JATZEK MusicMaster Periodic 5

Complete Master Chord Encyclopedia

Corrected ACG CDG AFG edition • 4 October 2026

This corrected edition calculates its chord tone sets directly from the same ten parent collections used by Periodics 2 and 4. It replaces the former Jatzek 1–3 chord sections with ACG, CDG, AFG and the stated two ACG descending tiers. The four reference collections and harmonic-minor descendant are regenerated by the same procedure. Natural minor supplies classical melodic-minor descent without duplicating its chord data.

Every diagram gives the full theoretical tones, the notes actually played, the intended bass, all six frets and any omitted tones. Chord roots are red, other sounding chord tones yellow, nearby parent notes blue, and unused strings X. Blue notes are optional surrounding scale notes and are not sounded in the printed voicing.

D G C F A D tuning is assumed. Voicings are searched within frets 0–20 and checked by actual sounding pitch and bass. Some theoretical stacks need a wider hand span; the fret code is authoritative. A pitch-valid shape still needs an ergonomic and musical test before performance.

Chord names and unusual stacks

Standard major, minor, augmented, diminished, suspended and seventh structures receive conventional symbols. Other exact structures use a root followed by their semitone content in brackets, such as D [0,3,6,11]. That description avoids assigning a familiar chord name to different notes. Tertian here means alternating members of the seven-note scale; irregular historical patterns need not produce ordinary major or minor thirds.

Triads include all three inversions. Seventh stacks include all four bass inversions. Sus, sixth and added-tone chords are included only when every required note belongs to the parent. For 9th, 11th and 13th stacks, the full theoretical collection is listed; a four-note guitar guide voicing keeps root, scale third, scale seventh and the highest extension. Its omitted tones are explicitly printed. All ten three-note combinations of each selected five-note subset are included as exact structures.

Form	Parent notes	Teaching subset
D Major	D – E – F# – G – A – B – C#	D – E – G – A – B
D Melodic Minor Ascending	D – E – F – G – A – B – C#	D – F – G – A – B
D Natural Minor	D – E – F – G – A – Bb – C	D – F – G – Bb – C
D Harmonic Minor	D – E – F – G – A – Bb – C#	D – F – G – A – Bb
ACG D Aeolocrian	D – Eb – F – F# – A – C – C#	D – Eb – F – F# – C
CDG D Zathian	D – F – F# – G – G# – C – C#	D – F# – G – C – C#
AFG D Lydian Augmented Dominant	D – E – F# – G# – Bb – B – C	D – E – F# – G# – Bb
D Harmonic Minor Derived Descending Jhankaradhwani	D – E – F – G – A – Bb – B	E – F – G – Bb – B
ACG Descending Tier 1 D Thyphian	D – Eb – E – F# – A – C – C#	D – Eb – E – F# – C
ACG Descending Tier 2 D Crater Scale	D – Eb – E – F# – Bb – C – C#	D – E – Bb – C – C#

D Major Chord overview

Parent: D – E – F# – G – A – B – C# – D
Selected five-note teaching subset: D – E – G – A – B • D Scottish Pentatonic (pattern 677)

Parent catalogue: https://ianring.com/musictheory/scales/2741
Subset catalogue: https://ianring.com/musictheory/scales/677

Degree	Triad tones and symbol	Seventh tones and symbol
1	D – F# – A • D	D – F# – A – C# • Dmaj7
2	E – G – B • Em	D – E – G – B • Em7
3	F# – A – C# • F#m	E – F# – A – C# • F#m7
4	D – G – B • G	D – F# – G – B • Gmaj7
5	E – A – C# • A	E – G – A – C# • A7
6	D – F# – B • Bm	D – F# – A – B • Bm7
7	E – G – C# • C#dim	E – G – B – C# • C#m7b5

D Major Triads and inversions

D Major Triads and inversions continued

D Major Triads and inversions continued

D Major Triads and inversions continued

D Major Sevenths and inversions

D Major Sevenths and inversions continued

D Major Sevenths and inversions continued

D Major Sevenths and inversions continued

D Major Sevenths and inversions continued

D Major Other supported chords

D Major Other supported chords continued

D Major Other supported chords continued

D Major Other supported chords continued

D Major Other supported chords continued

D Major Other supported chords continued

D Major Other supported chords continued

D Major Extended scale stacks

D Major Extended scale stacks continued

D Major Extended scale stacks continued

D Major Extended scale stacks continued

D Major Five note subset structures

D Major Five note subset structures continued

D Melodic Minor Ascending Chord overview

Parent: D – E – F – G – A – B – C# – D
Selected five-note teaching subset: D – F – G – A – B • D Kyemyonjo (pattern 681)

