Following is a list of the most commonly used chords in the
C major harmonic universe. It isn't exhaustive, but it includes
the stuff that I see getting the most use out there in the world.
They're divided into four sections:
diatonic chords | secondary
dominant chords
modal interchange chords | substitute
dominant chords
How to use these charts: to make a simple chord known as a
triad, use I, 3 and 5. For a fuller, more complex chord, continue
to add extensions: 7, 9, 11 and 13. It's not necessary to use
all of the notes in a chord - jazz musicians frequently omit
the 5, for example. You can also use the notes in any order.
When a chord has many different symbols, it's important to note
that they're basically interchangeable. When you see a D-7,
feel free to add the 9 and 11 if you think it sounds right.
A couple of notational things: When a note is in parentheses,
it's a dissonant one and should be handled with care. Use your
ears. Also, "-" means minor. A lot of people use lowercase
"m" to mean minor, but that can cause a lot of confusion,
so I like the dash better. Have fun!
Diatonic chords
These are all of the chords you can make using only the notes
in the C major scale:
| C |
-- |
D |
-- |
E |
F |
-- |
G |
-- |
A |
-- |
B |
C |
-- |
D |
-- |
E |
F |
-- |
G |
-- |
A |
-- |
B |
| 1 |
-- |
2 |
-- |
3 |
4 |
-- |
5 |
-- |
6 |
-- |
7 |
1 |
-- |
2/9 |
-- |
3 |
4/11 |
-- |
5 |
-- |
6/13 |
-- |
7 |
You can make diatonic chords by picking a note, your root,
and then adding every alternating note in the scale. The ii
chord, for example, starts on D, and then includes F, A, C,
E, G and B.
C | C6 | Cmaj7 | Cmaj9
| C |
-- |
-- |
-- |
E |
-- |
-- |
G |
-- |
A |
-- |
B |
-- |
-- |
D |
-- |
-- |
-- |
-- |
-- |
-- |
A |
| 1 |
-- |
-- |
-- |
3 |
-- |
-- |
5 |
-- |
6 |
-- |
7 |
-- |
-- |
9 |
-- |
-- |
-- |
-- |
-- |
-- |
13 |
Csus4
| C |
-- |
-- |
-- |
-- |
F |
-- |
G |
-- |
A |
-- |
B |
-- |
-- |
D |
-- |
-- |
-- |
-- |
-- |
-- |
A |
| 1 |
-- |
-- |
-- |
-- |
4 |
-- |
5 |
-- |
6 |
-- |
7 |
-- |
-- |
9 |
-- |
-- |
-- |
-- |
-- |
-- |
13 |
D- | D-7 | D-9 | D-11 | D-13
| D |
-- |
-- |
F |
-- |
-- |
-- |
A |
-- |
-- |
C |
-- |
-- |
-- |
E |
-- |
-- |
G |
-- |
-- |
-- |
B |
| 1 |
-- |
-- |
b3 |
-- |
-- |
-- |
5 |
-- |
-- |
b7 |
-- |
-- |
-- |
9 |
-- |
-- |
11 |
-- |
-- |
-- |
13 |
E- | E-7
| E |
-- |
-- |
G |
-- |
-- |
-- |
B |
-- |
-- |
D |
-- |
-- |
(F) |
-- |
-- |
-- |
A |
-- |
-- |
(C) |
| 1 |
-- |
-- |
b3 |
-- |
-- |
-- |
5 |
-- |
