PDF created with pdfFactory trial version www.pdffactory.

com
PDF created with pdfFactory trial version www.pdffactory.com
 TRIADIC CHORDS
As recorded by Derryl Gabel
Transcribed by Derryl Gabel Music by Derryl Gabel
Performance Notes

The definition of a chord is every other note in the scale played together.
In this lesson we will examine the triad. A triad is a three note chord.
It is built off the first, third , and fifth degrees of the scale.

THE MAJOR TRIAD

Examples 1 - 4 are the C major triad. The notes come from the C major scale.
The notes in the C major triad are C , E , and G. Numerically you can think of this as a I , 3 , 5 , voicing.

C is the root or first degree

E is the major third
G is the perfect fifth.

Examples 5 - 8 we have the C major triad inverted. In this case E is in the bass . As a rule when the third of a chord is in the bass it is
called the first inversion. So this chord is called the C major triad in the first inversion. It can also be refered to as C over E. Hence C/E.
The numeric voicing would be 3 ,5, 1.

Examples 9 - 12 we have the C major triad inverted. In this case G is in the bass . As a rule when the fifth of a chord is in the bass it is
called the second inversion. So this chord is called the C major triad in the second inversion. It can also be refered to as C over G. Hence
C/G. The numeric voicing would be 5 ,1 ,3 .

Examples 13 - 17 are examples of doubling. This simply means to an a duplicate not an octave higher or lower which will create a fuller
sound.

THE SUSPENDED TRIAD

Examples 18 - 23 are two types of sus chords: Sus2 and Sus4.

To create a sus 2 lower the 3rd to the 2nd.
C sus2 = CDG = 125

To create a sus 4 raise the 3rd of the chord to the fourth degree.
C sus4 = CFG = 145

LYDIAN TRIADS

Examples 23 - 29 are types of Lydian Triads

Raising the 4th to the #4 or b5 (F# or Gb) will give a lydian sound. This chord would come from the C lydian scale
C D E F# G A B C.

Now try taking a C major triad, C,E,G and lowering the G a half step to Gb. This to will give a lydian sound as well.

THE MINOR TRIAD

To convert the major triad into the minor triad lower the third a half step.

C - E - G this is the major triad 1 - 3 - 5

C - Eb - G this is the minor triad. 1 - flat3 - 5

Examples 30 - 32 are the Cm triads in all the inversions.

ADD 4

Examples 33 - 35 are C minor add4 chords. To create these chords from minor just lower the 5th to the 4th.

Examples 36 - 38 are C major add4 chords. To create the chords from the major form just lower the 5th to the 4th. Using add4 chords
gives a more modern sound like the sus2 and sus 4.

THE DIMINISHED TRIAD

Gabelvision ASCAP 2012
Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

PDF created with pdfFactory trial version www.pdffactory.com

 TRIADIC CHORDS - Derryl Gabel Page 2 of 8

Examples 39 - 41 are the C diminished triad in all the inversions.

The diminished triad comes from the Locrian mode which is the seventh mode of the major scale.
To convert the minor triad into the diminished triad just lower the fifth a half step.
C - Eb - Gb this is the C diminished triad 1 - b3 - b5

THE AUGMENTED TRIAD

Examples 42 - 44 are the C augmented triad in all the inversions.

The augmented triad comes from the Lydian Augmented and Whole Tone scale.

To convert the major triad into the augmented triad raise the fifth a half step.

C - E - G# this is the augmented triad. 1 - 3 - #5

TRIADIC CHORD SCALE

Examples 45 - 51 are triads built from each degree or mode in the C major scale. Hence the term chord scale.

Triad - Mode
Major - Ionian
Minor - Dorian
Minor - Phrygian
Major - Lydian
Major - Mixolydian
Minor - Aeolian
Diminished - Locrian

OPEN CHORD VOICINGS

So far we have been using closed chord voicings which are when all the notes used are within one octave. To create an open voicing raise
or lower one of the notes an octave.
Examples 52 - 60 are open voicings using the C major triad.

PRACTICING CHORD SCALES

Example 61 is a chord scale in the first inversion from the key of C.

Example 62 is a chord scale in the second inversion from the key of C.

Practice the chord scales in each inversion on all string sets.

String Sets
123
234
345
456

Example 63 is a chord scale using doubling. These chord shapes are often referred to as bar chords because of using the "barring"
technique to fret multiple notes with a single finger.

Try playing the bar chords on the D,G,B,E set of strings and the E,A,D,G strings.

Example 64 is the chord scale in first position using open strings and doubling. These voicings are used often in pop and folk songs.

Try changing the voicings to sus 2, sus4, from major to minor, and minor to major.

