Seventh Chords and Inversions
This document examines many of the basic seventh chords, both in root position and inversions. A systematic approach is taken that can be applied to other non-standard chord structures. The root position seventh chord will be in the first column, each column to the left will be an inversion of that structure using a process of moving a chord tone up to the next chord member on the same string. The first example is a model used throughout. Notice that above each diagram the Chord members (Root, 3rd, 5th or 7th) are listed above above the corresponding strings. Fret numbers are provided with the first example to demonstrate how the chords are moved up the neck when used on a single chord name (i.e. Cma7). The numbers are left off of the other voicings. Since no open strings are used these are transposable over the range of the fingerboard.
Due to the tuning of the guitar is more common to use open position voicings instead of close position voicing. A close position voicing stacks the chord member in numerical order, i.e. Root 3rd, 5th, 7th. While this is a playable voicing on the guitar, it is difficult for some of the 7th chords such as diminished 7th. An open position voicing such as Root, 5th, 7th, 3rd is a more comfortable hand position. The open position voicings are generally easier to grab. Most of the chord voicings shown here are of the open position variety. A few close position chords are included just for the challenge.
As you play through the inversions, notice how the interval between the root and 7th is sometimes a 7th and sometimes a 2nd (the inversion of a 7th) or even a 9th (2nd plus an Octave). The context of a voicing within a moving harmonic environment is very important. While some of these inversions might sound discordant as an isolated chord (the 3rd inversion of major 7 strikes me that way), they might provide the perfect tension within a series of chords.
-
The major 7 chord formula is the Root, 3rd, 5th and 7th notes of a Major scale.
If you already know the root position versions, study the inversions. I especially like the 1st inversion major 7 chord. The voicings shown here are the model for the other quality 7th chords shown later.
| Root Position
| 1st Inversion
(3rd in the bass)
| 2nd Inversion
(5th in the bass)
| 3rd Inversion
(7th in the bass)
|
R 5 7 3
___________
|_|_|_|_|_|
|_o_|_|_|_|<- 3rd =
|_|_|_o_|_| Cma7
|_|_o_|_o_|
|_|_|_|_|_|
|
3 7 R 5
___________
|_|_|_o_|_|<- 5th =
|_|_|_|_|_| Cma7/E
|_o_|_|_|_|
|_|_|_|_o_|
|_|_o_|_|_|
|
5 R 3 7
___________
|_|_|_|_|_|
|_|_|_o_|_|<- 8th =
|_o_o_|_|_| Cma7/G
|_|_|_|_|_|
|_|_|_|_o_|
|
7 3 5 R
___________
|_|_|_|_|_|
|_|_|_o_|_|<- 12th =
|_|_|_|_o_| Cma7/B
|_o_o_|_|_|
|_|_|_|_|_|
|
| Root Position
| 1st Inversion
(3rd in the bass)
| 2nd Inversion
(5th in the bass)
| 3rd Inversion
(7th in the bass)
|
R 7 3 5
___________
|_|_|_|_|_|
|_|_|_|_|_|
o_|_|_|_o_|
|_|_o_o_|_|
|_|_|_|_|_|
|
3 R 5 7
___________
|_|_|_|_|_|
|_|_o_|_|_|
|_|_|_|_|_|
o_|_|_o_o_|
|_|_|_|_|_|
|
5 3 7 R
___________
|_|_|_|_|_|
|_|_|_|_o_|
|_|_o_|_|_|
o_|_|_|_|_|
|_|_|_o_|_|
|
7 5 R 3
___________
|_|_|_|_|_|
|_|_o_o_o_|
|_|_|_|_|_|
o_|_|_|_|_|
|_|_|_|_|_|
|
| Root Position
| 1st Inversion
(3rd in the bass)
| 2nd Inversion
(5th in the bass)
| 3rd Inversion
(7th in the bass)
|
R 5 7 3
___________
|_|_|_|_|_|
|_|_o_|_|_|
|_|_|_|_|_|
|_|_|_o_o_o
|_|_|_|_|_|
|
3 7 R 5
___________
|_|_|_|_|_|
|_|_|_|_o_|
|_|_o_|_|_|
|_|_|_|_|_o
|_|_|_o_|_|
|
5 R 3 7
___________
|_|_|_|_|_|
|_|_o_o_o_|
|_|_|_|_|_|
|_|_|_|_|_o
|_|_|_|_|_|
|
7 3 5 R
___________
|_|_|_|_|_|
|_|_|_|_o_o
|_|_o_o_|_|
|_|_|_|_|_|
|_|_|_|_|_|
|
Most of the inversions in this group are unplayable however some of the 3 string combinations are useful.
| Root Position
| 1st Inversion
(3rd in the bass)
| 2nd Inversion
(5th in the bass)
| 3rd Inversion
(7th in the bass)
|
R 3 5 7
___________
|_|_|_|_|_|
|_|_|_|_|_o
|_|_|_|_o_|
|_|_|_o_|_|
|_|_o_|_|_|
|
3 5 7 R
___________
|_|_|_|_|_o
|_|_|_|_|_|
|_|_|_|_|_|
|_|_|_|_|_|
|_|_|_o_o_|
|_|_|_|_|_|
|_|_o_|_|_|
|
5 7 R 3
___________
|_|_|_|_|_o
|_|_|_|_o_|
|_|_|_|_|_|
|_|_|_|_|_|
|_|_|_o_|_|
|_|_o_|_|_|
|
7 R 3 5
___________
|_|_|_|_|_o
|_|_|_|_|_|
|_|_|_o_o_|
|_|_|_|_|_|
|_|_|_|_|_|
|_|_|_|_|_|
|_|_o_|_|_|
|
-
The Dominant 7 chord is like a Major 7 chord with a lowered 7th. (R, 3, 5, b7)
If you like R & B, Funk or Blues, these chord voicings are a must! Often these chords are altered by simply adding a "sus 4" (in a "sus 4" chord, the 3rd of the chord is replaced by a 4th). The "sus 4" technique works with all of these dominant 7 voicings.
