
2
4
1
3
1
3
4
2
4
2
4
2
1
3
1
1
3
2
1
4
3
1
3
3
4
2
1
3
1
2
4
3
4
2
1
3
4
3
2
4
1
2
1
4
3
1
10
3
2
4
1
4
1
1
2
1
1
0147
1
3
C/Db
4
3
1
2
1
2
1
1
3
2
4
1
1
2
1
4
1
3

0148
Db-^7
2
1
3
1
2
4
4
1
2
3
2
3
1
3
2
1
1
1
41
3
4
1
2
3
4
21
1
2
3
4
2
41
3
41
2
1
1
4
1
2
3
1
1
2
1
2
4
3
4
3
1
2
4
3
4
3
2
1
1
2
3
4
2
1
3
4
2
31
17
4
4
4
1
31
4
4
3
2
1
3
4
1
41
3
1
4
2
31
4
1
2
3
1
41
2
41
2
4
3
31
4
2
3
4
2
3
2
1
1
3
2
1
1
3
2
Eb-7(%)
0156
4 1
21
3
4
1
1
42
3
2
4
1
4
3
4
2
3
1
2
4
3
1
DbMaj7(b5)
0157
3
4
2
1
2
4 1
1
3
1
2
2
3 1
41
2
3
3
2
41
3
4
1
2
2
2
2
1
4 1
3
31
2
4
2
4
3
1
4
3
1
2
4
1
1
3
18
1
3
2
4
2
1
3
1
3
2
1
2
1
4
3
3
2
1
1
1
4
3
2
1
3
2
1
3
41
2
4
1
2
2
3
2
4
2
3
1
2
1
1
3 1
4
4 1
3
1
2
3
4
3
2
2
1
11
1
1
1
1
31
4
4
3
4
1
4
3
3
1
0158
DbMaj7
41
3
3
4 1
2
4
3
1
4
3
2
1
41
3
4
3
2
1
4
2
3
1
4
1
1
1
Eb7(13)(#9)

A7(13)(#9)
0167
4
3
2
1
2
41
3
4
2
1
2
1
41
3
1
4
2
1
0235
41
1
1
1
4
1
3
42
3
3
2
1
4
3
1
2
1
2
4
1
3
3
1
1
1
10
19
21
4
3
3
1
4
3
2
1
4
2
1
1
3
2
4
1
4
2
3
1
10
2
4
2
0
1
1
4
41
3
4
2
1
1
3
2
10
4
2
4
3
C-11
41
2
4
2
41
3
41
3
10
4
3
4
3
2
1
4
31
1
10
4
31
1
4
3
2
1
4
3
1
0235
3
31
41
1
42
1
0236
3
1
1
3
1
2
1
4
4
32
1
1
31
41
2
4
21
3
1
2
3
1
3
1
2
43
2
1
10
31
2
20
3
2
4
1
3
2
2
1
21
4
3
4
3
11
1
1
4
1
11
3
2
10
3
1
2
2
4
D7(b9)
A7(b5)
10
4
1
3
2
4
1
31
4
1
1
2
31
42
4
2
3
1
Ebmaj7(13)
A7(11)
0237
C-9
3
1
2
4
2
1
4
1
41
31
4
2
1
3
4
3
1
2
3
1
1
4
1
3
2
1
3
1
2
4
3
1
1
10
4
3
2
1
4
3
2
1
11
3
1
3
1
1
31
2
4
31
1
21
3
4
3
2
1
1
4
31
2
31
4
21
4
3
2
2
1
4
2
3
1
1
1
1
2
4
3
1
1
1
2
4
31
2
4
1
1
2
12
41
2
3
4
2
3
4
3
10
2
1
1
4
3
2
10
1
41
1
1
41
10
21
4
2
1
1
1
4
10
4
3
11
41
12
2
4
1
41
4 2
4
3
1
2
0246
31
31
10
D7(9)
31
10
10
1
4
3
2
41
3
2
10
4
31
2
3
4
2
1
4
1
3
1
Cma9
E-7(#5)
C/D
0247
02
4
41
3
1
42
1
10
2
3
1
3
1
1
1
2
4
1
2
3
1
2
2
4
31
3
41
1
1
2
1
1
1
1
3
1
2
4
31
1
4
2
3
1
1
2
4
4
3
2
1
3
2
4
1
22
41
3
2
4
4
3
1
2
2
4
31
3
4
1
1
4
2
1
1
3
1
2
4
1
3
2
1
2
1
2
3
1
1
2
4
1
3
11
1
1
1
1
1
3
3
2
1
12
31
2
4
4
3
2
2
4
3
1
10
1
2
4
10
3
4
1
1
42
3
1
1
2
43
2
1
12
3
2
3
1
10
12
10
4
2
10
3
1
0248
E7#5
12
1
1
1
1
4
0
3
2
21
3
4
4
2
3
1
3
4
2
1

01
3
4
1
2
42
Dsus
Gsus
Csus
0257
1
1
1
1
4
3
2
1
4
2
1
1
4
3
1
1
Bb7(9)
D7
F-6
4
1
3
1
41
2
4
1
3
1
4
3
1
43
1
2
4
1
3
2
2
1
4
1
3
2
41
1
1
41
1
1
1
21
4
1
41
3
2
31
23
3
2
1
42
3
31
1
2
4
1
3
1
21
4
4
31
1
1
4
3
2
10
31
42
4
3
2
12
10
4
2
3
1
2
1
3
1
1
10
42
4
1
4
1
2
1
41
41
2
31
2
3
1
4
10
12
1
4
1
3
10
31
2
4
2
3
4
3
4
2
3
1
2
1
2
1
1
1
10
0258
12
10
4
2
1
3
1
1
1
2
3
4
1
2
0258
10
4
3
1
1
3
2
4
1
4
2
3
1
E7(9/#5)