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

PDF created with pdfFactory trial version www.pdffactory.com

 TRIADIC CHORDS - Derryl Gabel Page 3 of 8

C
UU UUU
EX 1 - 4

1
I 44 U UUU UUU
Gtr I

3
T 5 8
5 9 0
A 10 2 5
B 3 7
8

C/E
UUU
EX 5 - 8

I UU UU UU
U U U
5

8
T 8 1
9 0 5
A 2 5 10
B 7 10
12

C/G
UU
EX 9 - 12

U UU UU
9
I U U UU
U
12
T 13 5
12 5 9
A 5 10 2
B 10 3
3

C
UU
EX 13 - 17
UUU UUU UUU UUU UU
13
I U UU UU UU
3 3 3 3 8
T 5 5 5 5 8
5 5 5 5 9
A 5 5 5 10
B 7 3 10
8

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

PDF created with pdfFactory trial version www.pdffactory.com

 TRIADIC CHORDS - Derryl Gabel Page 4 of 8

Csus2 Csus2/E Csus2/G

UUU
EX 18 - 20

UUU UU
18
I U
3 8 10
T 3 8 13
5 7 12
A
B

Csus4 Csus4/E Csus4/G

UU
EX 21 - 23

UU UUU U
21
I U
3 8 13
T 6 8 13
5 10 12
A
B

C #4 C #4/F# C #4/G
gUU
EX 24 - 26

gUU gUUU U
24
I U
3 8 14
T 7 8 13
5 11 12
A

` ` `
B

C5 C 5/E C/G
U
EX 27 - 29

eUUU eUUU eUU

27
I
2 8 12
T 6 7 13
5 9 11
A

`
B

Cm Cm/E Cm/G
eUU
EX 30 - 32
U
eUUU eUU U
30
I
3 8 11
T 4 8 13
5 8 12
A
B
Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

PDF created with pdfFactory trial version www.pdffactory.com

 TRIADIC CHORDS - Derryl Gabel Page 5 of 8

Cmadd4 Cmadd4/E Cmadd4/F

eUU
EX 33 - 35
U
eUUU eUU U
33
I
1 8 11
T 4 6 13
5 8 10
A
B

Cadd4 Cadd4/E Cadd4/F

UU
EX 36 - 38
UU
UU U U
36
I U
1 8 12
T 5 6 13
5 9 10
A

` `
B

C° C°/E C°/G
eUU
EX 39 - 41
U
e eUUU e eUU eU
39
I
2 8 11
T 4 7 13
5 8 11
A

b
B

C+ C+/E C+/G
U
EX 42 - 44

gUUU gUUU gUU

42
I
4 8 12
T 5 9 13
5 9 13
A
B

C Dm Em F
UUU
EX 45 - 51
UUU UUU UUU
45
I
3 5 7 8
T 5 6 8 10
5 7 9 10
A
B
Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

PDF created with pdfFactory trial version www.pdffactory.com

 TRIADIC CHORDS - Derryl Gabel Page 6 of 8

G Am B°
UUU UUU UUU
49
I
10 12 13
T 12 13 15
12 14 16
A
B

C/G C C/E
UU
EX 52 -54

U UU
52
I U U U
U
T 5 8 13
5 9 12
A
B
3 8 12

C/E C/G C
U
EX 55 - 57

UU U UU
U
55
I U U
3 8 12
T
5 9 12
A
B 7 10 15

C C/E C/G
U
EX 58 - 60

U UU U
58
I UU U U

T 5 8 13
A 5 10 14
B
8 12 15

Em F G Am
UU
EX 61
U UU UU U
61
I UU U U
0 1 3 5
T 0 1 3 5
0 2 4 5
A
B
Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

PDF created with pdfFactory trial version www.pdffactory.com

 TRIADIC CHORDS - Derryl Gabel Page 7 of 8

B° C Dm Em
UU UU
U UUU UUU
65
I U
7 8 10 12
T 6 8 10 12
7 9 10 12
A
B

C/G D/A Em/B F/C

UU
EX 62
U UU UU
69
I UU U U U
0 1 3 5
T 1 3 5 6
0 2 4 5
A
B

G/D Am/E B°/F C/G

UU UU UUU UU
U U
73
I U
7 8 10 12
T 8 10 12 13
7 9 10 12
A
B

C Dm Em F
UU
EX 63
U UU UU
77
I UUU UU UU UU

T 5 6 8 10
5 7 9 10
A 5 7 9 10
B 3 5 7 8

G Am B° C
UU UU UUU UU
UU UU
81
I UU U

T 12 13 15 17
12 14 16 17
A 12 14 15 17
B 10 12 14 15

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

PDF created with pdfFactory trial version www.pdffactory.com

 TRIADIC CHORDS - Derryl Gabel Page 8 of 8

C Dm Em F
UU UU UU UU
EX 64

I UUU UU UU UU
UU
UU
85

0 1 0 1
T 1 3 0 1
0 2 0 2
A 2 0 2 3
B 3 2 3
0 1

G Am B° C
U UUU UU UU
I UUU UU UU UUU
UU U
89

3 0 1 0
T 0 1 0 1
0 2 2 0
A 0 2 3 2
B 2 0 2 3
3

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

PDF created with pdfFactory trial version www.pdffactory.com

 SEVENTH CHORDS
As recorded by Derryl Gabel
Transcribed by Derryl Gabel Music by Derryl Gabel
Performance Notes

SEVENTH CHORDS

The major seventh chord is built off the 1st, 3rd, 5th, and 7th degree
of the major scale / Ionian mode as well as the Lydian mode.