Parent catalogue: https://ianring.com/musictheory/scales/2733
Subset catalogue: https://ianring.com/musictheory/scales/681

Degree	Triad tones and symbol	Seventh tones and symbol
1	D – F – A • Dm	D – F – A – C# • Dm(maj7)
2	E – G – B • Em	D – E – G – B • Em7
3	F – A – C# • Faug	E – F – A – C# • Fmaj7#5
4	D – G – B • G	D – F – G – B • G7
5	E – A – C# • A	E – G – A – C# • A7
6	D – F – B • Bdim	D – F – A – B • Bm7b5
7	E – G – C# • C#dim	E – G – B – C# • C#m7b5

D Melodic Minor Ascending Triads and inversions

D Melodic Minor Ascending Triads and inversions continued

D Melodic Minor Ascending Triads and inversions continued

D Melodic Minor Ascending Triads and inversions continued

D Melodic Minor Ascending Sevenths and inversions

D Melodic Minor Ascending Sevenths and inversions continued

D Melodic Minor Ascending Sevenths and inversions continued

D Melodic Minor Ascending Sevenths and inversions continued

D Melodic Minor Ascending Sevenths and inversions continued

D Melodic Minor Ascending Other supported chords

D Melodic Minor Ascending Other supported chords continued

D Melodic Minor Ascending Other supported chords continued

D Melodic Minor Ascending Other supported chords continued

D Melodic Minor Ascending Other supported chords continued

D Melodic Minor Ascending Extended scale stacks

D Melodic Minor Ascending Extended scale stacks continued

D Melodic Minor Ascending Extended scale stacks continued

D Melodic Minor Ascending Extended scale stacks continued

D Melodic Minor Ascending Five note subset structures

D Melodic Minor Ascending Five note subset structures continued

D Natural Minor Chord overview

Parent: D – E – F – G – A – Bb – C – D
Selected five-note teaching subset: D – F – G – Bb – C • D Man Gong (pattern 1321)

Parent catalogue: https://ianring.com/musictheory/scales/1453
Subset catalogue: https://ianring.com/musictheory/scales/1321

Degree	Triad tones and symbol	Seventh tones and symbol
1	D – F – A • Dm	D – F – A – C • Dm7
2	E – G – Bb • Edim	D – E – G – Bb • Em7b5
3	F – A – C • F	E – F – A – C • Fmaj7
4	D – G – Bb • Gm	D – F – G – Bb • Gm7
5	E – A – C • Am	E – G – A – C • Am7
6	D – F – Bb • Bb	D – F – A – Bb • Bbmaj7
7	E – G – C • C	E – G – Bb – C • C7

D Natural Minor Triads and inversions

D Natural Minor Triads and inversions continued

D Natural Minor Triads and inversions continued

D Natural Minor Triads and inversions continued

D Natural Minor Sevenths and inversions

D Natural Minor Sevenths and inversions continued

D Natural Minor Sevenths and inversions continued

D Natural Minor Sevenths and inversions continued

D Natural Minor Sevenths and inversions continued

D Natural Minor Other supported chords

D Natural Minor Other supported chords continued

D Natural Minor Other supported chords continued

D Natural Minor Other supported chords continued

D Natural Minor Other supported chords continued

D Natural Minor Other supported chords continued

D Natural Minor Other supported chords continued

D Natural Minor Extended scale stacks

D Natural Minor Extended scale stacks continued

D Natural Minor Extended scale stacks continued

D Natural Minor Extended scale stacks continued

D Natural Minor Five note subset structures

D Natural Minor Five note subset structures continued

D Harmonic Minor Chord overview

Parent: D – E – F – G – A – Bb – C# – D
Selected five-note teaching subset: D – F – G – A – Bb • D Raga Kokil Pancham (pattern 425) — two semitone adjusted, not an exact raw overlay

Parent catalogue: https://ianring.com/musictheory/scales/2477
Subset catalogue: https://ianring.com/musictheory/scales/425