-- |
b7 |
-- |
-- |
(b9) |
-- |
-- |
-- |
11 |
-- |
-- |
(b13) |
F | F6 | Fmaj7 | Fmaj9 | Fmaj7(#11)
| F |
-- |
-- |
-- |
A |
-- |
-- |
C |
-- |
D |
-- |
E |
-- |
-- |
G |
-- |
-- |
-- |
B |
-- |
-- |
D |
| 1 |
-- |
-- |
-- |
3 |
-- |
-- |
5 |
-- |
6 |
-- |
7 |
-- |
-- |
9 |
-- |
-- |
-- |
#11 |
-- |
-- |
13 |
G | G7 | G9 | G13
| G |
-- |
-- |
-- |
B |
-- |
-- |
D |
-- |
-- |
F |
-- |
-- |
-- |
A |
-- |
-- |
-- |
-- |
-- |
-- |
E |
| 1 |
-- |
-- |
-- |
3 |
-- |
-- |
5 |
-- |
-- |
b7 |
-- |
-- |
-- |
9 |
-- |
-- |
-- |
-- |
-- |
-- |
13 |
G7sus4 | G9sus4 | G11
| G |
-- |
-- |
-- |
-- |
C |
-- |
D |
-- |
-- |
F |
-- |
-- |
-- |
A |
-- |
-- |
C |
-- |
-- |
-- |
E |
| 1 |
-- |
-- |
-- |
-- |
4 |
-- |
5 |
-- |
-- |
b7 |
-- |
-- |
-- |
9 |
-- |
-- |
11 |
-- |
-- |
-- |
13 |
A- | A-7
| A |
-- |
-- |
-- |
C |
-- |
-- |
-- |
E |
-- |
-- |
G |
-- |
-- |
-- |
B |
-- |
-- |
D |
-- |
-- |
F |
| 1 |
-- |
-- |
-- |
b3 |
-- |
-- |
-- |
5 |
-- |
-- |
b7 |
-- |
-- |
-- |
9 |
-- |
-- |
11 |
-- |
-- |
b13 |
B-7b5 | B half-diminished
| B |
-- |
-- |
D |
-- |
-- |
F |
-- |
-- |
-- |
A |
-- |
-- |
(C) |
-- |
-- |
-- |
E |
-- |
-- |
(G) |
| 1 |
-- |
-- |
b3 |
-- |
-- |
b5 |
-- |
-- |
-- |
b7 |
-- |
-- |
(b9) |
-- |
-- |
-- |
11 |
-- |
-- |
(b13) |
back to top
Secondary dominants
A very common way to make major keys more interesting is to
temporarily treat chords other than I as the center of a new
key: Dm, Em, F, G and Am. If you pretend that you're temporarily
in the key of Dm, for example, you can bring in that key's V
chord, A7. A7 is a secondary dominant because it resolves to
a chord that's part of the original key of C. Secondary dominants
introduce notes that aren't part of the original key. These
non-diatonic notes are red in the charts
below. The most frequently-used scales and chords from secondary
dominants:
From D harmonic minor
A7 | A7(b9) | A7(b9b13)
| A |
-- |
-- |
-- |
C# |
-- |
-- |
E |
-- |
-- |
G |
-- |
-- |
Bb |
-- |
-- |
-- |
-- |
-- |
-- |
F |
| 1 |
-- |
-- |
-- |
3 |
-- |
-- |
5 |
-- |
-- |
b7 |
-- |
-- |
b9 |
-- |
-- |
-- |
-- |
-- |
-- |
b13 |
A7susb9
| A |
-- |
-- |
-- |
-- |
D |
-- |
E |
-- |
-- |
G |
-- |
-- |
Bb |
-- |
-- |
-- |
-- |
-- |
-- |
F |
| 1 |
-- |
-- |
-- |
-- |
4 |
-- |
5 |
-- |
-- |
b7 |
-- |
-- |
b9 |
-- |
-- |
-- |
-- |
-- |
-- |
b13 |
From F major
C7 | C9 | C13
| C |
-- |
-- |
-- |
E |
-- |
-- |
G |
-- |
-- |
Bb |
-- |
-- |
-- |
D |
-- |
-- |
-- |
-- |
-- |
-- |
A |
| 1 |
-- |
-- |
-- |
3 |
-- |
-- |