Examples 1 - 3 is the Cmaj7 chord on diffrent sets of strings.

Examples 4 - 6 shows the diffrent inversions generated from a 1,3,5,7 voicing.

The root form has C in the bass which is the root

The first inversion has E in the bass which is the major 3rd

The second inversion has G in the bass which is the perfect 5th

The third inversion has B in the bass which is the major 7th.

If we looked at each note as a "voice" it would be, from high to low, voice one through four.
7 voice 1
5 voice 2
3 voice 3
1 voice 4

By dropping the second voice we can gain more practicle chord forms that are easier to play on guitar.

So you would go from CEGB to GCEB. Now, if we use the rules for inverting with this drop 2 voicing we can create more guitar friendly
voicings.

Examples 7 - 18 are the drop 2 chord voicings on each set of strings.

Examples 19 - 26 uses the drop 3 chord forms.

Examples 27 - 34 uses open chord voicings. One way to do this is by taking the 2nd voice and raising it an octave higher.

Examples 35 - 54 are examples of other major 7 chord types.

Here are the modes or scales that generate each chord type.
Chord - Mode or Scale
Maj7sus2 - Ionian, Lydian
Maj7sus4 - Ionian
Major7#4 - Lydian, Lydian#2
Major7b5 - Lydian, Lydian#2
Maj7#5 - Lydian Augmented, Ionian Augmented

Examples 55 - 66 are the Dominant and Altered Dominant Chords.

Dominants
Essentially there are two types of unaltered dominant chords. They contain one or all of the following: 9th, 5th or a b5th.

Dominant sus4 or Dominant 11 chords, functioning as a five chord in a major key, contain the 4th or an 11th instead of the third.

Lydian Dominant chords, functioning as a four chord in melodic minor, contains a b5 instead of a 5.

Altered Dominants
Altered Dominants contain one or all of the following: b9 or #9, #5.

Here are the modes or scales that generate each chord type.
Chord - Mode or Scale
7 - Mixolydian, Lydian Dominant, Mixolydianb6
7sus2 - Mixolydian, Lydian Dominant, Mixolydianb6
7sus4 - Mixolydian, Lydian, Mixolydianb6
7b5 - Mixolydian, Lydian Dominant, Whole Tone
Gabelvision ASCAP 2012
Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

PDF created with pdfFactory trial version www.pdffactory.com

 SEVENTH CHORDS - Derryl Gabel Page 2 of 10
7#5 - Mixolydianb6, Phrygian Major, Whole Tone

Examples 67 - 82 are the Minor 7 Chord Types

The Cm7 chord is also the same thing as an Eb major 6 chord.

CEbGBb = Cm7
EbGBbC = Ebmaj6

Please note:
Examples 71 - 78 are Cm7sus2 and sus4 respectively. They are also the same notes as C7sus2 and sus4. It is actually more common to
call these C7sus2 and sus4 except when the chord is functioning as the ii or vi chords.
The "m" in Cm7 typically refers to the 3rd but in this case the m7 refers to the b7 because the third in both the sus2 and 4 have replaced
the third.

Cm7b5 is the same chord as an Ebm6

CEbGbBb = Cm7b5
EbGbBbC = Ebm6

Here are the modes or scales that generate each chord type.
Chord - Mode or Scale
m7 - Dorian, Phrygian, Aeolian, Dorianb2, Dorian#4
m7sus2 - Dorian, Aeolian, Dorian#4
m7sus4 - Dorian, Phrygian, Aeolian, Dorianb2
m7b5 - Locrian, Super Locrian, Aeolianb5, Dorian#4, HW Diminished
m7#5 - Phrygian, Aeolian, Locrian, Aeolianb5
m/maj7 - Melodic and Harmonic Minor

The diminished 7th chord can be created from the minor7b5 by lowering the 7th a half step. You can also creat this chord by raising the
root of the dominant chord up a half step. Diminished 7th comes from the half whole diminished scale and the altered scale which is the
seventh mode of harmonic minor.
Examples 83 - 86 are Diminished 7th Chords

Examples 87 - 94 continue with minor 7 types.

Experimenting
Try taking the chords I have shown you and make more than one alteration to them and see what you can come up with.
Take this Cmaj7/E.
You can lower the 3rd to the 2nd and raise the 5th to the 6th.
This will create a Cmaj7sus2add6/E.

Examples 95 -98 show the process of changing each inversion into a Cmaj7sus2add6 by making multiple alterations.

Example 99 is a chord scale using the root form.

Example 100 is a chord scale using the first inversion chord forms.

Example 101 is a chord scale using the drop 3 chord forms. These are all 2nd inversions because the 5th of each chord is in the bass.