0268
D7(b5)
4
1
3
2
10
4
3
1
1
3
1
4
2
4
3
2
1
C-/E
C/Eb
41
2
3
2
4
3
1
41
3
2
2
1
3
1
1
41
1
2
1
4
3
4
2
3
1
24
3
2
1
4
1
4
3
2
1
3
1
2
3
2
1
4
1
3 1
4
1
2
3
4
4
3
1
2
3
4
1
2
31
2
4
1
32
4
1
2
3
4
3
1
2
10
4
1
2
1
4
3
41
3
4
1
0347
11
4
1
2
1
2
4
10
10
1
2
3
1
42
Bb7(9/#5)
4
1
2
3
1
1
2
4
2
4
1
3
0347
5
1
1
1
2
11
1
2
3
4
1
1
2
4
4
1
3
2
10
1
3
2
3
2
4
Bb6
F-7
1
3
1
4
1
1
1
1
2
4
2
3
1
2
4
1
3
11
3
2
4
1
4
3
2
1
1
4
3
2
4
31
1
3
1
4
1
3
1
31
4
1
3
2
10
2
1
1
1
4
1
2
2
2
3
1
4
3
1
2
3
4
1
3
3
3
31
4
2
25
1
1
3
1
42
3
3
41
4
3
1
2
1
4
3
2
41
1
1
3
2
4
10
11
1
2
3
10
3
2
4
4
2
1
1
1
1
10
0358
3
4
2
11
3
1
1
2

1
2
3
4
21
3
4
dim7
0369
4
1
2
1
4
1
1
2
4
1
3
2
1
2
1
4
1
3
2
4
1
1
2
4
2
3
1
2
1
2
1
10
4
1
1
2
4
1
1
26
1
3
1
2
4
3
4
2
3
1
4
3
10
3
2
1
4
1
3
1
2
3
2
1
4
1
4
1
2
3
2
1
4
3
2
1
4
1
4
1
2
0123
0124
0134

0145

0156

0235
G-11

0247
Ab(%)
Bb7(9)
F-11

0268
(9/#5)
0135
0125
A-7(9)
C^7(b5/13)

0146
Ab7(#9)

0157
G7(sus)
F(b5/9)
0236
0147
C^7(11/#5)
F-(b5)

0158
C^7
C7(13/b5)
0237
C7(#5)
0257
C7(sus)
0358
C^6
0347
0136
C7(sus)13
G-7(9/11)
Fsus

0248
0126
F/Ab
F-/A
27
0127
0137

B7(b5/b9)
0148
C^7(#5)
0167
13/#9
0246
Ab7(9)
0258
C7
0369
Cdim7
0123
4
13
2
0125
3 1
42
4 4
23 12
1 1
5
4
11
2
14
3
2
4
2
28
4
3
12
3 0
42
4
3
12
43 2
2 41
1 3
8
3
24
1
34
1
2
14
3
2
1
3
34
2
1
4
31
2
24
3
1
23
4 1
14
3
2
4
13
4
13
2
4
23
0124
2
1
1
3
12
4 1
4 1
23
4
21 0
0126
4
3
2
1
12
4 1
4 12
12 4
1 3
4
3
2
1
6
32
41
3
41
2
1
1
3
2
34 1
2
4
2
3
1
32 4
4 21
1 3
41
32
4
1
1
2
2
41 34 1
12
0127
0134
A-7(9)
0135
4
2
1
1
13
24
7
3
1
1
1
1
2
13
34
2
1
13
1
2
1
1
13
4
23
1
4
3 0
2
29
421
3
4 3 1 42
13 4 11
2 2
7
1
4 1
2
10
24
3
1
14 3
2
10
0135
4
3
1
2
C^7(b5)(13)
F#11
B7(b9)
0136
A-%
0137
C^7sus(13)
B7(b5)(b9)
A-9(#5)
F(b5)
4
3
1
2
4
3 1
2
4
2
1
3
3
2
5
1
4
3
2
30
42
31
42
31
7
12 1 34 1
4
2
3
42
1
1
1
1
3
124
10
1 4
3 3
24 21
41 34 1
1
2
3
2 1
4
1
1
4
4
32
4
3
1
2
41
2
3
4
32
1
1
3
4
2
10
4
3
1
2
4
3 1
2
34 4 1
2 32
1
4
1
3
3
4
1
4
3
2
21
4
32 1
4
3
4
2
31
1
1
43
1
41
2
0137
2
31
32 1
4
4
3
2
1
1
2
1
3
2
2
1
1
4
32 1
1
13
2
1 1
4
12
4 1
3
4
2
1
Ab7(#9)
4 3
32 14 2
1
0146
10
10
4
3 4 3 3 2
12 2 1
4 42
3
2 1 3 1
5
4
3
1
2
1 3 23
4 42 1
23 1 4
8
3 1
4 43
43 1 12 2 42
2 3 1
31
4
23 1
3
12
4
4
3
43 1
2
41
3
2
4
3 1
4
1
4
321
1
4
0145
2 1
4
43
2
1
2
1
4
1
4
3
2
1 14
4
32
1
3
0146
2
3
4
1
1
4
4
1
2
2
4
3
1
3
2
1
0147
31
2
4
3
1
2
4
1
21
3
21
1
2
10
4
2
3
1
32
42 24
3 31
1
4 1
2
3
3
1
2
4
4
3
2
1
1
1
34
2
1
4 3
4 34
3
12 21
5
1
3
4
2
10
4
3
12
4
3
3 1 32
124 34 2 4 1
4 1
4 2
3
2
1
C^7sus(#5)
F-(b5)
4
3
1 1
4
3
3
4
2
1
1
3
4
2
13
2
4
43 1
0147
4
3
2
1
4
3
1
2
1
2
C^7(#5)
0148
3
1
2
0
4 1
3
3
2
4
2
3
41
2
3
1
32
4
1
4
1
2
3
1
2
43
2
1
3
4
1
0
4
3 1
0
4
32
1
33
3
4
1
1
4
2
3
1
4
3
12
3
4
1
2
4
4
3
23
1
4
12
0
42
3
1
43
2
1
243
1
4
3
143
2
4
3
14 0
3
1
12
3
4 1
2
3
4
1
12
4
3 1
2
5
4
3
1
0
10
23 1
3
24
1
1
2
4
123
41
23
4
3
113
2
4
1
4
21
1
4
2
3
1
0148
14
12
4
3
12
0156
0157
0167
4 2
3
1
41 3
2
311
2
3
2
1
1
4
2
1
1
2
1
1
3
10
24 1
1
423
4
1
2
1
4
2
1
3
34
41 2
3
134 1
42
1
3
4 1
2
1
3
14 1
1
21
1
3
4
2
1
4 1
3
2
43 1
1
4
3
11
11
2
1
10
1 1
4
3
0158
4
3
2
7
3
12
4
4 31
23 42
1
4
123
132
4
4
13