| Root Position
| 1st Inversion
(3rd in the bass)
| 2nd Inversion
(5th in the bass)
| 3rd Inversion
(7th in the bass)
|
b
R 5 7 3
___________
|_|_|_|_|_|
|_o_|_o_|_|
|_|_|_|_|_|
|_|_o_|_o_|
|_|_|_|_|_|
|
b
3 7 R 5
___________
|_|_|_o_|_|
|_|_|_|_|_|
|_o_|_|_|_|
|_|_o_|_o_|
|_|_|_|_|_|
|
b
5 R 3 7
___________
|_|_|_|_|_|
|_|_|_o_|_|
|_o_o_|_|_|
|_|_|_|_o_|
|_|_|_|_|_|
|
b
7 3 5 R
___________
|_|_|_|_|_|
|_|_|_o_|_|
|_o_|_|_o_|
|_|_o_|_|_|
|_|_|_|_|_|
|
| Root Position
| 1st Inversion
(3rd in the bass)
| 2nd Inversion
(5th in the bass)
| 3rd Inversion
(7th in the bass)
|
b
R 7 3 5
___________
|_|_|_|_|_|
|_|_|_|_|_|
o_|_o_|_o_|
|_|_|_o_|_|
|_|_|_|_|_|
|
b
3 R 5 7
___________
|_|_|_|_|_|
|_|_o_|_|_|
|_|_|_|_o_|
o_|_|_o_|_|
|_|_|_|_|_|
|
b
5 3 7 R
___________
|_|_|_|_|_|
|_|_|_|_o_|
|_|_o_|_|_|
o_|_|_o_|_|
|_|_|_|_|_|
|
b
7 5 R 3
___________
|_|_|_|_|_|
|_|_o_o_o_|
o_|_|_|_|_|
|_|_|_|_|_|
|_|_|_|_|_|
|
| Root Position
| 1st Inversion
(3rd in the bass)
| 2nd Inversion
(5th in the bass)
| 3rd Inversion
(7th in the bass)
|
b
R 5 7 3
___________
|_|_|_|_|_|
|_|_o_|_|_|
|_|_|_|_o_|
|_|_|_o_|_o
|_|_|_|_|_|
|
b
3 7 R 5
___________
|_|_|_|_|_|
|_|_|_|_o_|
|_|_o_|_|_|
|_|_|_o_|_o
|_|_|_|_|_|
|
b
5 R 3 7
___________
|_|_|_|_|_|
|_|_o_o_o_|
|_|_|_|_|_o
|_|_|_|_|_|
|_|_|_|_|_|
|
b
7 3 5 R
___________
|_|_|_|_|_|
|_|_o_|_o_o
|_|_|_o_|_|
|_|_|_|_|_|
|_|_|_|_|_|
|
Most of the inversions in this group are unplayable however some of the 3 string combinations are useful.
| Root Position
| 1st Inversion
(3rd in the bass)
| 2nd Inversion
(5th in the bass)
| 3rd Inversion
(7th in the bass)
|
b
R 3 5 7
___________
|_|_|_|_|_o
|_|_|_|_|_|
|_|_|_|_o_|
|_|_|_o_|_|
|_|_o_|_|_|
|
b
3 5 7 R
___________
|_|_|_|_|_o
|_|_|_|_|_|
|_|_|_|_|_|
|_|_|_|_o_|
|_|_|_o_|_|
|_|_|_|_|_|
|_|_o_|_|_|
|
b
5 7 R 3
___________
|_|_|_|_|_o
|_|_|_|_o_|
|_|_|_|_|_|
|_|_|_o_|_|
|_|_|_|_|_|
|_|_o_|_|_|
|
b
7 R 3 5
___________
|_|_|_|_|_o
|_|_|_|_|_|
|_|_|_o_o_|
|_|_|_|_|_|
|_|_|_|_|_|
|_|_o_|_|_|
|
-
The Minor 7 chord is like a Major 7 chord with a lowered 3rd and 7th. (R, b3, 5, b7)
Another very common chord. Regardless of style, minor 7 chords are found everywhere. If you know the root position already, let me introduce some more of the family.
| Root Position
| 1st Inversion
(3rd in the bass)
| 2nd Inversion
(5th in the bass)
| 3rd Inversion
(7th in the bass)
|
b b
R 5 7 3
___________
|_|_|_|_|_|
|_o_|_o_|_|
|_|_|_|_o_|
|_|_o_|_|_|
|_|_|_|_|_|
|
b b
3 7 R 5
___________
|_|_|_o_|_|
|_o_|_|_|_|
|_|_|_|_|_|
|_|_o_|_o_|
|_|_|_|_|_|
|
b b
5 R 3 7
___________
|_|_|_o_|_|
|_|_|_|_|_|
|_o_o_|_|_|
|_|_|_|_o_|
|_|_|_|_|_|
|
b b
7 3 5 R
___________
|_|_|_|_|_|
|_|_|_o_|_|
|_o_o_|_o_|
|_|_|_|_|_|
|_|_|_|_|_|
|
| Root Position
| 1st Inversion
(3rd in the bass)
| 2nd Inversion
(5th in the bass)
| 3rd Inversion
(7th in the bass)
|
b b
R 7 3 5
___________
|_|_|_|_|_|
|_|_|_|_|_|
o_|_o_o_o_|
|_|_|_|_|_|
|_|_|_|_|_|
|
b b
3 R 5 7
___________
|_|_|_|_|_|
|_|_o_|_|_|
o_|_|_|_o_|
|_|_|_o_|_|
|_|_|_|_|_|
|
b b
5 3 7 R
___________
|_|_|_|_|_|
|_|_o_|_o_|
|_|_|_|_|_|
o_|_|_o_|_|
|_|_|_|_|_|
|
b b
7 5 R 3
___________
|_|_|_|_|_|
|_|_|_|_o_|
|_|_o_o_|_|
o_|_|_|_|_|
|_|_|_|_|_|
|
| Root Position
| 1st Inversion
(3rd in the bass)
| 2nd Inversion
(5th in the bass)
| 3rd Inversion
(7th in the bass)
|
b b
R 5 7 3
___________
|_|_|_|_|_|
|_|_o_|_|_|
|_|_|_|_o_o
|_|_|_o_|_|
|_|_|_|_|_|
|
b b
3 7 R 5
___________
|_|_|_|_|_|
|_|_o_|_o_|
|_|_|_|_|_|
|_|_|_o_|_o
|_|_|_|_|_|
|
b b
5 R 3 7
___________
|_|_|_|_|_|
|_|_|_|_o_|
|_|_o_o_|_|
|_|_|_|_|_o
|_|_|_|_|_|
|
b b
7 3 5 R
___________
|_|_|_|_|_|
|_|_o_o_o_o
|_|_|_|_|_|
|_|_|_|_|_|
|_|_|_|_|_|
|
Most of the inversions in this group are unplayable however some of the 3 string combinations are useful.