Cmaj7
UUU
I 44 UUU U UUU
EX 1 - 3

U U
1

Gtr I

7
T 0 8
0 9 4
A 2 10 5
B 3 7
8

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

PDF created with pdfFactory trial version www.pdffactory.com

 SEVENTH CHORDS - Derryl Gabel Page 3 of 10

Cmaj7/E Cmaj7/G Cmaj7/B

UUU UUU
I UUUU U
EX 4 - 6
4
U

T 1 5 8
4 5 9
A 5 9 10
B 7 10 14

Cmaj7/G Cmaj7/B Cmaj7 C/E

UU UU UU
I UUU UU UU
EX 7 - 10
UU
7

U
T
4 5 9 12
A 2 5 9 10
B 3 7 10 14
3 7 8 12

Cmaj7/B Cmaj7 Cmaj7/E Cmaj7/G

UU UU UU
I UUU UU UU
EX 11 - 14
UU
U
11

T 1 5 8 12
0 4 5 9
A 2 5 9 10
B 2 3 7 10

Cmaj7/E Cmaj7/G Cmaj7/B Cmaj7

UU UU UU
UU UUU
UU U
EX 15 - 18
15 U
I U
3 7 8 12
T 1 5 8 12
4 5 9 12
A 2 5 9 10
B

Cmaj7/G Cmaj7/B Cmaj7 Cmaj7/E

UU UU UUU
I UUU U
EX 19 - 22
U U U
U
19

U
T 1 5 8 12
4 5 9 12
A 2 5 9 10
B
3 7 8 12
Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

PDF created with pdfFactory trial version www.pdffactory.com

 SEVENTH CHORDS - Derryl Gabel Page 4 of 10

Cmaj7 Cmaj7/E Cmaj7/G Cmaj7/B

UU U UUU
UU EX 23 - 26
U UU
23
I UU U U U
3 7 8 12
T 5 8 12 13
4 5 9 12
A
B 3 7 10 14

Cmaj7 Cmaj7/E Cmaj7/G Cmaj7/B

UU UU UU UU
EX 27 - 30
UU UU UU
27
I UU
7 8 12 15
T 5 8 12 13
A 5 9 10 14
B 3 7 10 14

Cmaj7/G Cmaj7/B Cmaj7 Cmaj7/E

U UU UU UU
I UU UU
EX 31 - 34
31
UU UU
U
T 5 8 12 12
4 5 9 12
A
B 3 7 10 14
3 7 8 12

Cmaj7sus2 Cmaj7sus2/E Cmaj7sus2/G Cmaj7sus2/B

UU U UU
I UUUU U UUU UU
EX 35 - 38

U
35

T 3 8 12 13
4 5 7 12
A 5 9 10 12
B 3 5 10 14

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

PDF created with pdfFactory trial version www.pdffactory.com

 SEVENTH CHORDS - Derryl Gabel Page 5 of 10

Cmaj7sus4 Cmaj7sus4/E Cmaj7sus4/G Cmaj7sus4/B

UU UUU U
U eUUU
I UUU UU
EX 39 - 42
39
U

T 6 8 12 13
4 5 10 12
A 5 9 10 13
B 3 8 10 14

Cmaj7+11 Cmaj7+11/F b Cmaj7+11/G Cmaj7+11/B

gU UU gUUU UU
UU
I UUU gUU
EX 43 - 46
43
U

T 7 8 12 13
4 5 11 12
A 5 9 10 14
B 3 9 10 14

Cmaj7 5 ` Cmaj7 5/E ` Cmaj7 5/G ` Cmaj7 5/B `

U eUU UUU eUUU
I eUUU UU U
EX 47 - 50
47
eU

T 5 7 12 13
4 5 9 11
A 4 9 10 14
B 3 7 9 14

Cmaj7+5 Cmaj7+5/E Cmaj7+5/G b Cmaj7+5/B

U gUU UUU gUUU
I gUUU UU U
EX 51 - 54
51
gU

T 5 9 12 13
4 5 9 13
A 6 9 10 14
B 3 7 11 14

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

PDF created with pdfFactory trial version www.pdffactory.com

 SEVENTH CHORDS - Derryl Gabel Page 6 of 10

C7 C7/E C7/G C7/B `

U eUU UU
U eUUU UU eUU
I eUUU
EX 55 - 58
55

T 5 8 11 13
3 5 9 12
A 5 8 10 14
B 3 7 10 13

`
C7 5 `
C7 5/E C7 5/G` ` ` `
C7 5/B
U eUU eUU eUUU
I e eUUU eUU eUU eU
EX 59 - 62
59