F(b5)(9)
G7sus
0235
C7(13)(b5)
13
41
0237
12
11
34 1
1
41
13
1
12
3
4
3
21
4
11
1
13
2
4
12
41
21
7
4 1 4 2
32 13
5
4
13
2
43 4 1
3
4 1 41 1 3
2
31 2 1
10
2 12 41
13 4 1 31
4
35
3
2
411
2
4 4 42
3
3
1
2
1
2 1 1
1 32 431
4 1 41 1
3
1
1
4
34 1
1
41
12
43 4 1
4
23 1 13 1 32
4 2 1
Fsus
C7(11)(13)
G-7(9)(11)
421
3
4
3 1 34 1
1
10
2 1 41
3
3 1
41
3
4
4
12
1
0236
10
24 1
1
13 43 1
1
2 2
0237
0246
2
1
1
1
3
1
2
4
4
3
2
1
4
3
2 1
36
4
2
1
1
12
1
1
4
2
3
1
1
4
2
4
1
1
1
31
1
34 1
4
3 2
1
3
4
2
41
12
10
4
3
1
2
10
123
1
4
23
1
4
312
4
3 1
2
4
2
1
1
4
1
2
1
23 3 1 42 1
4
1
3
2
1
41
3
2
4
3
1
2
4
3
2
1
Ab(%)
Bb7(9)
F-11
24
3
1
42
3
1
4 43
2 1 2
1 1
0247
31
4
2
13
4 2
42 1
3
3 41
1

0248
0257
C7
0258
4
31
2
4
1
3
1
4 21 112
3 1 11 1
2
1
213
8
4
1
1
2
10
2
11
3
5
31
2
4
1
1
1
41
1
1
12
4
1
3
2
4
3
2
1
37
1
11 43 421 42
1 2 3 3
1
2
3
2
4 1
12
12
3
4
42
3
1
4
23
12
32 1
4
134 2
0268
0347
0358
0369
38
Penta-Chords
01234
01245

01256
01268
Eb-7(9/13)
01356
Eb-7(11/13)
Ab7sus

01368
01468
Db-^7(11)
D7(b5/b9)
Ab7(b5)
Dsus
C(%)
02479
Db^7(b5/b9)
01257
F#7(13/&11)
C#-^7(9/11)
01346
Db^7(9/#11)
Eb7(9/13)
01357
Eb7(13)
C7(b9)
01369
C6(b5/b9)
A6(#9)
01469
E7(b9/#5)
D7(9)
02458
03458
01267

01236
01247
01258
01347
E^7(b9/#5)
39
Eb7(b9/13)
Bb-7(9/11)
Eb7(9/11/13)
01358
Db^7(#9/b5)
C(b9/11)
01457
Eb(&9/&5)
C(#5/b9)
01237
01248
01348
Db-^7(9)

01367
Eb7(13/#9)
01458
Db^7(#9)
Gb^7(9/#11)
F-(b9/#5)
C-(9/11)
F7(9/13)
D7(9/#11)
E7(9/#5)
D7(9)
D/C
01478
Eb^7(#5/b9)
C7(#9/9)
02357
02368
F#7(b5/#5)

01246
Eb-^7(#5/b9)
D7(9/b9)
02347

02346
01235
02468
01568
02358
Ab^7(b5)

