Table of Contents
Whether composing rhythm tracks, analyzing jazz substitutions, or harmonizing Indian classical and Bollywood ragas, mastering fretboard chord geometry across the full 12-tone chromatic scale gives you immediate creative freedom .
This master cheat sheet provides interactive visual tab selectors for all 12 chromatic roots (A, A#, B, C, C#, D, D#, E, F, F#, G, G#) across 11 core chord families. Every root note includes 2 distinct playable variations (open/low register vs. movable barre/CAGED shapes) , complete with Western theory formulas, Indian classical Swara intervals, modal group theory, the Circle of Fifths, and complete diatonic key tables—formatted entirely with sharp (#) references .
🎼 Master Harmony & Formula Reference Link to heading
| Chord Family | Formula | Swara Intervals | Tension / Sonic Quality | Typical Musical Usecase (Western & Indian) |
|---|---|---|---|---|
| Major | 1 - 3 - 5 | S - G3 - P | Resolved, bright, stable | Tonal home (I), folk foundations; foundation for Bilawal That melodies (e.g. upbeat Bollywood pop like Dil Chahta Hai) . |
| Minor | 1 - #2 / min3 - 5 | S - g2 - P | Dark, reflective, moody | Minor keys (i), relative minors; evokes Asavari / Kafi That and soulful ghazals or meditative ragas like Darbari Kanada . |
| add9 | 1 - 3 - 5 - 9 | S - R2 - G3 - P | Shimmering, wide, cinematic | Adding melodic color without dominant pull; signature lush acoustic sound in A.R. Rahman ballads and Indian fusion guitar . |
| 6 (Major 6th) | 1 - 3 - 5 - 6 | S - G3 - P - D2 | Warm, nostalgic, sweet | Jazz cadences, bossa nova; highlights the sweet Shuddha Dhaivat (D2) in ragas like Bhoopali / Mohanam for mellow resolves . |
| 7 (Dominant 7th) | 1 - 3 - 5 - #6 / min7 | S - G3 - P - n2 | Bluesy, energetic, unresolved | Unstable driving tension (V7 → I); core harmony for Khamaj That (e.g. semi-classical thumri, folk, and classic blues) . |
| m6 (Minor 6th) | 1 - #2 / min3 - 5 - 6 | S - g2 - P - D2 | Film-noir, brooding mystery | Dorian color chord; highlights Komal Gandhar with Shuddha Dhaivat, evoking the mysterious character of Kafi / Kirwani That . |
| m7 (Minor 7th) | 1 - #2 / min3 - 5 - #6 / min7 | S - g2 - P - n2 | Soulful, mellow, smooth | Neo-soul, funk grooves, jazz ii7; mirrors the swara set of Raga Bhimpalasi and modern Sufi-rock chord beds . |
| Maj7 (Major 7th) | 1 - 3 - 5 - 7 | S - G3 - P - N3 | Dreamy, lush, sophisticated | Neo-soul, lofi beats, modern jazz IMaj7; highlights the restful Shuddha Nishad (N3) found in meditative morning ragas like Bilawal . |
| dim / dim7 | 1 - #2 / min3 - #4 / dim5 | S - g2 - d1 | Tense, unstable, suspenseful | Leading-tone tension (e.g. Bdim → C); creates heightened suspense, dramatic film score moments, and transition accents . |
| + (Augmented) | 1 - 3 - #5 | S - G3 - d2 | Dreamlike, unresolved, floaty | Chromatic voice-leading transitions connecting I and IV; brings otherworldly, ungrounded tension in cinematic orchestral breaks . |
| sus4 | 1 - 4 - 5 | S - M1 - P | Open, neutral, drone-like | Removing the third (Gandhar) mirrors the open tanpura drone (Sa-Pa), making it perfect for Indian classical backing and raga vamps . |
🎸 Interactive Chord Reference (12 Roots × 2 Variations) Link to heading
Click any root note variation tab (e.g., A (v1), A (v2), A# (v1), A# (v2), etc.) to toggle between lower-register voicings and movable barre shapes .
1. Major Family (1 - 3 - 5) Link to heading
Primary tonic anchor across That Bilawal and western pop harmony .
Major Chords (All 12 Roots, 2 Voicings Each)
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O123456
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O1234567891011
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O1234
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O123
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O12345678910111213
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2. Minor Family (1 - #2 / min3 - 5) Link to heading
Mood-setting minor foundation for That Asavari, Kafi, and expressive ballads .