T 5 7 11 13
3 5 9 11
A 4 8 10 14
B 3 7 9 13

C7+5/E C7+5/G b C7+5/B ` C7+5

U gU eUU eUUU
I e eUUU e UUU eUU eU
EX 63 - 66
63

T 5 9 11 13
3 5 9 13
A 6 8 10 14
B 3 7 11 13

Cm7 Cm7/E ` Cm7/G Cm7/B `

U
eU U
eeUUU e eUUU eeUUU
I e UUU
EX 67 - 70
67
U

T 4 8 11 13
3 5 8 12
A 5 8 10 13
B 3 6 10 13

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

PDF created with pdfFactory trial version www.pdffactory.com

 SEVENTH CHORDS - Derryl Gabel Page 7 of 10

Cm7 sus2 Cm7 sus2/D Cm7 sus2/G Cm7 sus2/Bb

U eU UUU
I eUUUU eUU UUU eU
EX 71 - 74

U
71

T 3 8 11 13
3 5 7 12
A 5 8 10 12
B 3 5 10 13

Cm7 sus4 Cm7 sus4/F Cm7 sus4/G Cm7 sus4/Bb

U U eUU UU
U
I eUUU eUUU UU eU
EX 75 - 78
75

T 6 8 11 13
3 5 10 12
A 5 8 10 15
B 3 8 10 13

Cm7 5 ` ` `
Cm7 5/E Cm7 5/G ` ` Cm7 5/B ` `
U
eU eUU e eUUU e eeUUU
I e eUUU e eUU
EX 79 - 82
79
eU

T 4 7 11 13
3 5 8 11
A 4 8 10 13
B 3 6 9 13

C°7 C°7/E ` C°7/G ` C°7/A

U
eUU EX 83 - 86 eUU eUUU e eUUU
I eUU eUU eU
83

T 4 7 10 13
2 5 8 11
A 4 7 10 13
B 3 6 9 12

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

PDF created with pdfFactory trial version www.pdffactory.com

 ` b `
SEVENTH CHORDS - Derryl Gabel Page 8 of 10

Cm7+5 Cm7+5/E Cm7+5/G Cm7+5/B

U
eU eU
U e eUUU e egUUU
Ie e UUU e eUU
EX 87 - 90
87
gU

T 4 9 11 13
3 5 8 11
A 6 8 10 13

`
B 3 6 11 13

Cm/maj7 Cm/maj7/E Cm/maj7/G Cm/maj7

U UU UUU UUU
I UUU UU U
EX 91 - 94
91
U

T 5 8 12 13
4 5 9 12
A 5 9 10 14
B 3 7 10 14

Cmaj7/E Cmaj7sus2/D Cmaj7sus2add6/E

U UU U
I UUU U UU
EX 95

U U
95

3 3 5
T 1 1 1
4 4 4
A 2 0 0
B

Cmaj7/G Cmaj7sus2/G Cmaj7sus2add6/A

UU U U
I UU UUU UUU
EX 96
98

7 7 7
T 5 3 3
5 5 5
A 5 5 7
B

Cmaj7/B Cmaj7sus2/B Cmaj7sus2add6/B

UUU EX 97 UU
UU
UU
UU
101
I U
8 8 8
T 8 8 10
9 7 7
A 9 9 9
B

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

PDF created with pdfFactory trial version www.pdffactory.com

 SEVENTH CHORDS - Derryl Gabel Page 9 of 10

Cmaj7 Cmaj7sus2 Cmaj9add6

UU UUU UUU
UU EX 98
U U
104
I
12 10 10
T 12 12 12
12 12 14
A 10 10 10
B

Cmaj7 Dm7 Em7 Fmaj7

U UU UU UU
I UUU UU UU UU
EX 99
107

T 5 6 8 10
4 5 7 9
A 5 7 9 10

`
B 3 5 7 8

G7 Am7 Bm7 5 Cmaj7

UU UU
UU UUU UUU
111
I UU U U

T 12 13 15 17
10 12 14 16
A 12 14 15 17
B 10 12 14 15

Cmaj7/E Dm7/F Em7/G Fmaj7/A

UU UU U UU
115 U
I U
EX 100
UU UUU UU

3 5 7 8
T 1 3 5 6
4 5 7 9
A 2 3 5 7

`
B

G7/B Am7/C Bm7 5/E Cmaj7/E

UU UU U U
U UU UUU UUU
119
I U
10 12 13 15
T 8 10 12 13
10 12 14 16
A 9 10 12 14
B

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

PDF created with pdfFactory trial version www.pdffactory.com

 SEVENTH CHORDS - Derryl Gabel Page 10 of 10

Cmaj7/G Dm7/A Em7/B Fmaj7/C

UUU UUU UUU
I UUU
EX 101

U U
123

U U
T 1 3 5 6
4 5 7 9
A 2 3 5 7

`
B
3 5 7 8

G7/D Am7/E Bm7 5/F Cmaj7/G

UUU UUU UUU UUU
127
I U U U U

T 8 10 12 13
10 12 14 16
A 9 10 12 14
B
10 12 13 15

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

PDF created with pdfFactory trial version www.pdffactory.com

 NINTH CHORDS
As recorded by Derryl Gabel
Transcribed by Derryl Gabel Music by Derryl Gabel
Performance Notes

NINTH CHORDS

Examples 1 - 5 are Cmaj9 chords. These chords come from the Ionian and Lydian modes. To create these chords I am using the notes
C-E-G-B-D which could be thought of as an E minor 7 over C. I'm basically playing all the inversions of E minor 7 while keeping C in the
bass.