Degree	Triad tones and symbol	Seventh tones and symbol
1	D – F – A • Dm	D – F – A – C# • Dm(maj7)
2	E – G – Bb • Edim	D – E – G – Bb • Em7b5
3	F – A – C# • Faug	E – F – A – C# • Fmaj7#5
4	D – G – Bb • Gm	D – F – G – Bb • Gm7
5	E – A – C# • A	E – G – A – C# • A7
6	D – F – Bb • Bb	D – F – A – Bb • Bbmaj7
7	E – G – C# • C#dim	E – G – Bb – C# • C#dim7

D Harmonic Minor Triads and inversions

D Harmonic Minor Triads and inversions continued

D Harmonic Minor Triads and inversions continued

D Harmonic Minor Triads and inversions continued

D Harmonic Minor Sevenths and inversions

D Harmonic Minor Sevenths and inversions continued

D Harmonic Minor Sevenths and inversions continued

D Harmonic Minor Sevenths and inversions continued

D Harmonic Minor Sevenths and inversions continued

D Harmonic Minor Other supported chords

D Harmonic Minor Other supported chords continued

D Harmonic Minor Other supported chords continued

D Harmonic Minor Other supported chords continued

D Harmonic Minor Other supported chords continued

D Harmonic Minor Extended scale stacks

D Harmonic Minor Extended scale stacks continued

D Harmonic Minor Extended scale stacks continued

D Harmonic Minor Extended scale stacks continued

D Harmonic Minor Five note subset structures

D Harmonic Minor Five note subset structures continued

ACG D Aeolocrian Chord overview

Parent: D – Eb – F – F# – A – C – C# – D
Selected five-note teaching subset: D – Eb – F – F# – C • D GIFian (pattern 1051) — semitone repaired, not an exact raw overlay

Parent catalogue: https://ianring.com/musictheory/scales/3227
Subset catalogue: https://ianring.com/musictheory/scales/1051

Degree	Triad tones and symbol	Seventh tones and symbol
1	D – F – A • Dm	D – F – A – C# • Dm(maj7)
2	Eb – F# – C • Eb [0,3,9]	D – Eb – F# – C • Eb [0,3,9,11]
3	F – A – C# • Faug	Eb – F – A – C# • F7#5
4	D – F# – C • F# [0,6,8]	D – F – F# – C • F# [0,6,8,11]
5	Eb – A – C# • A [0,4,6]	Eb – F# – A – C# • A [0,4,6,9]
6	D – F – C • C [0,2,5]	D – F – A – C • C [0,2,5,9]
7	Eb – F# – C# • C# [0,2,5]	Eb – F# – C – C# • C# [0,2,5,11]

ACG D Aeolocrian Triads and inversions

ACG D Aeolocrian Triads and inversions continued

ACG D Aeolocrian Triads and inversions continued

ACG D Aeolocrian Triads and inversions continued

ACG D Aeolocrian Sevenths and inversions

ACG D Aeolocrian Sevenths and inversions continued

ACG D Aeolocrian Sevenths and inversions continued

ACG D Aeolocrian Sevenths and inversions continued

ACG D Aeolocrian Sevenths and inversions continued

ACG D Aeolocrian Other supported chords

ACG D Aeolocrian Other supported chords continued

ACG D Aeolocrian Other supported chords continued

ACG D Aeolocrian Extended scale stacks

ACG D Aeolocrian Extended scale stacks continued

ACG D Aeolocrian Extended scale stacks continued

ACG D Aeolocrian Extended scale stacks continued

ACG D Aeolocrian Five note subset structures

ACG D Aeolocrian Five note subset structures continued

CDG D Zathian Chord overview

Parent: D – F – F# – G – G# – C – C# – D
Selected five-note teaching subset: D – F# – G – C – C# • D TILian (pattern 3121)

Parent catalogue: https://ianring.com/musictheory/scales/3193
Subset catalogue: https://ianring.com/musictheory/scales/3121

Degree	Triad tones and symbol	Seventh tones and symbol
1	D – F# – G# • D [0,4,6]	D – F# – G# – C# • D [0,4,6,11]
2	F – G – C • Fsus2	D – F – G – C • F [0,2,7,9]
3	F# – G# – C# • F#sus2	F – F# – G# – C# • F#maj7sus2
4	D – G – C • Gsus4	D – F# – G – C • G [0,5,7,11]
5	F – G# – C# • G# [0,5,9]	F – G – G# – C# • G# [0,5,9,11]
6	D – F# – C • C [0,2,6]	D – F# – G# – C • C [0,2,6,8]
7	F – G – C# • C# [0,4,6]	F – G – C – C# • C# [0,4,6,11]

