© 2010-2012 steve horn all rights reserved, see appendix€¦ · next comes the ii-v-i...

Moveable Chordsfor

Mandolin&

Other Stringed InstrumentsTuned in Fifths

(GDAE, CGDA, etc.)

compiled by Steve Horn

© Copyright 2010-2012 Steve Horn under the conditions of the GNU licensesee Appendix - “GNU” License

or visit http://ouibis.com/mandoSymmetry/copyright-policy/© 2010-2012 Steve Horn all rights reserved, see appendix

ForwardWelcome to this handy guide to moveable chords for mandolin (or any stringed instrument tuned in fifths). Using “moveable chords” frees the player from the dependency on open strings and a limited number of keys. This enables easy migration to any key of choice, up or down the neck or across the strings.

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

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

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

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

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

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

dom7

b73 5 1An example of a dominant 7 chord showing the chord

members as scale degrees: Root (1) - Third - Fifth - Flatted Seventh

Place this on any fret, say the third fret of a Mandolin for a G7

Page 2


of your favorite Fake Books.

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

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

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

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

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

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

Did we miss an important chord?If we missed a favorite of yours, please submit an example either by weblink or in a text version (see below) to [email protected].

0101 1000 0010

I will try to figure out what you send and will attribute you as a contributor either on a web page or in future editions of this document. We cannot guarantee your submission will be added or that it hasn’t already been submitted. Thanks for your contributions.

Page 3


I Like This Book, Can I Make a Donation?Yes you can. While the book is free, if you would like to make a donation for the hard work that went into this, we are working on setting up a PayPal account for this purpose. Donating does not add any priveledges that the free copy doesn’t already come with. We do appreciate your support. In the interim, please email us at http://ouibis.com/mandoSymmetry/donations/

Page 4


Table of Contents

Title Page

Forward

Table of Contents

About Triads

Triad Examples

About Tetrads

Tetrad Examples

The ii-V-I progression

About Upper Tensions

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

Appendices Duplicate Shapes GNU License

∆996/9m∆7m∆9m6/9∆b5∆ º∆+m∆+9m9b9#9∆9m∆9m7b9∆#9b5#9

b5b9#5b9#5#911m11#11m#11∆11m∆11∆#11m∆#1113m1313#11m13#11∆13m∆13∆13#11m∆13#11

Title Page

About Triads

TriadExampl

es

7, Dom7

6

dim7,m7b5,7b5,7#5

About ii-V-I

ii-V-Iexamples

m 7m 9,

m7&9,m6,

m6/9

99

6/9

About Tetrads, jazz chords,

About colorations or tensions

Table of Content

s

Forward, etc

9m9

b9#9

9 m 9

m7b9 #9

b5#9b5b9

#5b9#5#9

b5º

+m +

11m11

#11m#11

11m 11

#11m #11

13m13

13#11m13#11

13m 13

13#11m 13#11

AppendixGNU

License

AppendixShape

Duplicates

List Spreads


Triads

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

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

& ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

major3rd

minor3rd

major3rd

C E G

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

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

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

GEC

GEbC

minor3rd

major3rd

major3rd

minor3rd

examples: a major and minor triad showing three notes and two stacked

intervals of a third.

& ˙ ˙ ˙b ˙ ˙ ˙ ˙ ˙b

major3rd

minor3rd

C E Gb

Page 6


Maj

51 3 1

Maj

35 1 5

Maj

15 5 3

Maj

13 5 1

min

51 b3 1

min

b35 1 5

min

15 5 b3

min

1b3 5 1

aug(+)

#51 3 113 #5 33#5 1 #5

or

or

Mandolin ChordsMajor • Minor • Augmented • Diminished

These are the basic building blockson which the more complex chords (6ths, 7ths, 9ths, 11ths, and 13ths) are built.

dim(o)

b51 b3 1

dim(o)

1b3 b5 b3

dim(o)

b51 b3 b5

dim

1b5 b5 b3

aug(+)

#51 3 #513 #5 13#5 1 3

or

or

aug(+)

31 1 #5#53 3 11#5 #5 3

or

or

Page 7


Tetrads

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

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

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

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

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

Dominant 7

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

BbGEC

BbGEbC

minor3rd

minor3rd

major3rd

minor3rd

minor3rd

major3rd

Examples of two tetrads, a dominant 7 chord and a minor 7 chord.