Examples 6 - 10
The Dominant 9th chord comes from the Mixolydian mode as well as the Lydian Dominant and the Mixolydianb6 modes.
By lowering all the B notes to Bb you will create the Dominant 9.
CEGBbD = C9 = Em7b5 over C

Examples 11 - 15
The dominant7#9 chord comes from the Super Locrian and Half Whole Diminished Scales.
If you take a Dominant 9 chord and raise the 9th a half step you will create a 7#9 Chord
CEGBbD# = C7#9 = EmM7b5 over C

Examples 16 - 20
Dominant7b9 comes from the Super Locrian, Half Whole Diminished, and Phrygian Major scales.
If you take a Dominant 9 chord and lower the 9th a half step you will create a 7b9 Chord
CEGBbDb = C7b9 = E dim7 over C

Examples 21 - 26
The minor9 chord comes from the Dorian and Aeolian modes.
By lowering the 3rd, of the C9 chord you will create the minor 9.
CEbGBbD = Cm9 = EbM7 over C

Examples 27 - 30
Here's another way to create maj9 and sus2 voicings.
To extract inversions from a voicing you like you simply take the chord tones and follow them in the order that they appear in the scale.
Take this Cmaj9 for example. This comes from the C major scale
CDEFGABC = 1234567
The chord is CEBD = 1379
Now lets think of the 9 as the 2.
1372 = CEBD
2713 = DBCE
3127 = ECDB
7231 = BDEC

Cmaj9
UU
EX 1 - 5

UU UU UU UU
UU UU UUU
1
I UUU U U U U
Gtr I

3 7 10 12
T 3 5 8 12 5
4 7 9 12 7
A 2 5 9 12 9
B 3
8 8 8 8

Gabelvision ASCAP 2012

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

PDF created with pdfFactory trial version www.pdffactory.com

 NINTH CHORDS - Derryl Gabel Page 2 of 3

C9
eUUU
EX 6 - 10

UU eUU UU
e
I UUU UU eUU U eUUU
U U U U
6

3 6 10 12
T 3 5 8 11 5
3 7 9 12 7
A 2 5 8 12 8
B 3
8 8 8 8

C7+9 EX 11 - 15

U eU gUU eUUU
IegUUUU gUUU eUU gU egUUU
U U U U
11

3 6 11 12
T 4 5 8 11 5
3 8 9 12 8
A 2 5 8 13 8
B 3
8 8 8 8

C7 9`
eUUU
EX 16 - 20

U eUU eUU
Ie eUUUU eUU eUU eU e eUUU
U U U U
16

3 6 9 12
T 2 5 8 11 5
3 6 9 12 6
A 2 5 8 11 8
B 3
8 8 8 8

Cm9 Cmadd9
e eUUU
EX 21 - 26
UU eUU
21
I e UUU
e UU UU
3 6
T 3 4 4
3 7 7
A 1 5 5
B 3 3 3

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

PDF created with pdfFactory trial version www.pdffactory.com

 NINTH CHORDS - Derryl Gabel Page 3 of 3

Cm9
e
UU
U e eUUU
I e UU U e eUUU
U U
24

10 11
T 8 11 4
8 12 7
A 8 12 8
B 8 8 8

Cmaj9 Cmaj7sus2/D Cmaj7sus2/E Cmaj7sus2/B

U U
UUU UUU
I UUUU UU
EX 27 - 30

U U
27

T 3 5 12 13
4 5 7 9
A 2 9 10 12
B 3 5 7 14

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

PDF created with pdfFactory trial version www.pdffactory.com

 ELEVENTH CHORDS
As recorded by Derryl Gabel
Transcribed by Derryl Gabel Music by Derryl Gabel
Performance Notes

ELEVENTH CHORDS

The major 11th chord can be thought of as a B diminished triad with C in the bass.
CBDF = Cmaj11 = B diminished over C

You can also play a G7 over C

CGBDF
This chord comes from the Ionian.
Examples 1 - 3 are Cmaj11 chords using B diminished/C.
Measures 4 - 6 are additional chords not shown in the video. These are using G7/C.

The maj7 #11 chord can be made by simply raising the 11th or the F to F#
CBDF# = CM7#11 = B minor over C
You can also play a Gmaj7 over C
CGBDF#
These chords come from the Lydian mode.
Examples 4 - 6 are the maj7#11 chords using Bm/C.
Measures 10 - 12 are additional chords not shown in the video. These are using Gmaj7/C.

The dominant 11 chord can be made by taking the C major 11th and lowering the 7th or B to Bb.
CBbDF = C11 = Bb major over C.
It can aslo be created by playing a Gm7/C
CGBbDF
This chord comes from the Mixolydian and Mixolydian b6 modes.
Examples 7 - 9 are the C11 chords using Bb/C.
Measures 16 - 18 are additional chords not shown in the video. These are using Gm7/C.