02469
Penta-Chords
9
01234
4 1
3 1
2
10
3
114
1
01237
01246
24
1
11
2
4
1
1
41 2
13
40
1
2
4
1
3
10
4
13
12
1
1
1
4
3
10
4
23
4 1
3
12
10
34
2
11
4
113
2
2
13 1
4
10
01245
4
13
12
411
32
114
13
3
14
2
01236
43
12
1
4 1
13
2
01235
2
3 1
4 1
3
421
1
41 1
1
2
4
1
1
1
4 2
13
1
F#7(b5/#5)
01247
4
123
1
3
1
2
4
1
Db^7(b5/b9)
01257
4 2 4
11 43 32 1
32 11 1
8
10
4
3
32
1
10
4
112
1
41 1
23
10
1 1 4
34 3 1 11
11
21 12
10
44
4
2
1
4 31
12 4 1 2
11 2 03 0
1
6
4
11
1
2
3
4 1
12
3
42
1
1
41
12
2
4 1
11
4
1
3
2
31
4 1
2
1
4
3
1
2
10
32
4 1
1
32
4
11
01258
24
3
1
1
32
11
2
4
3
1
1
32
4 1
1
10
122
4
3
01256
342
1
1
1
1
34
10
11
42
3
3
1
42
1
01248
4 1
13
4 1
11
3
2
1
4 43 1
2
1
1
01267
10
31
1
42 1
1
4
1
21
1
4
13
22
4 3 1
12
11
321
4
12
3
1
9
32
14 0
43
22
34 1
22
F#7(13/#11)
C#-^7(9/11)
3 4 1
12
13 1
2
01346
324 1
1
14 1
3
2
441
32
01268
41 2
3
42
21
3
04 0
2
3
42
1
21
03 0
43
2
11
4
13
21
9
4 1
13 12
12 13
42
412
13
34 1
12
21
42 0
134
12
12
4 3 1
312
4
1
34
12 34
1
12
1
Eb7(b9/13)
01347
4
13
12
411
12
4
131
1
4
1
2
3
1
11
1412
3
111
23
412
Eb-7(9/13)
4
3
312
44
3
12
43
12
1
411
2
1
0
321
4
1
3
214
43
32 1
1
23 1
4
0
2
4
3
2
1
413
12
1
24 1
3
4
3
11
1
11
04 3
2
9
3 1
42 1
413
2
2
111
24
4
1
2
3
02
41
23 1
4 1
3 1
24
0
01356
1 03
24
4
13
21
Db-^(9)
020
13
3
4
2
1
4
113
2
01348
11
13 1
4 2
24 1
31
11
11
1
31
12
01356
1
23 1
11
44
32
1
Eb7(9/11/13)
Bb-7(9/11)
Db^7(9)
11
1 1
24
3
4
113 44 1
24 21 243 1
11
14 1
8
43
12
1
413 31 3 1
2 4 21
1 12 4
11
321 12 1 431
4
12
41
1
44
4
3 1
2
T
4 2
11
1
3
402
1
24 1 121
1 1
1
3
4
3
3
21
134
12
4
33
12
23
014
01358
3
24 1
1
4
1
32 1
32
41
1
4 4
13 2 13 4 12
1
11
1
1
11
14 1
2
Db^7(9/#11)
Eb7(9/13)
01357
34
1
22
4
1
11
1
6
4
4
33 12 1
3
21
Eb7(13/#9)
11
10
10
4
32
11
44
3
1
2
10
34
1
12
01368
4
2
1
1
1
13
214
3
14
2
1
3
1
2
1
4
431
21
13
4 1
2
112
1
1
13
1
42
2
111
4
11
4
2 1
1
1
413
1
2
32 1
1
1
31 1 1
11 34
2
3
41
2
1
5
45
34
2
11
11 31
4 1 14
2 2
6
311
42
3
4 11 3
21 4 11
1 32 4 2
1114
2
324 1
314 24 1
2 1
1
3
211
13
14 1 11
23 213
Gb-6(b5)
Eb7(13)
C7(b9)
01369
43
3
12
Eb-7(11/13)
Ab7sus
4 4
411 32 1 332
12
1
1
320
14
01367
3
12
14
413
2
2
4
43
1
2
1
21
11
4
1
3
1
2
13
112
Db^7(#9/b5)
C(b9/11)
01457
10
11
4
4
31
2
4
11
12
4
21
13
Db^7(#9)
01458
Db-^7(11)
1
1
3
2
4
4
311
413
2
1
1
3
2
4
1
11
4 3
2
46
12
13
4
43 1 3
2 1
1 241
32
111
04 1
2
3
4
3
1
2
2
13
2
11
4
111
21
41 1 1 2 1
12 11 12 41
1 24 34 3
312
4
1
40 2 443
3
21
1
01468
2
4 0
03
3
3
3
1
03 4
21
4
1
13 1
4
12 1
3
0
2
1
4
3
4
3 1
2
1
3
124
1
1
1
2
3
14
3
12
11
113
2
4
3
1
1
1
2
234
11
12 1
43
11
42
4
23 1
1
134
11
10
14 1
13
231
1
C6(b5/b9)
A6(#9)
E6(#9/#5)
C(#5/b9)
10
Gb^7(9/#11)
F-(b9/#5)
Db^7(11)

01568
1
4 2
3
1
211
4
3
1 1 2 1
43
43
1
1
9
1
411
4
2
1
1
3
13
2
11
9
3
1
1
1
4
47
2
0
341
43
2
11
413
22
2
1
413
1
1
3
2
1
1
2
3
4
1
11
34
2
43
11
1
11
43 2
43 2
1
1
43
11
3
112
4
12
3
41
11
44
42
1
43 1
2
1
34
2
1
43 2
1
1
112
4
111
3
2
41 13 4
1 24 3
32 2 2 1
1
14
3
21
4
11
23
1
2
4
3
1
43 14 1
11
2
2
3
43
112
11
44 21
3 41
21 3
01478
1
11 131
12 2
01469
4
3
2
1
1
1
1
3
2
4
Eb-^7(#5/b9)
D7(9/b9)
14

0
20
02347
43 1
12
02357
10
1
1
112
11 3
4 1
3 1
124
14 1
23
48
12
13 1
1
1
14 1
3
3
2
11
1
1
8
4
113
1
4
12
2
2
11 4
1
1
4
023
1
10
44
32
1
04 3
0
1
24
3
1
1
11
114 2
3
4 0
2 0
1
4 1
13 1
4
1
0 2
0
3
42 1
1
10
4
3 1 03 1 13 1
12 42 1
4
03 1
42
34
2
2
1
4
3 1
2 1
Eb^7(6/9)
C-(9/11)
F7(9/13)
G7(11/#5)
4
1
31
1
4
33
12
11
1
14 2
3
4
123
1
134
0
0
4
4
13 124 23
12 3 1 0 1
Eb^7(#5/b9)
C(#9/9)
4
1
1
12
02346
421
31
3
1
41 1
1
42
13
1
1
34 1
1
Ab^7(b5)
421
13
12 24 1
113 11
02358
D7(b5/b9)
Ab7(b5)
02368
113
12
41
32 0
41
13
2
E7(b9/#5)
F-^7(13)
D7(9)
02458
D7(9/#11))
E7(9/#5)
10
13 4 0
12 13
4 2
8
33 3 0
21 14
2
D/C
D7(9)
41
312
4
12
433
12
43
21
1
11
43
12
1
311
21
9
211
1
1
4 3
1
12
412
3
1
9
3
3
312
49
1
31
21
22 1 131
4
12
3
02469
12
02468
4 44 3
3
1
3
12 21 42 1
0
112
413
2
T
1
31
42
32 1
4
T
6
3 1
1
42
9
43
211
12 42
4 1 13
1 1
3
1
2
1
1
13 1
1
4
2
4
113
11
4
423
1
3
412
2
02479
Dsus
C%
10
4
23
1
1
4
1
312
13 1
1
4
4
3
1
1
2
4
3 1
1
1
11
1
11
12
4
413
2
432
1
1
1
411
3
412
3
1
50
12
11
1
0
1
2
0
3
4 1
12
3
421
3
1
10
12
E^7(b9/#5)
03458
3 01
4
2
41 1
1
3
32
111
412
23
3
1
411
4
3 0
1
12
02 4
31
01234
01235
01245
01246
01256
01257
01268
01346
Ab7(#9/b9)
A-^7(13/9)