Page 8


Major Major 7 (Δ7) and the 6 chords

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

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

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

MajorTriad

51 3 1

Major 7(∆7)

51 3 ∆

Dominant7

51 3 b7

6

51 3 6

This diagram shows how moving the tonic (1) ot the Major Triad creates a Major 7, Dominant 7, and 6 chord.

* You will notice that some shapes appear again and again with a different label. Please refer to the appendix at the end of this book that identifies these similari-ties.

** Please refer to “Adding More Color - The Upper Tensions” (p 14), the addition of the 9th (pp 16 & 17) and examples of altered chords, 11 and 13 chords (pp 18-33).

Page 9


6

61 3 1

Δ7

31 Δ7 5

6

51 3 6

Δ7

51 3 Δ7

dom7

51 3 b7

6

15 6 3

Δ7

15 Δ7 3

dom7

15 b7 36

36 1 5

dom7

3b7 1 5

Δ7

3Δ7 1 5

Mandolin ChordsMinor 6

6

63 5 1

dom7

b73 5 1

Δ7

Δ73 5 1

Major Seven • Dominant Seven • SixNotice how these examples relate to each other as well as the examples on the previous page. The major 7, minor 7, and 6 chords often can be easily found by moving the tonic note down to the corresponding scale degree.

Δ7

13 5 Δ7

Minor Maj 7 Minor 7

m6

6b3 5 1

mΔ7

Δ7b3 5 1

m7

b7b3 5 1

m6

15 6 b3

m7

15 b7 b3

mΔ7

15 Δ7 b3

m6

b36 1 5

m7

b3b7 1 5

mΔ7

b3Δ7 1 51

Δ

Switching the 1 and th 7 makes a better voicing but a dicult reach:

mΔ7

51 b3Δ7

m7

51 b3 b7

m6

51 b3 6

Δ71 3 5

mΔ7 m7

b71 3 5

m6

61 3 5

Here are some nice voicings but it uses an extended reach, especially with the ^7

Page 10


Mandolin Chords

o7

b51 b3 bb7bb7b3 b5 11b5 bb7 b3b3bb7 1 b5

or

or

or

Note:See how raising any note of the fully diminished 7 chord creates a different inver-sion of the half diminished 7 chord. The note you raise becomes the 7th scale degree of the new chord.

The same chord played against a different root or bass note can render a b9 chord. That root would either be a 1/2 step, major 3rd or perfect 5th below the lowest note of this mandolin chord.

ø7

b51 b3 b7

ø7

b7b3 b5 1

ø7

1b5 b7 b3

ø7

b3b7 1 b5

Fully Diminished Seven &Half Diminished Seven

7b5

3b51 3 b71b5 b7

or

7b5

b5b73 b5 13b7 1

or

b9

b73 5 b9b95 b7 35b9 3 b7

or

or

7#5

#51 3 b7

7#5

b73 #5 1

7#5

3b7 1 #5

7b5 7#5

Page 11


The ii-V-I ProgressionThis chord progression is found with great frequency in jazz and popular music. In a major key (ii-V7-I) this would be made up of a minor ii followed by the dominant V7 followed by the (major) tonic. In a minor key (ii Ø-V7-i), that would be a half-diminished iiø followed by the dominant V7 followed by the (minor) tonic. It is an embellishment of the age-old practice in harmony of the progression from subdominant (in this case the minor ii chord) to the dominant (V7) to the tonic. Some styles may tend to substitute a major IV in place of the minor ii or there also may be the use of tht viiº (fully dimin-ished) in place of the V7. Yet, in jazz, the favorite is ii-V-I, or in minor keys ii Ø-V7-i. You can find this progression everywhere, sometimes in fragment. If you take time to familiarize yourself with these changes, you will find comping much easier as the ground you are exploring will be all the more famil-liar.