| Root Position
| 1st Inversion
(3rd in the bass)
| 2nd Inversion
(5th in the bass)
| 3rd Inversion
(7th in the bass)
|
b b
R 3 5 7
___________
|_|_|_|_|_o
|_|_|_|_|_|
|_|_|_o_o_|
|_|_|_|_|_|
|_|_o_|_|_|
|
b b
3 5 7 R
___________
|_|_|_|_|_o
|_|_|_|_|_|
|_|_|_|_|_|
|_|_|_|_o_|
|_|_|_o_|_|
|_|_o_|_|_|
|
b b
5 7 R 3
___________
|_|_|_|_|_o
|_|_|_|_|_|
|_|_|_|_o_|
|_|_|_|_|_|
|_|_|_o_|_|
|_|_|_|_|_|
|_|_o_|_|_|
|
b b
7 R 3 5
___________
|_|_|_|_|_o
|_|_|_|_o_|
|_|_|_o_|_|
|_|_|_|_|_|
|_|_|_|_|_|
|_|_o_|_|_|
|
-
The Half Diminished 7 chord is (un)like a Major 7 chord with a lowered 3rd, 5th and 7th. (R, b3, b5, b7)
This structure is often referred to as "Minor 7 flat 5".
It is often found in jazz tunes as a II chord in a minor key, and even some tunes in major keys use the half diminished 7 chord as a II chord (i.e. Night and Day). It is also found as a VII chord in major keys.
| Root Position
| 1st Inversion
(3rd in the bass)
| 2nd Inversion
(5th in the bass)
| 3rd Inversion
(7th in the bass)
|
b b b
R 5 7 3
___________
|_|_|_|_|_|
|_o_|_o_|_|
|_|_o_|_o_|
|_|_|_|_|_|
|_|_|_|_|_|
|
b b b
3 7 R 5
___________
|_|_|_o_|_|
|_o_|_|_|_|
|_|_|_|_o_|
|_|_o_|_|_|
|_|_|_|_|_|
|
b b b
5 R 3 7
___________
|_|_|_o_|_|
|_o_|_|_|_|
|_|_o_|_|_|
|_|_|_|_o_|
|_|_|_|_|_|
|
b b b
7 3 5 R
___________
|_|_|_|_|_|
|_|_|_o_|_|
|_|_|_|_|_|
|_o_o_|_o_|
|_|_|_|_|_|
|
| Root Position
| 1st Inversion
(3rd in the bass)
| 2nd Inversion
(5th in the bass)
| 3rd Inversion
(7th in the bass)
|
b b b
R 7 3 5
___________
|_|_|_|_|_|
|_|_|_|_o_|
o_|_o_o_|_|
|_|_|_|_|_|
|_|_|_|_|_|
|
b b b
3 R 5 7
___________
|_|_|_|_|_|
|_|_o_|_|_|
o_|_|_o_o_|
|_|_|_|_|_|
|_|_|_|_|_|
|
b b b
5 3 7 R
___________
|_|_|_|_|_|
|_|_o_|_o_|
o_|_|_|_|_|
|_|_|_o_|_|
|_|_|_|_|_|
|
b b b
7 5 R 3
___________
|_|_|_|_|_|
|_|_o_|_o_|
|_|_|_o_|_|
o_|_|_|_|_|
|_|_|_|_|_|
|
| Root Position
| 1st Inversion
(3rd in the bass)
| 2nd Inversion
(5th in the bass)
| 3rd Inversion
(7th in the bass)
|
b b b
R 5 7 3
___________
|_|_|_|_|_|
|_|_o_|_|_|
|_|_|_o_o_o
|_|_|_|_|_|
|_|_|_|_|_|
|
b b b
3 7 R 5
___________
|_|_|_|_|_|
|_|_o_|_o_|
|_|_|_|_|_o
|_|_|_o_|_|
|_|_|_|_|_|
|
b b b
5 R 3 7
___________
|_|_|_|_|_|
|_|_o_|_o_|
|_|_|_o_|_|
|_|_|_|_|_o
|_|_|_|_|_|
|
b b b
7 3 5 R
___________
|_|_|_|_|_|
|_|_|_|_o_|
|_|_o_o_|_o
|_|_|_|_|_|
|_|_|_|_|_|
|
Most of the inversions in this group are unplayable however some of the 3 string combinations are useful.
| Root Position
| 1st Inversion
(3rd in the bass)
| 2nd Inversion
(5th in the bass)
| 3rd Inversion
(7th in the bass)
|
b b b
R 3 5 7
___________
|_|_|_|_|_o
|_|_|_|_o_|
|_|_|_o_|_|
|_|_|_|_|_|
|_|_o_|_|_|
|
b b b
3 5 7 R
___________
|_|_|_|_|_o
|_|_|_|_|_|
|_|_|_|_|_|
|_|_|_o_o_|
|_|_|_|_|_|
|_|_o_|_|_|
|
b b b
5 7 R 3
___________
|_|_|_|_|_o
|_|_|_|_|_|
|_|_|_|_o_|
|_|_|_|_|_|
|_|_|_o_|_|
|_|_o_|_|_|
|_|_|_|_|_|
|
b b b
7 R 3 5
___________
|_|_|_|_|_o
|_|_|_|_|_|
|_|_|_|_o_|
|_|_|_o_|_|
|_|_|_|_|_|
|_|_|_|_|_|
|_|_o_|_|_|
|
-
The Diminished 7 chord differs from a Major 7 chord by having a lowered 3rd, 5th and doubly lowered 7th. (R, b3, b5, bb7). This creates the enharmonic equivalent of a series of minor 3rds.