01356
A-7(9/13)

01368
A-7(9/13)
B7sus(b9)
F#7(11)

01468
01236
Ab7(#9/9)
01247
01248
01258
01267
B^7(b9/11)
01348
A-^7(9)
01347
A-^(9/#5)
01357
A-7(#5/9)
F(b5/9)
01358
C^7(13)
A-7(9)
E-(#5/11)
01369
B7(b9)
01457
G7(b9/11)
Ab7(#5/#9)
C^7(#5/b5)
E(9/#5) 01469
01478
02347
02357
G-7(9/11)
Bb^7(%)
C7sus13
C7(b5/13)
02458
Bb7(9/#11/13)
02468
C7(#5)
Ab7(9/#5)
Gb7(9/#11)
02346

02368
Ab(%)
Bbsus

02479
Ab7(#9)
03458
Ab^7(b9/#5)
51
01237
01367
B7(b5/b9)
A-6(9/#5)

01458
E7(#9/#5)
C^7(b6)
01568
E-(9/#5)
C^7(b5)
02358
C7(13)
Ab7(9)
02469
01234
01235
01236
21
1
31
1
01237
31
1
2 1
1
Ab7(#9/9)
52
1
4
2
3
1
1
2
4 1
3
3
4
1
1
3
2
41
1
3
2
1
4
4
3
1
2
1
3
2
41
4
3
01246
2
2
2
41
3 1
1
3
4 1
01245
2
3
1
4
2
2
4
41
4
2
4 1
1
3
4
3
1
4
3
2
1
4
3
1
2
T
01246
2 0
4
1
3
4
3
3
1
2
4
3
2
1
30
2
1
4
30
1
2
4
30
2
4
4
2
31
1
4
3
1
1
2
2
2
1
4
2
2
2
4
2
1
3
1
1
31
2
4
01248
2
1
1
30
4
2
4
3
1
2
01247
4
3
1
1
2
53
4
3
2
0
2
1
3
4
2
1
1
4
1
1
3
1
02
4
3
2
4
31
4
20
1
0

01256
4
4
2
3
1
4
3
1
2
1
01257
4
4
2
3
1
4
0
0
2
1
0
02
1
3
4
3
1
1
20
3
1
1
4
4
1
1
1
4
3
2
2
1
2
1
1
1
30
2
1
4
2
1
3
1
4
30
1
2
1
1
4
3
1
2
1
41
3
1
2
01258
2
4
41
3
1
2
4
3
1
1
20
4
1
2
1
1
4
3
2
1
1
1
3
40
1
3
2
54
4
3
2
1
1
04
3
1
0
4
3
2
0
3
2
1
1
4
0
43
2
1
B^7(b9/11)
01267
1
31
4
2
4
3
2
2
1
4
1
3
2
1
4
3
3
2
4
3
1
1
1
1
2
2
1
1
2
0
1
4
3
2
1
4
3
3
2
1
41
31
4
41
2
1
1
1
1
4
2
3
1
1
2
4
1
3
1
1
4
3
2
3
1
Ab7(#9/b9)
A-^7(13/9)
01346
1
31
4
2
2
1
1
1
41
3
2
01268
4
4
Symmetrical
4
3
1
2
1
1
4
1
3
2
4
4
1
41
3
2
2
3
2
1
1
41
2
55
2
4
1
3
1
3
41
2
41
2
0
4
3
1
2
1
1
0
4
3
3
1
2
4
20
A-^(9/#5)
01347
1
2
4
1
2
1
1
4

10
01356
1
3
1
1
2
4
3
1
1
2
1
1
2
4
3
1
1
1
1
1
2
4
1
2
3
1
2
1
3
2
0
1
2
40
0
2
40
4
1
3
2
3
01357
1
2
1

A-7(#5/9)
F(b5/9)
3
4
3
2
4
1
3
2
2
1
4
3
2
4
3
1
2
01348
1
3
2
Symmetrical
A-^7(9)
1
4
10
30
2
56
31
42
1
41
31
2
41
1
3
2
1
2
1
1
3
4
1
1
2
0
3
41
2
2
1
1
3
1
41
C^7(13)
A-7(9)
E-(#5/11)
01358
0
03
2
1
4
1
1
1
1
41
2
1
1
1
2
3
1
1
2
20
1
4
3
2
1
1
1
4
3
2
2
1
3
4
2
1
1
1
1
1
41
1
2
4
3
2
1
0
3
2
57
4
3
2
2
1
10
20
3
21
41
1
20
4
0
31
41
2
3
3
3
2
1
2
41
1
1
1
1
4
1
4
2
2
3
3
2
4
1
10
1
1
1
1
20
3
1
4
3
2
4
1
3
2
2
4
4
3
1
2
4
4
2
3
1
1
3
31
4
3
2
1
1
10
B7(b5/b9)
A-6(9/#5)
01367
20
4
3
1
1
3
4
2
1
1
1
3
4
2
A-7(9/13)
B7sus(b9)
F#7(11)
01368
3
41
2
1
0
0 3
1
2
4
3
3
1
2
4
3
1
2
1
1
21
30
1
4
2
G7(b9/11)
4
4
3
2
1
1
4
1
3
2
1
1
1
2
1
4
0
20
1
58
1
1
31
42
1
4
1
3
1
1
3
41
2
4
2
3
1
1
3
02
1
4
3
2
1
4
1
4
4
1
3
2
1
3
2
2
2
4
3
3
31
4
1
3
2
1
4
1
3
2
2
1
3
1
4
2
01457
20
1
4
4
3
1
1
3
1
1
4
1
3
2
B7(b9)
01369
4
4
3
2
1
0
3
2
1
4
4
1
31
2
1
3
41
2
4
1
3
1
2
4
3
1
2
2
01457
1
31
4
3
1
1
2
01458
E7(#9/#5)
C^7(b6)
01468
4
0
0
1
2
10
2
4
3
Ab7(#5/#9)
C^7(#5/b5)
E(9/#5)
1
4
1
2
3
1
3 1
1
1
3
42
1
20
3
4
1
1
1
3
2
3
2
4
1
0
3 1
1
0
03
2
1
2
1
1
42
1
0
59
20
3
1
03
2
4
1
0
0
1
2
3
4
1
1
2
0
1
4
3
4
2
2
1
1
1
3
2
0
1
2
41
3
4
1
0
1
1
2
4
0
4
1
1
0
0
41
3
2
1
1
1
04
2
2
3
1
1
3
2
4
1
1
1
4
3
3
1
2
21
3
4
1
4
3
2
1
1
1
21
3
4
1
1
3
42
01468
3
4
1
1
1
4
3
1
2
1
Ab7(#9)
01469
3
3
3
1
2
2
1
3
1
1
21
4
3
4
3
2
1
1
4
3
1
1
2
1
2
3
4
1
1
1
1
3
2
20
1
4
3
1
4
3
2
1
3 1
2
4
1
1
1
2
3
4
E-(9/#5)
C^7(b5)
3
3
3
2
1
0
4 1
3
0
0
2
3
1
1
0
4
3
2
2
1
1
41
2
0
0
1
3
60
2
41
3
0
4
1
1
3
2
03
1
4
1
1
2
1
4
1
2
1
01478
01568
1
1
4
3
2
4
3
1
2
4
2
0
1
4
3
1
0
21
4
3
1
2
4
3
1
0
4
3
1
1
2
02346