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

(Major Keys)ii7 - V7 - IΔ7

(Minor Keys)ii±ø7 - V7 - i7

ii7

51 3 7

V7

15 7 3

IΔ7

51 3 7

ii±ø7

b51 3 7

V7

15 7 3

i6-i7-iΔ7

51 3 #67#7

ii7

73 5 1

V7

37 1 5

IΔ9-IΔ7

73 5 19

iiø±7

73 b5 1

V7

37 1 5

i6-i7-iΔ7

#67#7

3 5 9

ii7

15 7 3

V7

51 3 7

IΔ9

19

5 6#7

3

ii±ø7

1b5 7 3

V7

51 3 7 15 #67#7

3

i6-i7-iΔ7

IΔ7

31 7 5

ii7

37 1 5

V7

73 5 1

ii±ø7

37 1 b5

V7

73 5 1

5

b7#71 3 #6

7#7

i6-i7-iΔ7

3#67#7

1 5

i6

-or-

Page 12


(Major Keys)ii7 - V7 - IΔ7

(Minor Keys)iiø7 - V7 - i7

ii7

51 3 7

V7

15 7 3

IΔ7

51 3 7

iiø7

b51 3 7

V7

15 7 3

i6-i7-iΔ7

51 3 #67#7

ii7

73 5 1

V7

37 1 5

IΔ9-IΔ7

73 5 19

iiø7

73 b5 1

V7

37 1 5

i6-i7-iΔ7

#67#7

3 5 9

ii7

15 7 3

V7

51 3 7

IΔ9

19

5 6#7

3

iiø7

1b5 7 3

V7

51 3 7 15 #67#7

3

i6-i7-iΔ7

IΔ7

31 7 5

ii7

37 1 5

V7

73 5 1

iiø7

37 1 b5

V7

73 5 1

5

b7#71 3 #6

7#7

i6-i7-iΔ7

3#67#7

1 5

i6

-or-

Page 13


Adding More Color - Upper Tensions

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

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

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

If you need to get your ear in shape, listen to music and experiment with the examples we offer here. In the next pages, you will find some examples of how the 9th can be added into the already familiar 6 and 7 chords. The most likely note in a 7 or 6 chord to become the 9th would be the root. Depend-ing on the example and the context, you later may find that for both 11th and 13th chords, the likely note to replace would be the 5.

Page 14


Major 9 • 9 • 6/9

Δ9

Δ73 5 9

Δ9

95 Δ7 3

Δ9

3Δ7 9 5

Δ9

59 3 Δ7

Δ9

51 9 Δ7

9

51 9 b7

9

b73 5 9

9

95 b7 3

9

3b7 9 5

9

59 3 b7

6/9

31 9 66/9

51 9 695 6 3

or

6/9

51 9 695 6 3

or

6/9

63 5 996 1 5

or

6/9

15 6 959 3 6

or

9

31 9 b7

Δ9

31 9 Δ7

6/9

36 9 5

Mandolin Chords

We now move on to exploring upper tensions in jazz chords. On these two pages, we look at a handful of examples of adding the 9th scale degree to our now familiar tetrads. For a more complete listing of chords using upper tensions, please take a look at the pages that follow. There you will �nd 9ths, 11ths, 13ths of many varieties.

Page 16


Mandolin ChordsMinor 7 • Minor 9 Minor 6 • Minor 6/9Minor Major 7 & 9m7

51 b3 b7

m7

b7b3 5 1

m7

15 b7 b3

m7

b3b7 1 5

m9

b7b3 5 9

m9

b3b7 9 5

m9

95 b7 b3

m9

59 b3 b7

This demonstrates how moving the tonic note up a whole step transfers a minor7 chord into a minor9. Jazz chords can have as many as six or seven notes in them. On a four course instru-ment such as mandolin, it is common to sacri�ce the root or the �fth in order to add color tones such as the 9th, 11th or 13th.

mΔ7

51 b3Δ7

mΔ7

Δ7b3 5 1

mΔ9

Δ7b3 5 9

mΔ9

59 b3Δ7

mΔ9

5b3 9 Δ7

This con�guration which is an augmented chord, can be used as the the third, �fth, and seventh degrees of the mΔ7 and mΔ9 chords.