The symmetrical nature of the diminished 7 chord create and interesting phenomena: For any given root position chord, all of the inversions are the same shape. How convenient.
| Root Position
| 1st Inversion
(3rd in the bass)
| 2nd Inversion
(5th in the bass)
| 3rd Inversion
(7th in the bass)
|
b
b b b
R 5 7 3
___________
|_|_|_o_|_|
|_o_|_|_|_|
|_|_o_|_o_|
|_|_|_|_|_|
|_|_|_|_|_|
|
b
b b b
3 7 R 5
___________
|_|_|_o_|_|
|_o_|_|_|_|
|_|_o_|_o_|
|_|_|_|_|_|
|_|_|_|_|_|
|
b
b b b
5 R 3 7
___________
|_|_|_o_|_|
|_o_|_|_|_|
|_|_o_|_o_|
|_|_|_|_|_|
|_|_|_|_|_|
|
b
b b b
7 3 5 R
___________
|_|_|_o_|_|
|_o_|_|_|_|
|_|_o_|_o_|
|_|_|_|_|_|
|_|_|_|_|_|
|
| Root Position
| 1st Inversion
(3rd in the bass)
| 2nd Inversion
(5th in the bass)
| 3rd Inversion
(7th in the bass)
|
b
b b b
R 7 3 5
___________
|_|_|_|_|_|
|_|_o_|_o_|
o_|_|_o_|_|
|_|_|_|_|_|
|_|_|_|_|_|
|
b
b b b
3 R 5 7
___________
|_|_|_|_|_|
|_|_o_|_o_|
o_|_|_o_|_|
|_|_|_|_|_|
|_|_|_|_|_|
|
b
b b b
5 3 7 R
___________
|_|_|_|_|_|
|_|_o_|_o_|
o_|_|_o_|_|
|_|_|_|_|_|
|_|_|_|_|_|
|
b
b b b
7 5 R 3
___________
|_|_|_|_|_|
|_|_o_|_o_|
o_|_|_o_|_|
|_|_|_|_|_|
|_|_|_|_|_|
|
| Root Position
| 1st Inversion
(3rd in the bass)
| 2nd Inversion
(5th in the bass)
| 3rd Inversion
(7th in the bass)
|
b
b b b
R 5 7 3
___________
|_|_|_|_|_|
|_|_o_|_o_|
|_|_|_o_|_o
|_|_|_|_|_|
|_|_|_|_|_|
|
b
b b b
3 7 R 5
___________
|_|_|_|_|_|
|_|_o_|_o_|
|_|_|_o_|_o
|_|_|_|_|_|
|_|_|_|_|_|
|
b
b b b
5 R 3 7
___________
|_|_|_|_|_|
|_|_o_|_o_|
|_|_|_o_|_o
|_|_|_|_|_|
|_|_|_|_|_|
|
b
b b b
7 3 5 R
___________
|_|_|_|_|_|
|_|_o_|_o_|
|_|_|_o_|_o
|_|_|_|_|_|
|_|_|_|_|_|
|
Now this group is playable, ...well maybe.
| Root Position
| 1st Inversion
(3rd in the bass)
| 2nd Inversion
(5th in the bass)
| 3rd Inversion
(7th in the bass)
|
b
b b b
R 3 5 7
___________
|_|_|_|_|_o
|_|_|_|_|_|
|_|_|_|_o_|
|_|_|_o_|_|
|_|_|_|_|_|
|_|_o_|_|_|
|
b
b b b
3 5 7 R
___________
|_|_|_|_|_o
|_|_|_|_|_|
|_|_|_|_o_|
|_|_|_o_|_|
|_|_|_|_|_|
|_|_o_|_|_|
|
b
b b b
5 7 R 3
___________
|_|_|_|_|_o
|_|_|_|_|_|
|_|_|_|_o_|
|_|_|_o_|_|
|_|_|_|_|_|
|_|_o_|_|_|
|
b
b b b
7 R 3 5
___________
|_|_|_|_|_o
|_|_|_|_|_|
|_|_|_|_o_|
|_|_|_o_|_|
|_|_|_|_|_|
|_|_o_|_|_|
|
-
The Minor-Major 7 chord is like a Major 7 chord with a lowered 3rd. (R, b3, 5, 7)
This structure has an exotic sound. When used as the tonic in minor it evokes a jazzy quality. Figures prominently in James Bond theme music and T.V. theme music of cops and lawyer shows of the 60's such as "The Untouchables" and "Perry Mason".
It can also be used to infer other complex structures such as Dominant 7#5b9 (rooted a half step lower) or Dom 9#11 (rooted a tritone away) but I leave it at that provocative statement.