5 |
-- |
-- |
b7 |
-- |
-- |
-- |
9 |
-- |
-- |
-- |
-- |
-- |
-- |
13 |
C7sus | C9sus | C11
| C |
-- |
-- |
-- |
-- |
F |
-- |
G |
-- |
-- |
Bb |
-- |
-- |
-- |
D |
-- |
-- |
F |
-- |
-- |
-- |
A |
| 1 |
-- |
-- |
-- |
-- |
4 |
-- |
5 |
-- |
-- |
b7 |
-- |
-- |
-- |
9 |
-- |
-- |
11 |
-- |
-- |
-- |
13 |
E-7(b5) | E half-diminished
| E |
-- |
-- |
G |
-- |
-- |
Bb |
-- |
-- |
-- |
D |
-- |
-- |
(F) |
-- |
-- |
-- |
A |
-- |
-- |
(C) |
| 1 |
-- |
-- |
b3 |
-- |
-- |
b5 |
-- |
-- |
-- |
b7 |
-- |
-- |
(b9) |
-- |
-- |
-- |
11 |
-- |
-- |
(b13) |
G- | G-7 | G-9 | G-11 | G-13
| G |
-- |
-- |
Bb |
-- |
-- |
-- |
D |
-- |
-- |
F |
-- |
-- |
-- |
A |
-- |
-- |
C |
-- |
-- |
-- |
E |
| 1 |
-- |
-- |
b3 |
-- |
-- |
-- |
5 |
-- |
-- |
b7 |
-- |
-- |
-- |
9 |
-- |
-- |
11 |
-- |
-- |
-- |
13 |
Bb | Bbmaj7
| Bb |
-- |
-- |
-- |
D |
-- |
-- |
F |
-- |
-- |
-- |
A |
-- |
-- |
C |
-- |
-- |
-- |
E |
-- |
-- |
G |
| 1 |
-- |
-- |
-- |
3 |
-- |
-- |
5 |
-- |
-- |
-- |
7 |
-- |
-- |
9 |
-- |
-- |
-- |
#11 |
-- |
-- |
13 |
From G major
D7 | D9 | D13
| D |
-- |
-- |
-- |
F# |
-- |
-- |
A |
-- |
-- |
C |
-- |
-- |
-- |
E |
-- |
-- |
-- |
-- |
-- |
-- |
B |
| 1 |
-- |
-- |
-- |
3 |
-- |
-- |
5 |
-- |
-- |
b7 |
-- |
-- |
-- |
9 |
-- |
-- |
-- |
-- |
-- |
-- |
13 |
D7sus | D9sus | D11
| D |
-- |
-- |
-- |
-- |
G |
-- |
A |
-- |
-- |
C |
-- |
-- |
-- |
E |
-- |
-- |
G |
-- |
-- |
-- |
B |
| 1 |
-- |
-- |
-- |
-- |
4 |
-- |
5 |
-- |
-- |
b7 |
-- |
-- |
-- |
9 |
-- |
-- |
11 |
-- |
-- |
-- |
13 |
F#-7(b5) | F# half-diminished
| F# |
-- |
-- |
A |
-- |
-- |
C |
-- |
-- |
-- |
E |
-- |
-- |
(G) |
-- |
-- |
-- |
B |
-- |
-- |
(D) |
| 1 |
-- |
-- |
b3 |
-- |
-- |
b5 |
-- |
-- |
-- |
b7 |
-- |
-- |
(b9) |
-- |
-- |
-- |
11 |
-- |
-- |
(b13) |
From A harmonic minor
E7 | E7(b9) | E7(b9b13)
| E |
-- |
-- |
-- |
G# |
-- |
-- |
B |
-- |
-- |
D |
-- |
-- |
F |
-- |
-- |
-- |
-- |
-- |
-- |
C |
| 1 |
-- |
-- |
-- |
3 |
-- |
-- |
5 |
-- |
-- |
b7 |
-- |
-- |
b9 |
-- |
-- |
-- |
-- |
-- |
-- |
b13 |
E7susb9
| E |
-- |
-- |
-- |
-- |
A |
-- |
B |
-- |
-- |
D |
-- |
-- |
F |
-- |
-- |
-- |
-- |
-- |
-- |
C |
| 1 |
-- |
-- |
-- |
-- |
4 |
-- |
5 |
-- |
-- |
b7 |
-- |
-- |
b9 |
-- |
-- |
-- |
-- |
-- |
-- |
b13 |
back to top
Modal Interchange Chords
Another good way to enliven major-key harmony is
to borrow scales and chords from the parallel minor key. Using
chords from the various C minor scales is a great way to make
C major songs sound bluesy and sophisticated.