Perhaps a better voicing would be:

mΔ7

Δ7b3 5b35 Δ75Δ7 b3

or

or

x mΔ7x

mΔ9

95 Δ7 b3

Moving the tonic up a stepcreates a useable Δ9 chord.

m6

51 b3 6

m6

6b3 5 1

m6

15 6 b3

m6

b36 1 5

m6/9

59 b3 6

m6/9

5b3 9 6

m6/9

6b3 5 9

m6/9

95 6 b3

Page 17


Mandolin Chords∆b5 (see ∆#11)

major 7 �at 5∆°

major 7 diminished

∆7b3 b5 1

1b5 ∆7 b3b51 b3 ∆7 b3∆7 1 b5∆73 #11 9 31 ∆ #1113 #11 ∆7

1b3 b5 ∆7

Page 18


Mandolin Chords∆+

major 7 augmentedm∆+

minor major 7 sharp 5

#51 3 ∆7 3∆7 1 #5 13 #5 ∆7 #51 b3 ∆7 1b3 #5 ∆7

Page 19


Mandolin Chords9

dominant 9m9

minor 9

b7b3 5 9

b3b7 9 595 b7 b3 59 b3 b7

1b3 5 9

b31 9 b7

b79 b3 1

51 9 b7

b79 3 1 9b7 1 3

51 9 b7 b73 5 9

95 b7 3 3b7 9 5 59 3 b7

31 9 b7

13 5 9

13 b7 9 b71 b3 9

b71 9 6

b7b3 9 1

Page 20


Mandolin Chordsb9

dominant 7 b9#9

dominant 7 #9

b73 5 b9b95 b7 35b9 3 b7

or

or

3b7 b9 5or

b7b9 3 1 b93 5 1

13 5 b9 b71 3 b9

3b7 1 #9 31 #9 b7 3b7 #9 b7

3b7 #9 5 b73 5 #9 b7#9 5 3

Page 21


Mandolin Chords∆9

major major 9m∆9

minor major 9

Δ73 5 9

95 Δ7 3 3Δ7 9 5 59 3 Δ7

51 9 Δ731 9 Δ7

∆79 3 1

59 b3 ∆7 ∆7b3 5 9 5b3 9 ∆7

Page 22


Mandolin Chords

m7b9minor 7 b9

∆#9major 7 #9

5b9 b3 b7b7b3 5 b9b95 b7 b3

3

51 #9 ∆7#95 3∆7

b7b9 b3 1 b3b7 b9 5

31 #9 ∆7

Page 23


Mandolin Chords

ALT(b5#9) ALT(b5b9)

3b7 b9 b5 b5b9 3 b7 b73 b5 b9

b9b5 b7 3

3b7 #9 b5 #9b5 b7 3 b73 b5 #9

51 #9 b7 31 #9 b7 1b5 3 #9

3b5 b7 #9

Page 24


Mandolin Chords

ALT(#5b9) ALT(#5#9)