The minor 11th chord can be made from the C11 chord by simply raising the 9th or D to Eb the minor 3rd.
CBbEbF = Cm11 = Bbsus2 over C
This chord comes from the Dorian, Phrygian, Aeolian, and Locrian modes.
It can also be found in Dorianb2 and Aeolianb5.

Cmaj11 EX 1 - 3
UU UU
U U
1
I 44 UUU U
U U
Gtr I

1 7 10
T 3 6 12
4 7 10
A
B 3
8 8

Cmaj11
UU
ADDITIONAL CHORDS NOT SHOWN IN VIDEO

UUU UUU UU
I UU U
U U
4

7 10 13
T 6 12 12
7 10 12
A 5 9 12
B 8 8 8
Gabelvision ASCAP 2012
Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

PDF created with pdfFactory trial version www.pdffactory.com

 ELEVENTH CHORDS - Derryl Gabel Page 2 of 3

Cmaj7+11
U
EX 4 - 6
gUUU gUUU gUU
7
I U U U
2 7 10
T 3 7 12
4 7 11
A
B 3
8 8

Cmaj7+11
gUU
ADDITIONAL CHORDS NOT SHOWN IN VIDEO
U
gUUU gUUU UU
10
I UU U U
7 10 14
T 7 8 12
7 11 12
A 5 9 12
B 8 8 8

C11
eUUU
EX 7 - 9
U eUU
13
I eUUU U
U U
1 6 10
T 3 6 11
3 7 10
A
B 3
8 8

C11
eUU UU eUUU
I UUU eUU U
U U
16

6 10 13
T 6 8 11
7 10 12
A 5 8 12
B 8 8 8

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

PDF created with pdfFactory trial version www.pdffactory.com

 ELEVENTH CHORDS - Derryl Gabel Page 3 of 3

Cm11
e eUUU
EX 10 - 12

e eUUU e eUUU
1
I U U U
1 6 11
T 4 6 11
3 8 10
A
B 3
8 8

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

PDF created with pdfFactory trial version www.pdffactory.com

 THIRTEENTH CHORDS
As recorded by Derryl Gabel
Transcribed by Derryl Gabel Music by Derryl Gabel
Performance Notes

THIRTEENTH CHORDS

The major thiteenth chord comes from the Ionian mode.

Lets spell out the make up of this chord.
1-3-5-7-9-11-13
This is every note in the scale but it is not necessary to use every note.

Examples 1 - 4 are maj13th chords constructed by using a Bm7b5/C.

This is giving us the 1, 4 or 11th, 7, 9, 13

Examples 5 - 9 is the maj13 chord using an Em7sus4/C.

This is gives us the 1, 3, 7, 9, 13

Examples 10 - 13 is the maj13 using an Am7sus4/C.

This gives us the 1, 3, 5, 6 or 13, 9

Examples 14 - 17 is the dominant 13 chord.

This comes from the Mixolydian mode.
We are using a Bbmaj7b5/C.
This gives us the 1, 3, b7, 9, 13.

Examples 18 - 21 is the dominant 13b9 chord.

This is from the HW Diminished and the Super Locrian mode.
We are using a Bbm/maj7b5/C.
This gives us the 1, 3, b7, b9, 13

Examples 22 - 25 is the dominant b13#9 chord.

This is from the Super Locrian mode.
We are using a Emaj7b5/C.
This gives us the 1, 3, b7, #9, b13

Examples 26 - 29 is the minor 13 chord.

We are using a Ebmaj7#4/C.
This gives us the 1, b3, b7, 9, 13.

Examples 30 - 33 is the minor 7b13 chord.

We are using a Ebmaj7sus4/C.
This gives us the 1, b3, b7, 9, b13.

U
Cmaj13sus4 Cmaj9add6 Cmaj13 Cmaj11sus2add6

4 UU UU
UU UUU UUU
U
EX 1 - 4
1
I 4 UUU U
U
U
Gtr I

5 7 10 13
T 3 6 10 12
4 7 10 14
A 3 7 9 12
B 3 15
8 8

Gabelvision ASCAP 2012

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

PDF created with pdfFactory trial version www.pdffactory.com

 THIRTEENTH CHORDS - Derryl Gabel Page 2 of 3

UU
Cmaj13 C6add9 Cmaj13
U
U UU UUU
I UUU U
EX 5 - 9

U U
5

5 7 5
T 3 5 5
4 7 7
A 2 7 9
B 3
8 8

UUUU
Cmaj13 Cmaj7sus2add6
UU
UU U
8
I U
10 12
T 10 12
9 14
A 9 12
B 15
8

UU
C6add9 Cmaj13 C6add9 Cmaj13
U UUU UUU UU
I UUUU
EX 10 - 13

UU U
U U
10

3 5 10 12
T 3 5 8 10
2 7 9 12
A 2 5 7 12
B 3
8 8 8

eUUU
C13 C9add6 C13 C13
U
U
EX 14 - 17 eUU
UU UUU U
eU
I UU eU
U U U
14

5 6 10 12
T 3 5 10 11
3 7 9 14
A 2 7 8 12

` ` ` `
B 3
8 8 8

eUUU
C13 9 C7add6 9 C13 9 C7add6 9
UU eUU eUU
e eUU eUU eU
EX 18 - 21
18
I UUU
e
U U U
5 6 9 12
T 2 5 10 11
3 6 9 14
A 2 7 8 11
B 3
8 8 8
Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