02347
3
2

02357
4
4
3
1
2
41
1
1
2
4
1
4
1
3
1
2
1
1
3
4
2
3
4
1
2
1
1
1
1
3
61
41
4
1
2
1
1
42
1
1
1
1
3
1
1
2
1
1
4 1
2
1
3
2
1
3
2
4
3
1
2
1
4
G-7(9/11)
Bb^7(%)
C7sus13
2
3
1
4
3
1
2
4
1
1
1
1
4
1
2
1
1
C7(13)

02358
4
2
1
3
1
31
2
1
4
1
3
1
2
1
1
1
1
2
C7(b5/13)

02368
1
1
3
2
4
3
1
1
1
4
3
1
2
1
4
4
3
2
1
0
21
4
4
3
2
2
1
1
3
1
0
3
41
2
4
1
2
1
3
4
3
3
1
2
4
3
1
2
1
4
1
1
2
1
4
3
3
2
1
1
1
2
41
4 1
3
0
2
Bb7(9/#11/13)
C7(#5)
02458
3
41
1
1
1
0
2
4
1
3
1
4
2
3
4
1
1
3
2
2
4
1
1
1
62
1
3
2
1
4
3
2
4
1
1
2 1
3
1
3
41
4
1
1
1
0
4
1
1
2
1
3
4
1
2
0
41
1
0
02468
Ab7(9/#5)
Gb7(9/#11)
Ab7(9)
Ab(%)
Bbsus

02469
02479
03458
Ab^7(b9/#5) Symmetrical (same as 03458, previous section)
63
Hexa-Chords

012345

012348
012358
012369
012457
012468
012479
012569
012678
012346
012356
012367
012378
012458

012469

012567
012578
013457
64
012347
012357
012368
012456
012467

012478

012568
012579
013458
013467
013478
Eb7(13/b9/11)
F/Gb
013569
013679
014589
A-/Db
F-/A
Db-/F
023458
023568
024579
Db-^7(9/11)
Ab7sus(#5) 013469
013468

Eb-7(9/11/13)
Gb^7(9/13/#11)
A7(b5/#9) 013568
013479
C-(#5/b9/11)
F-7(6/#5/9)
013578
014568
014679
023468
F7(9/13)
023579
F^7(%)
D-7(9/11)
02468 10

65
013579
A7(#5/#9)
E
014579
023457
023469
023679
Hexa-Chords
6
012345
1
31
1
2
31
1
2
2
1
31
41
4
2
1
0
3 1
1
0
66
1
43
20
0
2 0
0
0
4 3
2 0
1
No voicing in this key.
1
3
4
3 1
4
2
31
1
0
42
012356
012347
1
31
012346
012348
3
4 2
1 0
0
03
4
20
1
0
43
20
1
012357
3
1
1
4
1
1
10
4
1
1
3
1
2
3
2
1
4
1
1
012367
3
4
1
2
1
1
2
4
1
1
1
1
012358
1
1
1
4
1
3
10
3
1
1
4
2
1
4
1
1
3
2
2
10
012368
3
4
2
2
2
1
012369
67
2
1
1
3
4
0
1
2
1
4
1
3
10
1
1
1
4
2
3
10
3
4
2
2
1
1
3
4
2
1
1
1
10
012378
10
42
3
1
1
1
1
2
1
4
3
3
41
3
2
2
2
012456
012457
10
3
1
2
4
1
1
20
1
10
1
1
2
4
1
3
04
3
2
4
1
1
1
1
12
3
4
1
2
1
1
2
3
1
4 1
1
10
012458

012467
3
4
1
1
2
1
10

68
4
1
2
3
1
1
0
3
2
4 0
1
3
4
2
1
1
1
1
1
2
4
2
3
0
2
0
3 0
1
012468
10
3
1
1
2
1
1
012469
4
3
1
2
1
1
012478
41
2
1
3
0
10
0
3
1
4 0
2
10
3
4
2
2
2
1
1
1
2
4
3
T
2
4
3
1
1
1
012479
012567
4
1
2
3
T
0
2
41
3
1
1
69
4
31
2
1
1
1
4 1
3
1
2
012568
10
4
1
1
1
3
2
4
1
3
2
1
1
4
4
3
3
2
1
012569
4
4
3
3
2
1
012578
4
1
1
1
3
2
012579
4 1
2
2
1
4 1
2
1
1
4 1
2
1
1
70
3 1
1
2
1
3
1
4
2
2
1
1
3 1
2
2
2
1
4 1
1
2
3
10
1
1
3
2
2
2
1
4 1
1
3
2
4 1
1
2
1
2
0
30
1
3
3
3
2
2
1
012678
4
4
3
1
2
1
4
4
3
1
2
1
013457
4
1
2
3
1
1
4
1
1
3
1
1
1
1
3
1
2
1
3
4
1
2
0
1
1
1
3
4 1
31
0
3
0
2
4
1
013467
Db-^7(9/11)
Ab7sus(#5)
0
42
1
1
1
10
013458
1
1
2
4
013468
4
2
31
1
1
4
1
1
3
2
1
4
1
2
3
T
T
1
1
2
31
4
71
3
4
1
2
2
2
31
2
4
0
4
1
1
2
1
1
1
1
1
2
1
3
1
31
41
2
013468
0
3
1
1
4
2
4
2
1
3
1
1
31
41
2