CDG D Zathian Triads and inversions

CDG D Zathian Triads and inversions continued

CDG D Zathian Triads and inversions continued

CDG D Zathian Triads and inversions continued

CDG D Zathian Sevenths and inversions

CDG D Zathian Sevenths and inversions continued

CDG D Zathian Sevenths and inversions continued

CDG D Zathian Sevenths and inversions continued

CDG D Zathian Sevenths and inversions continued

CDG D Zathian Other supported chords

CDG D Zathian Other supported chords continued

CDG D Zathian Other supported chords continued

CDG D Zathian Extended scale stacks

CDG D Zathian Extended scale stacks continued

CDG D Zathian Extended scale stacks continued

CDG D Zathian Extended scale stacks continued

CDG D Zathian Five note subset structures

CDG D Zathian Five note subset structures continued

AFG D Lydian Augmented Dominant Chord overview

Parent: D – E – F# – G# – Bb – B – C – D
Selected five-note teaching subset: D – E – F# – G# – Bb • D Augmented Ninth Mode IV (pattern 341)

Parent catalogue: https://ianring.com/musictheory/scales/1877
Subset catalogue: https://ianring.com/musictheory/scales/341

Degree	Triad tones and symbol	Seventh tones and symbol
1	D – F# – Bb • Daug	D – F# – Bb – C • D7#5
2	E – G# – B • E	D – E – G# – B • E7
3	F# – Bb – C • F# [0,4,6]	E – F# – Bb – C • F# [0,4,6,10]
4	D – G# – B • G#dim	D – F# – G# – B • G#m7b5
5	E – Bb – C • Bb [0,2,6]	E – G# – Bb – C • Bb [0,2,6,10]
6	D – F# – B • Bm	D – F# – Bb – B • Bm(maj7)
7	E – G# – C • Caug	E – G# – B – C • Cmaj7#5

AFG D Lydian Augmented Dominant Triads and inversions

AFG D Lydian Augmented Dominant Triads and inversions continued

AFG D Lydian Augmented Dominant Triads and inversions continued

AFG D Lydian Augmented Dominant Triads and inversions continued

AFG D Lydian Augmented Dominant Sevenths and inversions

AFG D Lydian Augmented Dominant Sevenths and inversions continued

AFG D Lydian Augmented Dominant Sevenths and inversions continued

AFG D Lydian Augmented Dominant Sevenths and inversions continued

AFG D Lydian Augmented Dominant Sevenths and inversions continued

AFG D Lydian Augmented Dominant Other supported chords

AFG D Lydian Augmented Dominant Other supported chords continued

AFG D Lydian Augmented Dominant Other supported chords continued

AFG D Lydian Augmented Dominant Extended scale stacks

AFG D Lydian Augmented Dominant Extended scale stacks continued

AFG D Lydian Augmented Dominant Extended scale stacks continued

AFG D Lydian Augmented Dominant Extended scale stacks continued

AFG D Lydian Augmented Dominant Five note subset structures

AFG D Lydian Augmented Dominant Five note subset structures continued

D Harmonic Minor Derived Descending Jhankaradhwani Chord overview

Parent: D – E – F – G – A – Bb – B – D
Selected five-note teaching subset: E – F – G – Bb – B • E Japanese Pentachord (pattern 203) — semitone repaired, not an exact raw overlay

Parent catalogue: https://ianring.com/musictheory/scales/941
Subset catalogue: https://ianring.com/musictheory/scales/203

This is a separately specified descending collection. The newly calculated ACG tiers await the author’s listening test; chord inclusion is mathematically checked.

Degree	Triad tones and symbol	Seventh tones and symbol
1	D – F – A • Dm	D – F – A – B • Dm6
2	E – G – Bb • Edim	D – E – G – Bb • Em7b5
3	F – A – B • F [0,4,6]	E – F – A – B • F [0,4,6,11]
4	D – G – Bb • Gm	D – F – G – Bb • Gm7
5	E – A – B • Asus2	E – G – A – B • A [0,2,7,10]
6	D – F – Bb • Bb	D – F – A – Bb • Bbmaj7
7	E – G – B • B [0,5,8]	E – G – Bb – B • B [0,5,8,11]

D Harmonic Minor Derived Descending Jhankaradhwani Triads and inversions

D Harmonic Minor Derived Descending Jhankaradhwani Triads and inversions continued