PDF created with pdfFactory trial version www.pdffactory.com

 ` ` `
THIRTEENTH CHORDS - Derryl Gabel Page 3 of 3

egeUUUU
C7 13+9 C7+9+5 C7 13+9 C7 13+9

geUU eUU egUUU

g
e UU
EX 22 - 25
22
I eUUU U
eU
U U
4 6 11 12
T 4 5 9 11
3 8 9 13
A 2 6 8 13
B 3 3
8 8

e eUUU
Cm13 Cm13 Cm13 Cm7add2add6
U
UU EX 26 - 29
e eUUUU eeUUU UU
26 e
I e UUU U U
5 6 10 11
T 3 4 10 11
3 7 8 14
A 1 7 8 12

` ` ` `
B 3 15
8 8

e e eUUU
Cm7 13 Cm7 13 Cm7 13 Cm7 13
eUU U
e eeUUUU e eeUUU U
EX 30 - 33
30
I e eUUU U U U
4 4 10 11
T 3 4 9 11
3 7 8 13
A 1 8 8 12
B 3
8 8 8

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

PDF created with pdfFactory trial version www.pdffactory.com

 IMAGES
As recorded by Derryl Gabel
Music by Derryl Gabel

` ` ` ` ` ` `
Arranged by Derryl Gabel

B maj7 6 fr. Dm9 3 fr. Fm9 6 fr. B 13 6 fr. E maj9 5 fr. D7+9 4 fr. E /D 8 fr. G maj9 8 fr. Em7+5 7 fr. Gmadd9 3 fr. B 7sus4 6 fr. Cm7+5 8 fr. Cm11 6 fr.
x x x x x x x x x x x x x x x x x x x x x xx x x

` `
B7 5 6 fr. B maj9 3 fr. ` ` ` ` `
Dm9VI 6 fr.F7sus4add68 fr. Csus2 7 fr. Gm7/B 8 fr. Dm7/A 6 fr. E 7/D 8 fr.G maj7sus26 fr. B maj7/D 8 fr. Cadd9/F 8 fr. A maj7/C9 fr. Cmaj9 9 fr.
`
x x x x x x x x xx x xx xx xx x x x x x x xx xx

xx
`
B /C 6 fr. F/G
xx
` Gmadd9/A3 fr.
xx
`
E maj7add2/B
xx
` ` VIII
6 fr. E xmaj9 x 8 fr. x x x
` x x
` x x
`
Em9 8 fr. D maj9 6 fr.A maj7sus28 fr. G maj9 VI 6 fr.
x x xx
`
C/D 8 fr. E add2/F 3 fr. F7 5
xx
` 3 fr.Dm7/A
xx
(type 2)
6 fr.

Fmaj7/A 6 fr.
xx
A maj7/C
xx
` ` (type 2)
9 fr. xxB 6
` 8 fr. xxGm7 F/G
5 fr. xx
`IV ` `
4 fr. xxE /A
`
3 fr. xx
`
x xx x xx
` xx x xx
`
B m7/F 2 fr. B add9 6 fr. Am/B 5 fr. A maj7/G 4 fr. Gsus4 3 fr.Gm7/B (type 82) fr.Dm7/A(type 3)6 fr.
xx

x
Gm9 ` ` x x x x x x
`x x
` `
B sus4/A 6 fr. Gm7+5 10 fr.Fmaj7/AX10 fr.E maj7/G 8 fr. E /A VIII 8 fr. D add9
x 8 fr. xx x x
` xx xx
` xx
`
Fmaj9 3 fr. B sus4 6 fr. E sus2/A 6 fr.
x

`B maj7
P = 160
`
^ _ __ ^ ^ _ __ ^
Dm9 Fm9 B 13
Gtr I

1
I 44
Gtr II

T
A
B

` ` ` `
^ _ __ ^ ^ _ __ ^
E maj9 D7+9 E /D G maj9

5
I
T
A
B

Gabelvision Productions ASCAP 2012

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

PDF created with pdfFactory trial version www.pdffactory.com

 `
IMAGES - Derryl Gabel Page 2 of 2

^ _ __ ^ ^ _ __ ^
B maj7 Dm9 Fm9 Em7+5

9
I
T
A

` `
B

^ _ __ ^ ^ _ __ ^
E maj9 D7+9 Gmadd9 B 7sus4

13
I
T
A

` ` `
B

^ _ __ ^ ^ _ __ ^
E maj9 Dm9 E /D Cm7+5

17
I
T
A

` `
B

^ _ __ ^ ^ _ __ ^
G maj9 Em7+5 Cm11 B7 5

21
I
T
A

`
B

^
B maj7

25
I
T
A
B
Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

PDF created with pdfFactory trial version www.pdffactory.com