| Root Position
| 1st Inversion
(3rd in the bass)
| 2nd Inversion
(5th in the bass)
| 3rd Inversion
(7th in the bass)
|
b
R 5 7 3
___________
|_|_|_|_|_|
|_o_|_|_|_|
|_|_|_o_o_|
|_|_o_|_|_|
|_|_|_|_|_|
|
b
3 7 R 5
___________
|_|_|_o_|_|
|_o_|_|_|_|
|_|_|_|_|_|
|_|_|_|_o_|
|_|_o_|_|_|
|
b
5 R 3 7
___________
|_|_|_o_|_|
|_|_|_|_|_|
|_o_o_|_|_|
|_|_|_|_|_|
|_|_|_|_o_|
|
b
7 3 5 R
___________
|_|_|_|_|_|
|_|_|_o_|_|
|_|_o_|_o_|
|_o_|_|_|_|
|_|_|_|_|_|
|
| Root Position
| 1st Inversion
(3rd in the bass)
| 2nd Inversion
(5th in the bass)
| 3rd Inversion
(7th in the bass)
|
b
R 7 3 5
___________
|_|_|_|_|_|
|_|_|_|_|_|
o_|_|_o_o_|
|_|_o_|_|_|
|_|_|_|_|_|
|
b
3 R 5 7
___________
|_|_|_|_|_|
|_|_o_|_|_|
o_|_|_|_|_|
|_|_|_o_o_|
|_|_|_|_|_|
|
b
5 3 7 R
___________
|_|_|_|_|_|
|_|_o_|_o_|
|_|_|_|_|_|
o_|_|_|_|_|
|_|_|_o_|_|
|
b
7 5 R 3
___________
|_|_|_|_|_|
|_|_|_|_o_|
|_|_o_o_|_|
|_|_|_|_|_|
o_|_|_|_|_|
|
| Root Position
| 1st Inversion
(3rd in the bass)
| 2nd Inversion
(5th in the bass)
| 3rd Inversion
(7th in the bass)
|
b
R 5 7 3
___________
|_|_|_|_|_|
|_|_o_|_|_|
|_|_|_|_|_o
|_|_|_o_o_|
|_|_|_|_|_|
|
b
3 7 R 5
___________
|_|_|_|_|_|
|_|_o_|_o_|
|_|_|_|_|_|
|_|_|_|_|_o
|_|_|_o_|_|
|
b
5 R 3 7
___________
|_|_|_|_|_|
|_|_|_|_o_|
|_|_o_o_|_|
|_|_|_|_|_|
|_|_|_|_|_o
|
b
7 3 5 R
___________
|_|_|_|_|_|
|_|_|_o_o_o
|_|_o_|_|_|
|_|_|_|_|_|
|_|_|_|_|_|
|
Most of the inversions in this group are unplayable however some of the 3 string combinations are useful.
| Root Position
| 1st Inversion
(3rd in the bass)
| 2nd Inversion
(5th in the bass)
| 3rd Inversion
(7th in the bass)
|
b
R 3 5 7
___________
|_|_|_|_|_|
|_|_|_|_|_o
|_|_|_o_o_|
|_|_|_|_|_|
|_|_o_|_|_|
|
b
3 5 7 R
___________
|_|_|_|_|_o
|_|_|_|_|_|
|_|_|_|_|_|
|_|_|_|_|_|
|_|_|_o_o_|
|_|_o_|_|_|
|
b
5 7 R 3
___________
|_|_|_|_|_o
|_|_|_|_|_|
|_|_|_|_o_|
|_|_|_|_|_|
|_|_|_|_|_|
|_|_|_o_|_|
|_|_o_|_|_|
|
b
7 R 3 5
___________
|_|_|_|_|_o
|_|_|_|_o_|
|_|_|_o_|_|
|_|_|_|_|_|
|_|_|_|_|_|
|_|_|_|_|_|
|_|_o_|_|_|
|
-
-
The Dominant 7b5 chord is like a Major 7 chord with a lowered 5th and 7th. (R, 3, b5, b7)
This structure exemplifies the concept of "Tritone substitution". Notice that the root position has the same shape as the 2nd inversion (5th in the bass) and the 1st inversion (3rd in the bass) has the same shape as the 3rd inversion (7th in thre bass). In this structure the 5th is lowered and it is a tritone away from the root. The short of it, is that every Dominant 7b5 chord is actually two different chords at the same time. Magic.
| Root Position
| 1st Inversion
(3rd in the bass)
| 2nd Inversion
(5th in the bass)
| 3rd Inversion
(7th in the bass)
|
b b
R 5 7 3
___________
|_|_|_|_|_|
|_o_|_o_|_|
|_|_o_|_|_|
|_|_|_|_o_|
|_|_|_|_|_|
|
b b
3 7 R 5
___________
|_|_|_o_|_|
|_|_|_|_|_|
|_o_|_|_o_|
|_|_o_|_|_|
|_|_|_|_|_|
|
b b
5 R 3 7
___________
|_|_|_|_|_|
|_o_|_o_|_|
|_|_o_|_|_|
|_|_|_|_o_|
|_|_|_|_|_|
|
b b
7 3 5 R
___________
|_|_|_o_|_|
|_|_|_|_|_|
|_o_|_|_o_|
|_|_o_|_|_|
|_|_|_|_|_|
|
| Root Position
| 1st Inversion
(3rd in the bass)
| 2nd Inversion
(5th in the bass)
| 3rd Inversion
(7th in the bass)
|
b b
R 7 3 5
___________
|_|_|_|_|_|
|_|_|_|_o_|
o_|_o_|_|_|
|_|_|_o_|_|
|_|_|_|_|_|
|
b b
3 R 5 7
___________
|_|_|_|_|_|
|_|_o_|_|_|
|_|_|_o_o_|
o_|_|_|_|_|
|_|_|_|_|_|
|
b b
5 3 7 R
___________
|_|_|_|_|_|
|_|_|_|_o_|
o_|_o_|_|_|
|_|_|_o_|_|
|_|_|_|_|_|
|
b b
7 5 R 3
___________
|_|_|_|_|_|
|_|_o_|_|_|
|_|_|_o_o_|
o_|_|_|_|_|
|_|_|_|_|_|
|
| Root Position
| 1st Inversion
(3rd in the bass)
| 2nd Inversion
(5th in the bass)
| 3rd Inversion
(7th in the bass)
|
b b
R 5 7 3
___________
|_|_|_|_|_|
|_|_o_|_|_|
|_|_|_o_o_|
|_|_|_|_|_o
|_|_|_|_|_|
|
b b
3 7 R 5
___________
|_|_|_|_|_|
|_|_|_|_o_|
|_|_o_|_|_o
|_|_|_o_|_|
|_|_|_|_|_|
|
b b
5 R 3 7
___________
|_|_|_|_|_|
|_|_o_|_|_|
|_|_|_o_o_|
|_|_|_|_|_o
|_|_|_|_|_|
|
b b
7 3 5 R
___________
|_|_|_|_|_|
|_|_|_|_o_|
|_|_o_|_|_o
|_|_|_o_|_|
|_|_|_|_|_|
|
Most of the inversions in this group are unplayable however some of the 3 string combinations are useful.