013469
Eb7(13/b9/11)
013478
4
3
1
2
1
1
11
4
1
1
3
2
1
3
4
2
1
1
1
A7(b5/#9)
013568
1
1
1
3
2
4
1
1
1
1
2
4
11
Eb-7(9/11/13)
Gb^7(9/13/#11)
4
4
1
1
2
0
02
4
3
1
1
013479
4
1
3
1
2
1
11
4
3
1
1
1
1
72
1
4
1
1
1
3
2
1
1
41
1
1
1
1
41
2
11
F/Gb
013569
4
3
3
2
1
1
C-(#5/b9/11)
F-7(6/#5/9)
013578
11
1
1
3
2
1
1
4
1
1
2
3
11
4
3
1
1
2
1
1
1
2
2
2
3
1
1
3
41
1
4
2
1
1
3
1
1
1
41
3
1
3
4
1
2
2

013579
013679
4
3
3
3
2
1
014568
3
1
2
41
1
1
2
41
3
2
04
3
1
1
73
2
1
1
3
4
0
1
1
4 1
3
0
3
1
1
41
0
1
1
1
4 3
2
A7(#5/#9)
E

014579

014589
A-/Db
F-/A
Db-/F
11
1
2
1
1
3
4
4
3
3
3
2
1
1
1
1
2
3
4
1
1
1
1
2
3
0
4
2
1
1
3
1
11
0 3
2
4
4
4
4
1
3
2
4
4
3
1
2
2
1
1
2
41
3
3
4
1
1
2
0
4
4
4
1
3
2
1
1
1
2
3
4

014679
1
3
1
1
2
4
023457
4
4
4
1
3
2
4 1
3
0
0
10
4
1
31
1
1
3
1
1
4
2
0
1
1
1
2
3
4
3
1
1
1
2
1
1
1
1
1
3
2
4
3
1
1
2
1
10
74
2
4
31
1
1
42
1
1
1
2
41
0
30
0
40
0
30
1
40
0
2
3
1
023458
1
4
1
1
3
0
3
20
1
1
4
4
1
1
3
1
2
023568
F7(9/13)
2
4
1
30
0
1
0
10
75
40
1
1
3
2
4 0
1
3 0
2
1
3
1
2
2
2
03
4
0
0
1
10
4
3
3
1
2
2
4
3
3
2
023579
3
1
1
2
1
4
11

023469
023468
4
1
2
1
1
2
1
1
1
1
1
1
1
1
1
1
2
4
3
0
2 0
1
10
10
023679
F^7(%)
D-7(9/11)
024579
3
1
2
1
1
1
11
10
1
21
41
3
1
1
3
1
1
2
12
4
1
1
1
1
1
76
4
3
2
2
2
1
12
02468 10
3
2
1
1
1
1
4
3
2
0
1
0
4
2
3
4
3
1
1
1
0
20
1
1
3
1
1
1
2
2
40
3
1
1
03
2
1
1
1
012345
012346
012348
012356
012358
012367
012368
012369
012378
012456
012457
012458
012467
012468
012469
Ab7(#9/9)
012347
012357
012478
012567
012568
012569
012578
012579
012678
013457
013458

012479
B^7(b5/13/b9)

77
Ab7(#9/13/9)
Ab7(#5/#9/b9)
A-^7(9/13)
013469
Ab7(#9/b9)
013478
013479
013568
B-7(#5/b9)
A-7(13/9)
013569
013578
013579
013679
014568
014579
014589
014679
023457
023458
023468
023469
023579
G-7(#5/9/11)
C-7(13/11)
023679
F/Eb
013467
013468

023568

024579
Ab^7(%)
C-7(#5/11)

02468 10
78
C7(13/11)
6
012345
(Symmetrical)
0 2
0
1
79
03
2
10
03
1
20
1
43
2
T
0
4
03
1
20
1
4
3
2
T
0
012356
(Symmetrical)
012348
30
2
4
4
1
3
012347
012346
1
03
2
04
4
03
2
0
1
012357
4
3
1
1
2
4
20
1
1
1
012358
2
1
1
1
0
4
0 2
1
0
0
012367
012368
4
20
3
1
0
012369
13
4
2
2
2
1
31
2
41
03
41
02

80
4
4
4
3
0
4
1
3
2
0
1
3
41
2
2
4
0 2
3
1
0
012378
41
3
2
1
1
42
3
1
1
1
4
3
1
1
1
2
012456
20
40
3
31
21
4
012458
0 2
0
3
4
012467
04
20
3
0
4
0
30
1
2
012457
02
41
Ab7(#9/13/9)
81
4
4
3
3
1
2
1
2
31
4
1
20
40
3
3
0 2
4
1
0
4
03
0
1
0
4
20
1
1
0
012468
4
4
3
21
1
4
3
1
2
2
2
4
3
3
3
1
2
4
3
1
1
1
2
0
30
2
1
4
012567
3
2
1
1
4
02
1
3
1
3
04
2
1
0
2
3
4
1
1
1
No voicing in this key
012568
4
20
1
1
0
B^7(b5/13/b9)
20
3
1
012479
012478
0
2 0
4
1
3
Ab7(#9/9)
012469