D Harmonic Minor Derived Descending Jhankaradhwani Triads and inversions continued

D Harmonic Minor Derived Descending Jhankaradhwani Triads and inversions continued

D Harmonic Minor Derived Descending Jhankaradhwani Sevenths and inversions

D Harmonic Minor Derived Descending Jhankaradhwani Sevenths and inversions continued

D Harmonic Minor Derived Descending Jhankaradhwani Sevenths and inversions continued

D Harmonic Minor Derived Descending Jhankaradhwani Sevenths and inversions continued

D Harmonic Minor Derived Descending Jhankaradhwani Sevenths and inversions continued

D Harmonic Minor Derived Descending Jhankaradhwani Other supported chords

D Harmonic Minor Derived Descending Jhankaradhwani Other supported chords continued

D Harmonic Minor Derived Descending Jhankaradhwani Other supported chords continued

D Harmonic Minor Derived Descending Jhankaradhwani Other supported chords continued

D Harmonic Minor Derived Descending Jhankaradhwani Extended scale stacks

D Harmonic Minor Derived Descending Jhankaradhwani Extended scale stacks continued

D Harmonic Minor Derived Descending Jhankaradhwani Extended scale stacks continued

D Harmonic Minor Derived Descending Jhankaradhwani Extended scale stacks continued

D Harmonic Minor Derived Descending Jhankaradhwani Five note subset structures

D Harmonic Minor Derived Descending Jhankaradhwani Five note subset structures continued

ACG Descending Tier 1 D Thyphian Chord overview

Parent: D – Eb – E – F# – A – C – C# – D
Selected five-note teaching subset: D – Eb – E – F# – C • D GICian (pattern 1047) — semitone repaired, not an exact raw overlay

Parent catalogue: https://ianring.com/musictheory/scales/3223
Subset catalogue: https://ianring.com/musictheory/scales/1047

This is a separately specified descending collection. The newly calculated ACG tiers await the author’s listening test; chord inclusion is mathematically checked.

Degree	Triad tones and symbol	Seventh tones and symbol
1	D – E – A • Dsus2	D – E – A – C# • Dmaj7sus2
2	Eb – F# – C • Eb [0,3,9]	D – Eb – F# – C • Eb [0,3,9,11]
3	E – A – C# • E [0,5,9]	Eb – E – A – C# • E [0,5,9,11]
4	D – F# – C • F# [0,6,8]	D – E – F# – C • F# [0,6,8,10]
5	Eb – A – C# • A [0,4,6]	Eb – F# – A – C# • A [0,4,6,9]
6	D – E – C • C [0,2,4]	D – E – A – C • C [0,2,4,9]
7	Eb – F# – C# • C# [0,2,5]	Eb – F# – C – C# • C# [0,2,5,11]

ACG Descending Tier 1 D Thyphian Triads and inversions

ACG Descending Tier 1 D Thyphian Triads and inversions continued

ACG Descending Tier 1 D Thyphian Triads and inversions continued

ACG Descending Tier 1 D Thyphian Triads and inversions continued

ACG Descending Tier 1 D Thyphian Sevenths and inversions

ACG Descending Tier 1 D Thyphian Sevenths and inversions continued

ACG Descending Tier 1 D Thyphian Sevenths and inversions continued

ACG Descending Tier 1 D Thyphian Sevenths and inversions continued

ACG Descending Tier 1 D Thyphian Sevenths and inversions continued

ACG Descending Tier 1 D Thyphian Other supported chords

ACG Descending Tier 1 D Thyphian Other supported chords continued

ACG Descending Tier 1 D Thyphian Other supported chords continued

ACG Descending Tier 1 D Thyphian Extended scale stacks

ACG Descending Tier 1 D Thyphian Extended scale stacks continued

ACG Descending Tier 1 D Thyphian Extended scale stacks continued

ACG Descending Tier 1 D Thyphian Extended scale stacks continued

ACG Descending Tier 1 D Thyphian Five note subset structures

ACG Descending Tier 1 D Thyphian Five note subset structures continued

ACG Descending Tier 2 D Crater Scale Chord overview

Parent: D – Eb – E – F# – Bb – C – C# – D
Selected five-note teaching subset: D – E – Bb – C – C# • D VACian (pattern 3333)

Parent catalogue: https://ianring.com/musictheory/scales/3351
Subset catalogue: https://ianring.com/musictheory/scales/3333

This is a separately specified descending collection. The newly calculated ACG tiers await the author’s listening test; chord inclusion is mathematically checked.