| Root Position
| 1st Inversion
(3rd in the bass)
| 2nd Inversion
(5th in the bass)
| 3rd Inversion
(7th in the bass)
|
b b
R 3 5 7
___________
|_|_|_|_|_o
|_|_|_|_o_|
|_|_|_|_|_|
|_|_|_o_|_|
|_|_o_|_|_|
|
b b
3 5 7 R
___________
|_|_|_|_|_o
|_|_|_|_|_|
|_|_|_|_|_|
|_|_|_o_o_|
|_|_|_|_|_|
|_|_|_|_|_|
|_|_o_|_|_|
|
b b
5 7 R 3
___________
|_|_|_|_|_o
|_|_|_|_o_|
|_|_|_|_|_|
|_|_|_o_|_|
|_|_o_|_|_|
|_|_|_|_|_|
|
b b
7 R 3 5
___________
|_|_|_|_|_o
|_|_|_|_|_|
|_|_|_|_|_|
|_|_|_o_o_|
|_|_|_|_|_|
|_|_|_|_|_|
|_|_o_|_|_|
|
-
The Dominant 7#5 chord is like a Major 7 chord with a raised 5th and lowered 7th. (R, 3, #5, b7)
This structure is commonly used in jazz as the V chord in both major and minor keys. It is sometimes referred as a "flat 13" chord because the #5 and b13 are enharmonic equivalents
| Root Position
| 1st Inversion
(3rd in the bass)
| 2nd Inversion
(5th in the bass)
| 3rd Inversion
(7th in the bass)
|
# b
R 5 7 3
___________
|_|_|_|_|_|
|_o_|_o_|_|
|_|_|_|_|_|
|_|_|_|_o_|
|_|_o_|_|_|
|
b #
3 7 R 5
___________
|_|_|_o_|_|
|_|_|_|_|_|
|_o_|_|_|_|
|_|_o_|_|_|
|_|_|_|_o_|
|
# b
5 R 3 7
___________
|_|_|_|_|_|
|_|_|_o_|_|
|_|_o_|_|_|
|_o_|_|_o_|
|_|_|_|_|_|
|
b #
7 3 5 R
___________
|_|_|_|_|_|
|_|_|_|_|_|
|_o_|_o_o_|
|_|_o_|_|_|
|_|_|_|_|_|
|
| Root Position
| 1st Inversion
(3rd in the bass)
| 2nd Inversion
(5th in the bass)
| 3rd Inversion
(7th in the bass)
|
b #
R 7 3 5
___________
|_|_|_|_|_|
|_|_|_|_|_|
o_|_o_|_|_|
|_|_|_o_o_|
|_|_|_|_|_|
|
# b
3 R 5 7
___________
|_|_|_|_|_|
|_|_o_|_|_|
|_|_|_|_o_|
o_|_|_|_|_|
|_|_|_o_|_|
|
# b
5 3 7 R
___________
|_|_|_|_|_|
|_|_|_|_o_|
|_|_o_|_|_|
|_|_|_o_|_|
o_|_|_|_|_|
|
b #
7 5 R 3
___________
|_|_|_|_|_|
|_|_|_o_o_|
o_|_o_|_|_|
|_|_|_|_|_|
|_|_|_|_|_|
|
| Root Position
| 1st Inversion
(3rd in the bass)
| 2nd Inversion
(5th in the bass)
| 3rd Inversion
(7th in the bass)
|
# b
R 5 7 3
___________
|_|_|_|_|_|
|_|_o_|_|_|
|_|_|_|_o_|
|_|_|_|_|_o
|_|_|_o_|_|
|
b #
3 7 R 5
___________
|_|_|_|_|_|
|_|_|_|_o_|
|_|_o_|_|_|
|_|_|_o_|_|
|_|_|_|_|_o
|
# b
5 R 3 7
___________
|_|_|_|_|_|
|_|_|_o_o_|
|_|_o_|_|_o
|_|_|_|_|_|
|_|_|_|_|_|
|
b #
7 3 5 R
___________
|_|_|_|_|_|
|_|_o_|_|_o
|_|_|_o_o_|
|_|_|_|_|_|
|_|_|_|_|_|
|
Most of the inversions in this group are unplayable however some of the 3 string combinations are useful.
| Root Position
| 1st Inversion
(3rd in the bass)
| 2nd Inversion
(5th in the bass)
| 3rd Inversion
(7th in the bass)
|
# b
R 3 5 7
___________
|_|_|_|_|_o
|_|_|_|_|_|
|_|_|_|_|_|
|_|_|_o_o_|
|_|_o_|_|_|
|
# b
3 5 7 R
___________
|_|_|_|_|_o
|_|_|_|_|_|
|_|_|_|_|_|
|_|_|_|_o_|
|_|_|_|_|_|
|_|_|_o_|_|
|_|_o_|_|_|
|
# b
5 7 R 3
___________
|_|_|_|_|_o
|_|_|_|_o_|
|_|_|_|_|_|
|_|_|_o_|_|
|_|_|_|_|_|
|_|_|_|_|_|
|_|_o_|_|_|
|
b #
7 R 3 5
___________
|_|_|_|_|_o
|_|_|_o_o_|
|_|_|_|_|_|
|_|_|_|_|_|
|_|_o_|_|_|
|
-
The major 6 chord formula is the Root, 3rd, 5th and 6th notes of a Major scale.