82
0
0
20
41
4
3
2
2
1
1
3
4
2
2
2
1
4
0
20
1
0
3
20
4
1
0
012569
012578
0
10
2
4
4
4
3
1
2
1
3
1
1
41
2
012579
1
1
1
4
2
1
1
1
1
4
2
1
1
1
1
4
3
2
1
1
1
3
4 1
1
1
1
013457
4
2
1
1
3
T
4
3
3
2
1
1
2
4
3
4
3
1
1
2
2
2
1
1
41
012678
83
1
04
2
3
3
20
1
1
0
013458
3
0
0
1
2
4
4
0
0
1
2
3
3
0 1
4
2
0
013467
013468
(Symmetrical)
Ab7(#5/#9/b9)
A-^7(9/13)
04
2
0
1
1
31
4 1
2
31
41
1
0
0
31
2
4
0
10
4
2
3
4
4
3
3
1
2
013469
Ab7(#9/b9)
013478
4
3
3
3
1
2
0
1 0
3
2
4
84
0
04
1
2
4
4
3
1
1
2
4
10
3
2
0
4
10
3
2
0
013479
013568
A-7(13/9)
B-7(#5/b9)
0
0
20
1
3
013578
1
43
1
1
2
4
4
3
2
1
1
3
1
2
4 1
013579
10
4
2
20
1
3
1
013569
1
1
1
41
2
1
1
1
1
42
1
3
1
1
2
4
3
4
1
1
1
85
4
3
1
1
2
1
4
3
3
2
1
1
1
4
2
1
1
3
4 1
1
0
2
0
0
20
1
4
4
3
2
1
1
1
4
10
3
2
0
1
3
2
1
1
4
4
3
2
1
1
1
1
1
3
1
2
4
4
1
3
1
2
1
4
20
1
3
1
013679
014568
4
1
1
31
2
0
0
2
3
4
4
0
0
2
3
1
4
1
1
3
2
2
3
1
4 1
2
0
4
0
30
1
0
014579
20
1
3
1
1
4
3
1
1
2
4
3
2
1
1
1
4
1
1
1
2
1
4
0
0
1
3
1
014589
(Symmetrical)
4
4
4
1
2
2
014679
(Symmetrical)
0
0
0
1
3
4
0
20
1
4
3
86
4
3
1
1
2
1
4
4
4
3
2
1
3
1
1
1
2
1
4
0
0
1
3
0
3
0
41
2
0
023457
41
31
1
2
31
1
1
023458
2
4
4
3
3
2
1
3
2
4 1
1
1
3
2 1
4
0
0
023468
4
21
3
0
0
13
1
3
1
2
2
2
023568
10
023469
4
3
3
2
1
1
2
1
03
3
1
2
1
41
4
1
3
1
1
2
1
4
1
2
1
3
87
4
3
1
2
1
1
3
1
2
4
1
0
3
21
4
0
0
G-7(#5/9/11)
C-7(13/11)
F/Eb
023579
4
3
1
1
2
1
3
42
1
1
1
1
4
1
1
3
2
1
2
1
1
1
3
3
2
1
1
1
1
4
1
2
1
1
1
C7(13/11)
023679
(Symmetrical)
Ab^7(%)
C-7(#5/11)
024579
(Symmetrical)
3
1
1
2
1
4
21
31
1
1
43
1
1
2
02468 10
(Symmetrical)
88
2 0
1
4
1
3
3
42
1
1
1
1
3
1
1
1
2
1
1
1
1
1
3
photo: Esther Blum
I came to New York in 1984 and finished school in 86. During that time, and after, I studied
with: Reggie Workman, Henry Martin, Bill Saxton, Chuck Loeb, Pat Martino, Ben Monder,
Dave Fiuczynski, Virginia Luque, Mark Delpriora, Rachel Z. and many others.
Ive played many styles of music including Jazz, Classical, Blues, Cuban, Brazilian and AvantGarde music. Actually, I feel like I learned more about music after college than at any other time
in my life. To be out there doing it every day, playing with many different people and
experiencing their various perspectives on music is irreplaceable. Ive always been interested in
exploring new chordal ideas and searching for information that would enable me to expand that
search. The books out there never satisfied me. This book is a response to a perceived need to
show modern chord ideas on the guitar. There are a few good books out there, but theres room
for more!
I sincerely hope you enjoy this book, and if you find any new voicings that are not in the book,
send me an email. In addition, if you have any questions or would like to invite me to teach this
material, please feel free to contact me at:
www.bloomworks.com
Enjoy!

21st Cent Chords For Guitar

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21st Cent Chords For Guitar

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21ST CENTURY CHORDS FOR GUITAR

Copyright by Steve Bloom

21st Century Chords For Guitar

Techniques & Theory

d) Voicings: Open vs. Fretted Strings

Example 4: Symmetrical Inversion of an 036 Tri-chord or C diminished triad:

Line 1 has a Tri-Chord built on C, D#, F#, and A,

Symmetrical (same as 012, previous section)

Symmetrical (same as 024, previous section)

Symmetrical (same as 0123, previous section)

Symmetrical (same as 0127, previous section)

Symmetrical (same as 0134, previous section)

Symmetrical (same as 0145, previous section)

Symmetrical (same as 0167, previous section)

Symmetrical (same as 0158, previous section)

Symmetrical (same as 0156, previous section)

Symmetrical (same as 0235, previous section)

Symmetrical (same as 0246, previous section)

Symmetrical (same as 0248, previous section)

Symmetrical (same as 0257, previous section)

Symmetrical (same as 0268, previous section)

Symmetrical (same as 0347, previous section)

Symmetrical (same as 0358, previous section)

Symmetrical (same as 0369, previous section)

Symmetrical (same as 01356, previous section)

Symmetrical (same as 01478, previous section)

Symmetrical (same as 02346, previous section)

Symmetrical (same as 02468, previous section)

Symmetrical (same as 02469, previous section)

Symmetrical (same as 02479, previous section)

Ab^7(b9/#5) Symmetrical (same as 03458, previous section)

No voicing in this key.

No voicing in this key.

No voicing in this key.

No voicing in this key

Symmetrical (same as 012678, previous section)

photo: Esther Blum

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