From C natural minor
D-7b5 | D half-diminished
| D |
-- |
-- |
F |
-- |
-- |
Ab |
-- |
-- |
-- |
C |
-- |
-- |
(Eb) |
-- |
-- |
-- |
G |
-- |
-- |
(Bb) |
| 1 |
-- |
-- |
b3 |
-- |
-- |
b5 |
-- |
-- |
-- |
b7 |
-- |
-- |
(b9) |
-- |
-- |
-- |
11 |
-- |
-- |
(b13) |
F- | F-7 | F-9 | F-11 | F-13
| F |
-- |
-- |
Ab |
-- |
-- |
-- |
C |
-- |
-- |
Eb |
-- |
-- |
-- |
G |
-- |
-- |
Bb |
-- |
-- |
-- |
D |
| 1 |
-- |
-- |
b3 |
-- |
-- |
-- |
5 |
-- |
-- |
b7 |
-- |
-- |
-- |
9 |
-- |
-- |
11 |
-- |
-- |
-- |
13 |
Ab | Ab6 | Abmaj7 | Abmaj9 | Abmaj7(#11)
| Ab |
-- |
-- |
-- |
C |
-- |
-- |
Eb |
-- |
-- |
-- |
G |
-- |
-- |
Bb |
-- |
-- |
-- |
D |
-- |
-- |
F |
| 1 |
-- |
-- |
-- |
3 |
-- |
-- |
5 |
-- |
-- |
-- |
7 |
-- |
-- |
9 |
-- |
-- |
-- |
#11 |
-- |
-- |
13 |
Bb7 | Bb9 | Bb13
| Bb |
-- |
-- |
-- |
D |
-- |
-- |
F |
-- |
-- |
Ab |
-- |
-- |
-- |
C |
-- |
-- |
(Eb) |
-- |
-- |
-- |
G |
| 1 |
-- |
-- |
-- |
3 |
-- |
-- |
5 |
-- |
-- |
b7 |
-- |
-- |
-- |
9 |
-- |
-- |
(11) |
-- |
-- |
-- |
6 |
From C harmonic minor
G7(b9) | G7(b9b13)
| G |
-- |
-- |
-- |
B |
-- |
-- |
D |
-- |
-- |
F |
-- |
-- |
Ab |
-- |
-- |
-- |
-- |
-- |
-- |
Eb |
| 1 |
-- |
-- |
-- |
3 |
-- |
-- |
5 |
-- |
-- |
b7 |
-- |
-- |
b9 |
-- |
-- |
-- |
-- |
-- |
-- |
b13 |
G7susb9
| G |
-- |
-- |
-- |
-- |
C |
-- |
D |
-- |
-- |
F |
-- |
-- |
Ab |
-- |
-- |
-- |
-- |
-- |
-- |
Eb |
| 1 |
-- |
-- |
-- |
-- |
4 |
-- |
5 |
-- |
-- |
b7 |
-- |
-- |
b9 |
-- |
-- |
-- |
-- |
-- |
-- |
b13 |
From C dorian
Eb | Eb6 | Ebmaj7 | Ebmaj9 | Ebmaj7(#11)
| Eb |
-- |
-- |
-- |
G |
-- |
-- |
Bb |
-- |
-- |
-- |
D |
-- |
-- |
F |
-- |
-- |
-- |
A |
-- |
-- |
C |
| 1 |
-- |
-- |
-- |
3 |
-- |
-- |
5 |
-- |
-- |
-- |
7 |
-- |
-- |
9 |
-- |
-- |
-- |
#11 |
-- |
-- |
13 |
F7 | F9 | F13
| F |
-- |
-- |
-- |
A |
-- |
-- |
C |
-- |
-- |
Eb |
-- |
-- |
-- |
G |
-- |
-- |
-- |
-- |
-- |
-- |
D |
| 1 |
-- |
-- |
-- |
3 |
-- |
-- |
5 |
-- |
-- |
b7 |
-- |
-- |
-- |
9 |
-- |
-- |
-- |
-- |
-- |
-- |
13 |
F7sus | F9sus | F11
| F |
-- |
-- |
-- |
Bb |
-- |
C |
-- |
-- |
Eb |
-- |
-- |
-- |
G |
-- |
-- |
Bb |
-- |
-- |
-- |
D |
| 1 |
-- |
-- |
-- |
4 |
-- |
5 |
-- |
-- |
b7 |
-- |
-- |
-- |
9 |
-- |
-- |
11 |
-- |
-- |
-- |
13 |
back to top
Substitute Dominants
For even more exotic chords and scales, you can use substitute
dominants: for any chord, you can precede it with the dominant
7th chord a half-step higher. These chords are based on the
devastatingly hip lydian dominant scale, the fourth mode of
melodic minor - look it up in a jazz theory book. For example,
here's the substitute dominant for G:
Ab7 | Ab9 | Ab13 | Ab7(#11)
| Ab |
-- |
-- |
-- |
C |
-- |
-- |
Eb |
-- |
-- |
Gb |
-- |
-- |
-- |
Bb |
-- |
-- |
-- |
D |
-- |
-- |
F |
| 1 |
-- |
-- |
-- |
3 |
-- |
-- |
5 |
-- |
-- |
b7 |
-- |
-- |
-- |
9 |
-- |
-- |
-- |
#11 |
-- |
-- |
13 |