Degree	Triad tones and symbol	Seventh tones and symbol
1	D – E – Bb • D [0,2,8]	D – E – Bb – C# • D [0,2,8,11]
2	Eb – F# – C • Eb [0,3,9]	D – Eb – F# – C • Eb [0,3,9,11]
3	E – Bb – C# • E [0,6,9]	Eb – E – Bb – C# • E [0,6,9,11]
4	D – F# – C • F# [0,6,8]	D – E – F# – C • F# [0,6,8,10]
5	Eb – Bb – C# • Bb [0,3,5]	Eb – F# – Bb – C# • Bb [0,3,5,8]
6	D – E – C • C [0,2,4]	D – E – Bb – C • C [0,2,4,10]
7	Eb – F# – C# • C# [0,2,5]	Eb – F# – C – C# • C# [0,2,5,11]

ACG Descending Tier 2 D Crater Scale Triads and inversions

ACG Descending Tier 2 D Crater Scale Triads and inversions continued

ACG Descending Tier 2 D Crater Scale Triads and inversions continued

ACG Descending Tier 2 D Crater Scale Triads and inversions continued

ACG Descending Tier 2 D Crater Scale Sevenths and inversions

ACG Descending Tier 2 D Crater Scale Sevenths and inversions continued

ACG Descending Tier 2 D Crater Scale Sevenths and inversions continued

ACG Descending Tier 2 D Crater Scale Sevenths and inversions continued

ACG Descending Tier 2 D Crater Scale Sevenths and inversions continued

ACG Descending Tier 2 D Crater Scale Other supported chords

ACG Descending Tier 2 D Crater Scale Other supported chords continued

ACG Descending Tier 2 D Crater Scale Extended scale stacks

ACG Descending Tier 2 D Crater Scale Extended scale stacks continued

ACG Descending Tier 2 D Crater Scale Extended scale stacks continued

ACG Descending Tier 2 D Crater Scale Extended scale stacks continued

ACG Descending Tier 2 D Crater Scale Five note subset structures

ACG Descending Tier 2 D Crater Scale Five note subset structures continued

Using the chord library

Read the sounding notes and bass before using a diagram. Mute X strings and do not sound the blue context notes unless deliberately adding them. Compare an inversion with its root position and listen to the bass movement. For guide voicings, compare the full stack on a keyboard or arpeggio so the omitted tones are understood.

For ACG, CDG and AFG, use a D drone and slow voice leading first. A major or minor chord found inside a parent does not by itself establish the parent’s tonal centre. The purpose of these entries is to show exact note-compatible harmony, not to promise that every dense combination will be preferred by ear.

Research addition • 26 September 2026 • Philip John Jatzek & STORM (ChatGPT)

Name a chord from the pitches it actually contains, then identify which chord tone sits in the bass. Moving the root, third, or fifth to the lowest voice changes inversion without necessarily changing chord quality. A nearby blue parent-scale marker is a melodic option until it is sounded as part of the chord.

For each diagram, write a compact audit line: sounding string and fret, resulting pitch, chord role, and bass note. A chord with an omitted third may be a power-chord sonority rather than a fully determined major or minor triad. Compare alternative shapes by ear and by actual sounding notes.

Reference websites consulted

https://openmusictheory.github.io/triads.html

https://online.berklee.edu/takenote/guitar-chords-101-triad-inversions-up-the-fretboard/

The external references explain standard music concepts; MusicMaster-specific scale and ShadowScale results retain the definitions and evidence levels given in this periodical.

NEED TO KNOW | PERIODICAL 5

Using chord shapes in progressions

Name tones before fingering

Spell the chord from its root, third, fifth, and any seventh or extension. Identify which notes a guitar voicing actually includes; some shapes omit a fifth or a root.

Control voice leading

Compare adjacent chord shapes note by note. Hold common tones where possible and move the remaining voices by small intervals; listen to the top note as a melody.

Test inversion and bass

A different bass note can change the harmonic sense even when the upper notes remain. Label slash chords or inversions clearly when the lowest sounding note is important.

Check register and doubling

Play a dense shape with a bassist or keyboard part, then try fewer upper notes. Keep the version that makes the intended melody and groove clearest.