You will notice that the major 6 chord voicings are the same shape as inverted minor 7 chords. As an example C6 = Am7.
| Root Position
| 1st Inversion
(3rd in the bass)
| 2nd Inversion
(5th in the bass)
| 3rd Inversion
(6th in the bass)
|
R 5 6 3
___________
|_|_|_o_|_|
|_o_|_|_|_|
|_|_|_|_|_|
|_|_o_|_o_|
|_|_|_|_|_|
|
3 6 R 5
___________
|_|_|_o_|_|
|_|_|_|_|_|
|_o_o_|_|_|
|_|_|_|_o_|
|_|_|_|_|_|
|
5 R 3 6
___________
|_|_|_|_|_|
|_|_|_o_|_|
|_o_o_|_o_|
|_|_|_|_|_|
|_|_|_|_|_|
|
6 3 5 R
___________
|_|_|_|_|_|
|_o_|_o_|_|
|_|_|_|_o_|
|_|_o_|_|_|
|_|_|_|_|_|
|
| Root Position
| 1st Inversion
(3rd in the bass)
| 2nd Inversion
(5th in the bass)
| 3rd Inversion
(7th in the bass)
|
R 6 3 5
___________
|_|_|_|_|_|
|_|_o_|_|_|
o_|_|_|_o_|
|_|_|_o_|_|
|_|_|_|_|_|
|
3 R 5 6
___________
|_|_|_|_|_|
|_|_o_|_o_|
|_|_|_|_|_|
o_|_|_o_|_|
|_|_|_|_|_|
|
5 3 6 R
___________
|_|_|_|_|_|
|_|_|_|_o_|
|_|_o_o_|_|
o_|_|_|_|_|
|_|_|_|_|_|
|
6 5 R 3
___________
|_|_|_|_|_|
o_|_o_o_o_|
|_|_|_|_|_|
|_|_|_|_|_|
|_|_|_|_|_|
|
| Root Position
| 1st Inversion
(3rd in the bass)
| 2nd Inversion
(5th in the bass)
| 3rd Inversion
(7th in the bass)
|
R 5 6 3
___________
|_|_|_|_|_|
|_|_o_|_o_|
|_|_|_|_|_|
|_|_|_o_|_o
|_|_|_|_|_|
|
3 6 R 5
___________
|_|_|_|_|_|
|_|_|_|_o_|
|_|_o_o_|_|
|_|_|_|_|_o
|_|_|_|_|_|
|
5 R 3 6
___________
|_|_|_|_|_|
|_|_o_o_o_o
|_|_|_|_|_|
|_|_|_|_|_|
|_|_|_|_|_|
|
6 3 5 R
___________
|_|_|_|_|_|
|_|_o_|_|_|
|_|_|_|_o_o
|_|_|_o_|_|
|_|_|_|_|_|
|
Most of the inversions in this group are unplayable however some of the 3 string combinations are useful.
| Root Position
| 1st Inversion
(3rd in the bass)
| 2nd Inversion
(5th in the bass)
| 3rd Inversion
(7th in the bass)
|
R 3 5 6
___________
|_|_|_|_|_o
|_|_|_|_|_|
|_|_|_|_|_|
|_|_|_|_o_|
|_|_|_o_|_|
|_|_o_|_|_|
|
3 5 6 R
___________
|_|_|_|_|_o
|_|_|_|_|_|
|_|_|_|_o_|
|_|_|_|_|_|
|_|_|_o_|_|
|_|_|_|_|_|
|_|_o_|_|_|
|
5 6 R 3
___________
|_|_|_|_|_o
|_|_|_|_o_|
|_|_|_o_|_|
|_|_|_|_|_|
|_|_|_|_|_|
|_|_o_|_|_|
|
6 R 3 5
___________
|_|_|_|_|_o
|_|_|_|_|_|
|_|_|_o_o_|
|_|_|_|_|_|
|_|_o_|_|_|
|_|_|_|_|_|
|
-
The Minor 6 chord is like a Major 6 chord with a lowered 3rd . (R, b3, 5, 6)
You will notice that the Minor 6 chord voicings are the same shape as inverted Half diminished 7 chords. As an example Cm6 = Am7b5.
| Root Position
| 1st Inversion
(3rd in the bass)
| 2nd Inversion
(5th in the bass)
| 3rd Inversion
(7th in the bass)
|
b
R 5 6 3
___________
|_|_|_o_|_|
|_o_|_|_|_|
|_|_|_|_o_|
|_|_o_|_|_|
|_|_|_|_|_|
|
b
3 6 R 5
___________
|_|_|_o_|_|
|_o_|_|_|_|
|_|_o_|_|_|
|_|_|_|_o_|
|_|_|_|_|_|
|
b
5 R 3 6
___________
|_|_|_o_|_|
|_|_|_|_|_|
|_o_o_|_o_|
|_|_|_|_|_|
|_|_|_|_|_|
|
b
6 3 5 R
___________
|_|_|_|_|_|
|_o_|_o_|_|
|_|_o_|_o_|
|_|_|_|_|_|
|_|_|_|_|_|
|
| Root Position
| 1st Inversion
(3rd in the bass)
| 2nd Inversion
(5th in the bass)
| 3rd Inversion
(7th in the bass)
|
b
R 6 3 5
___________
|_|_|_|_|_|
|_|_o_|_|_|
o_|_|_o_o_|
|_|_|_|_|_|
|_|_|_|_|_|
|
b
3 R 5 6
___________
|_|_|_|_|_|
|_|_o_|_o_|
o_|_|_|_|_|
|_|_|_o_|_|
|_|_|_|_|_|
|
b
5 3 6 R
___________
|_|_|_|_|_|
|_|_o_|_o_|
|_|_|_o_|_|
o_|_|_|_|_|
|_|_|_|_|_|
|
b
6 5 R 3
___________
|_|_|_|_|_|
|_|_|_|_o_|
o_|_o_o_|_|
|_|_|_|_|_|
|_|_|_|_|_|
|
| Root Position
| 1st Inversion
(3rd in the bass)
| 2nd Inversion
(5th in the bass)
| 3rd Inversion
(7th in the bass)
|
b
R 5 6 3
___________
|_|_|_|_|_|
|_|_o_|_o_|
|_|_|_|_|_o
|_|_|_o_|_|
|_|_|_|_|_|
|
b
3 6 R 5
___________
|_|_|_|_|_|
|_|_o_|_o_|
|_|_|_o_|_|
|_|_|_|_|_o
|_|_|_|_|_|
|
b
5 R 3 6
___________
|_|_|_|_|_|
|_|_|_|_o_|
|_|_o_o_|_o
|_|_|_|_|_|
|_|_|_|_|_|
|
b
6 3 5 R
___________
|_|_|_|_|_|
|_|_o_|_|_|
|_|_|_o_o_o
|_|_|_|_|_|
|_|_|_|_|_|
|
Most of the inversions in this group are unplayable however some of the 3 string combinations are useful.