3b7 b9 #5 b9#5 b7 3 b73 #5 b9

#5b9 3 b7

b7#9 #5 3 #9#5 b7 3 b73 #5 #9

#53 #9 b7

Page 25


Mandolin Chords

11 m11

3b7 1 11 b73 11 9 b73 11 1

11b7 1 3 13 11 9 35 b7 11

b31 9 11 b3b7 1 11 b3b7 9 11

111 b3 b7 b7b3 11 1 b7b3 11 9

13 b7 11 1b3 b7 11

Page 26


Mandolin Chords

#11dominant 7 sharp 11

m#11minor # 11

31 9 #11 b73 #11 93b7 1 #11b73 #11 1

or

3b7 9 #11 b73 #11 9

51 9 #11 #11b7 1 3 35 b7#11

1b3 #11 9 b7b3 #11 9 #111 3 b7

b3b7 1 #11

∆3 #11 9 31 ∆ #1113 #11 ∆

Page 27


Mandolin Chords

∆11major major 11

m∆11minor major 11

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

119 3 ∆ 111 3 ∆ 119 b3 ∆ 111 b3 ∆911 ∆ 3 911 5 b3

911 5 3 ∆11 3 9 ∆11 b3 9

Page 28


Mandolin Chords

∆#11major major #11

m∆#11minor major 7 #11

∆3 #11 9 31 ∆ #1113 #11 ∆

∆3 #11 1 #111 9 ∆ #111 3 ∆

1#11 3 ∆

∆b3 #11 9 1b3 #11 ∆ b31 ∆ #11

∆b3 #11 1 #111 b3 ∆#111 9 ∆

Page 29


Mandolin Chords

13 m13

913 b7 3 139 3 b7 b71 3 13

b79 3 13 b75 13 3 b73 13 3

b79 13 3 3b7 9 13

139 b3 b7 b7b3 9 13 5b7 b3 13

b3b7 13 5

3b7 13 5

b71 b3 13 b3b7 9 13

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Mandolin Chords

13#11 m13#11

b71 #1113 1#11 3 13 #11b7 9 13#11b7 9 13 #11b7 b3 13or

or

or

#111 b3 1313b3 #11 11#11 13 b3b313 1 #11

#111 9 13

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Mandolin Chords

∆13major major 13

m∆13minor major 13

∆73 13 9

139 3 ∆751 9 13

or

or

95 13 3

131 3 ∆7

5∆7 9 1313 5 9

or133 5 ∆7

313 ∆7 5

31 ∆7 13

131 b3 ∆7 b313 ∆7 5 95 13 b3

139 b3 ∆7 5∆7 b3 1313b3 5 ∆7

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Mandolin Chords

∆13#11major major 13 #11

m∆13#11minor major 13 #11

313 ∆7#11 13#11 3 ∆7 ∆7#11 13 3 b313 ∆7 #11 ∆7#11 13 b3 1#11 ∆7 13

13b3 #11∆7 #11∆7 b3 13133 #11∆7 #11∆7 3 13 1#11 ∆7 13

Page 33


Appendix - Shape DupicatesSooner or later, you will �nd that various shapes all start looking the same or you may experience what appears to be the phenomenon of Deja Vu. You may say to yourself, “Didn’t I already work on this shape?” or “Wait, this is a ø7, I thought it was a m6” . . .

Actually, many shapes do bear resemblence and some are absolutely identicle. Identifying this issue is the �rst step in turning a curse into a blessing. Firstly, I suggest you acknowledge this phenomenon and let it become more familiar, and secondly always remember Easy Does It. This appendix references many of the duplicate shapes you will �nd yourself sorting through.

Common duplicates that you may �rst notice are these: • 6 chords, m7 chords and ∆9 chords • dominant 7, m7b9 and others • m6, ø7(m7b5) and others • ∆7 and m9

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

Found in m6, ø7, 9, #5b9 and m#11

Found in ∆7 and m9

Found in 6, m7 and ∆9

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Shape Dupicates (cont’d)

Found in o7, b9 and m13#11Due to the shape’s symmetry, each of these chords has 4 variations.

Found in m∆7, ∆#9 and m#11

Found in 6/9, 11, m11, ∆13, ∆13#11

Found in m6/9 and #5#9

Found inm6,ø7,9,b5#9 and #5b9m#11,

Found in 13 and #9

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

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

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

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

Page 36

Thad Bonduris

Peter Braccio

Maristella Feustle


© 2010-2012 steve horn all rights reserved, see appendix€¦ · next comes the ii-v-i...

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