Further reading

https://www.musictheory.net/lessons

https://online.berklee.edu/takenote/voice-leading-for-guitar/

https://online.berklee.edu/courses/arranging-for-songwriters-instrumentation-and-production-in-songwriting

CHORD GLOSSARY

Naming conventions

Chord symbols, voicings, inversions and harmony used in this chapter. Each term is listed once in the periodicals and collected in Appendix D.

A

Added-tone chord

A chord containing a note such as 2 or 6 without necessarily implying a complete seventh-chord stack.

Altered chord

A chord with one or more chromatically changed tones, often extensions of a dominant chord.

Arpeggiated chord

A chord whose notes are sounded in quick succession, often marked by a vertical wavy line.

Arpeggio

The notes of a chord sounded one after another instead of together.

Augmented chord

A major-triad shape with a raised fifth, making stacked major thirds.

B

Barre

One fretting finger pressing more than one string at the same fret.

Bass note

A low note that supports a chord, often sounded by the thumb or pick.

Bass register doubling

Reinforcing a bass line in another instrument, often at an octave.

Bounce chord

A chord rhythm in which the fretting hand briefly releases pressure and re-presses the shape to interrupt sustain.

C

Chord

Three or more pitches understood as one harmony; guitar players may also use two-note shapes.

Chord diagram

A fretboard drawing showing where to place fingers and which strings to sound or mute.

Chord extension

A chord tone named above the seventh, commonly the ninth, eleventh or thirteenth.

Chord function

A chord's harmonic role, such as tonic, predominant or dominant.

Chord harmonic

A harmonic effect applied to selected notes of a chord, often by lightly touching nodes or tapping an octave above fretted notes.

Chord inversion

A chord voicing with a chord tone other than its root in the bass.

Chord melody

An arrangement with recognizable melody notes supported by chord tones on the same guitar.

Chord progression

A sequence of chords that establishes motion and harmonic direction.

Chord quality

The interval structure that distinguishes major, minor, diminished and augmented triads or their extensions.

Chord root

The pitch from which a chord is named and its intervals are measured; it need not be the lowest sounding note.

Chord symbol

A compact written name for a chord, such as Dm7, that specifies its root and basic quality.

Chord tone

A pitch belonging to the chord currently sounding.

Chord voicing

The specific ordering and spacing of a chord's notes.

Chord-scale relation

The set of melodic pitches chosen to work over a given harmony.

Close voicing

Chord tones placed near one another within a relatively narrow register.

D

Diatonic chord

A chord built using only notes of the chosen scale or key collection.

Diatonic seventh

A seventh chord whose tones all come from a specified scale.

Diatonic triad

A three-note chord constructed entirely from a chosen diatonic scale.

Diminished chord

A chord whose basic triad stacks two minor thirds, producing a diminished fifth above its root.

Dominant seventh

A major triad with a minor seventh, often used to lead toward tonic.

Drop-2 voicing

A voicing made by lowering the second-highest note of a close-position chord by an octave.

Drop-3 voicing

A voicing made by lowering the third-highest note of a close-position chord by an octave.

F

First inversion voicing

A chord arrangement with its third as the lowest sounding chord tone.

M

Major seventh

The interval eleven semitones above a root, or a chord containing that seventh.

Minor seventh

An interval ten semitones above a root, or a chord containing that seventh.

N

Nonchord tone

A melodic pitch not belonging to the current chord.

O

Octave doubling

The same melodic material played an octave apart.

Open voicing

Chord tones spaced across a wider register.

P

Passing chord

A brief chord inserted between more structural harmonies.

Pivot chord

A chord shared by two keys and used to connect them during modulation.

Polychord

Two recognizable chords sounded simultaneously, often in different registers.

Power chord

A chordal shape built mainly from a root and perfect fifth, often doubled at the octave.

R

Root position

A chord voicing whose root is its lowest sounding chord tone.

S

Second inversion voicing

A triad or chord with its fifth in the bass.

Seventh chord

A chord built from root, third, fifth and seventh, with possible omissions in voicing.

Slash chord

A chord symbol that specifies a bass pitch after a slash, such as D/F-sharp; the bass may be a chord tone or another named pitch.

Substitution voicing

An alternate chord shape chosen to serve the same or similar harmonic function.

Suspended fourth chord

A chord in which the fourth replaces the third and may resolve downward.

T

Triad

A three-note chord built from a root, third and fifth.

U

Upper structure triad

A triad placed above a bass or chord foundation to create extensions or altered colors.

V

Voice leading

The motion of individual notes from one chord to the next, often kept as smooth as the music allows.