| Root Position
| 1st Inversion
(3rd in the bass)
| 2nd Inversion
(5th in the bass)
| 3rd Inversion
(7th in the bass)
|
b
R 3 5 6
___________
|_|_|_|_|_o
|_|_|_|_|_|
|_|_|_|_|_|
|_|_|_o_o_|
|_|_|_|_|_|
|_|_o_|_|_|
|
b
3 5 6 R
___________
|_|_|_|_|_o
|_|_|_|_|_|
|_|_|_|_o_|
|_|_|_|_|_|
|_|_|_o_|_|
|_|_o_|_|_|
|
b
5 6 R 3
___________
|_|_|_|_|_o
|_|_|_|_|_|
|_|_|_|_o_|
|_|_|_o_|_|
|_|_|_|_|_|
|_|_|_|_|_|
|_|_o_|_|_|
|
b
6 R 3 5
___________
|_|_|_|_|_o
|_|_|_|_o_|
|_|_|_o_|_|
|_|_|_|_|_|
|_|_o_|_|_|
|
-
The major 7#5 chord formula is the Root, 3rd, #5th and 7th notes of a Major scale.
This chord doesn't naturally occur in any major scale and it use is mostly limited to contemporary jazz. It's exotic sound is attractive to those who are looking for something other than the ordinary variety 7th chord.
| Root Position
| 1st Inversion
(3rd in the bass)
| 2nd Inversion
(5th in the bass)
| 3rd Inversion
(7th in the bass)
|
#
R 5 7 3
___________
|_|_|_|_|_|
|_o_|_|_|_|
|_|_|_o_|_|
|_|_|_|_o_|
|_|_o_|_|_|
|
#
3 7 R 5
___________
|_|_|_o_|_|
|_|_|_|_|_|
|_o_|_|_|_|
|_|_|_|_|_|
|_|_o_|_o_|
|
#
5 R 3 7
___________
|_|_|_|_|_|
|_|_|_o_|_|
|_|_o_|_|_|
|_o_|_|_|_|
|_|_|_|_o_|
|
#
7 3 5 R
___________
|_|_|_|_|_|
|_|_|_|_|_|
|_|_|_o_o_|
|_o_o_|_|_|
|_|_|_|_|_|
|
| Root Position
| 1st Inversion
(3rd in the bass)
| 2nd Inversion
(5th in the bass)
| 3rd Inversion
(7th in the bass)
|
#
R 7 3 5
___________
|_|_|_|_|_|
|_|_|_|_|_|
o_|_|_|_|_|
|_|_o_o_o_|
|_|_|_|_|_|
|
#
3 R 5 7
___________
|_|_|_|_|_|
|_|_o_|_|_|
|_|_|_|_|_|
o_|_|_|_o_|
|_|_|_o_|_|
|
5 3 7 R
___________
|_|_|_|_|_|
|_|_|_|_o_|
|_|_o_|_|_|
o_|_|_|_|_|
|_|_|_o_|_|
|
#
7 5 R 3
___________
|_|_|_|_|_|
|_|_|_o_o_|
|_|_o_|_|_|
o_|_|_|_|_|
|_|_|_|_|_|
|
| Root Position
| 1st Inversion
(3rd in the bass)
| 2nd Inversion
(5th in the bass)
| 3rd Inversion
(7th in the bass)
|
#
R 5 7 3
___________
|_|_|_|_|_|
|_|_o_|_|_|
|_|_|_|_|_|
|_|_|_|_o_o
|_|_|_o_|_|
|
#
3 7 R 5
___________
|_|_|_|_|_|
|_|_|_|_o_|
|_|_o_|_|_|
|_|_|_|_|_|
|_|_|_o_|_o
|
#
5 R 3 7
___________
|_|_|_|_|_|
|_|_|_o_o_|
|_|_o_|_|_|
|_|_|_|_|_o
|_|_|_|_|_|
|
#
7 3 5 R
___________
|_|_|_|_|_|
|_|_|_|_|_o
|_|_o_o_o_|
|_|_|_|_|_|
|_|_|_|_|_|
|
Most of the inversions in this group are unplayable however some of the 3 string combinations are useful.
| Root Position
| 1st Inversion
(3rd in the bass)
| 2nd Inversion
(5th in the bass)
| 3rd Inversion
(7th in the bass)
|
#
R 3 5 7
___________
|_|_|_|_|_|
|_|_|_|_|_o
|_|_|_|_|_|
|_|_|_o_o_|
|_|_o_|_|_|
|
#
3 5 7 R
___________
|_|_|_|_|_o
|_|_|_|_|_|
|_|_|_|_|_|
|_|_|_|_|_|
|_|_|_|_o_|
|_|_|_o_|_|
|_|_o_|_|_|
|
#
5 7 R 3
___________
|_|_|_|_|_o
|_|_|_|_o_|
|_|_|_|_|_|
|_|_|_|_|_|
|_|_|_o_|_|
|_|_|_|_|_|
|_|_o_|_|_|
|
#
7 R 3 5
___________
|_|_|_|_|_|
|_|_|_|_|_o
|_|_|_o_o_|
|_|_|_|_|_|
|_|_|_|_|_|
|_|_|_|_|_|
|_|_o_|_|_|
|