Minor Chords (All 12 Roots, 2 Voicings Each)
O123
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E
B
C
G
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D
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A
A
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O1234567
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A
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A
O123
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O12345678
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A#
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A#
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O1234
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F#
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O123456789
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B
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F#
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O12345
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G
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D#
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O12345678910
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C
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D#
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C
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G
E
C
O123456
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G#
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O1234567891011
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C#
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C#
O123
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F
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O1234567
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O1234
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O12345678
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O123
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O123
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O12345678910
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O1234
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O1234567891011
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O12345
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O123456789101112
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O123456
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O12345678910111213
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3. add9 Family (1 - 3 - 5 - 9) Link to heading
Airy, non-resolving harmonic color popular in contemporary Indian film music (A.R. Rahman) .
add9 Chords (All 12 Roots, 2 Voicings Each)
O123
e
E
B
B
G
A
D
E
A
A
E
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O1234567
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B
B
E
G
C#
D
A
A
E
E
A
O123
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F
B
C
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A#
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A#
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O12345678
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C
B
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D
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A#
A
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A#
O1234
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F#
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C#
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B
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D#
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O123456789
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C#
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B
O123
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O12345
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O123456
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O1234567891011
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O1234
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O1234567
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O1234
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O12345678
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O1234
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O123
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O1234
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O123
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O12345
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O123456
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4. 6 (Major 6th) Family (1 - 3 - 5 - 6) Link to heading
Adds sweet Shuddha Dhaivat color, echoing ragas like Bhoopali and Mohanam .
Major 6th Chords (All 12 Roots, 2 Voicings Each)
O123
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A
A
E
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O1234567
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A
O123
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O12345678
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O1234
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O123456789
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O123
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C
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O12345678
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O123456
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O12345678910
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C#
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O123
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O1234567
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O123
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O12345678
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O123
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O123456789
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O123
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O123
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O1234
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O1234
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O123
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O12345
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O123456
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O123456
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5. 7 (Dominant 7th) Family (1 - 3 - 5 - #6 / min7) Link to heading
Instability driven by Komal Nishad (n2), foundational for blues and That Khamaj .
Dominant 7th Chords (All 12 Roots, 2 Voicings Each)
O123
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E
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A
E
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O1234567
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A
B
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C#
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E
A
O123
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F
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G#
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A#
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O12345678
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A#
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D
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E
A#
O123
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F#
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E
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O123456789
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B
B
F#
G
D#
D
A
A
F#
E
B
O123
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E
B
C
G
A#
D
E
A
C
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O12345678910
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C
B
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G
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A#
A
G
E
C
O123456
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B
B
G#
G
C#
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C#
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O1234567891011
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C#
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G#
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B
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O123
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F#
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D
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O1234567
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A
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O1234
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G
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O12345678
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A#
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G
G
C#
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A#
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O123
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E
B
B
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G#
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D
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E
O123456789
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B
B
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D
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E
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O123
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F
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A
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O12345678910
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C
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D#
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O1234
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F#
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A#
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E
A
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F#
O1234567891011
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C#
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O123
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F
B
B
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D
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O12345
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G
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D
G
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O123456
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G#
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C
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O123456789101112
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D#
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6. m6 (Minor 6th) Family (1 - #2 / min3 - 5 - 6) Link to heading
Brooding, cinematic noir harmony with a Dorian color tone that mirrors That Kirwani .
Minor 6th Chords (All 12 Roots, 2 Voicings Each)
O123
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F#
B
C
G
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D
E
A
A
E
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O1234567
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A
B
E
G
C
D
F#
A
E
E
A
O123
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F
B
C#
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G
D
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A
A#
E
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O12345678
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A#
B
F
G
C#
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G
A
F
E
A#
O1234
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F#
B
D
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G#
D
D
A
B
E
✕
O123456789
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B
B
F#
G
D
D
G#
A
F#
E
B
O123
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G
B
C
G
A
D
D#
A
C
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O12345678910
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C
B
G
G
D#
D
A
A
G
E
C
O12345
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G#
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E
G
A#
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E
A
C#
E
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O12345678910
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C#
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G#
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A#
A
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O123
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F
B
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G
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D
A
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O1234567
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A
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O123
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F#
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O12345678
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A#
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A#
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O123
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E
B
C#
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G
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E
A
B
E
E
O123456789
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B
B
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G
C#
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B
A
E
E
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O123
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F
B
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G#
D
F
A
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O123
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G#
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D
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F
O1234
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F#
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O1234
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F#
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C#
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D#
A
C#
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F#
O123
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B
D
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G
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A#
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O12345
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G
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O123456
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G#
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G
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O123456
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G#
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D#
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B
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F
A
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G#
7. m7 (Minor 7th) Family (1 - #2 / min3 - 5 - #6 / min7) Link to heading
Soulful and lush, echoing the swaras of Raga Bhimpalasi and forming the backbone of neo-soul and contemporary Sufi arrangements .
Minor 7th Chords (All 12 Roots, 2 Voicings Each)
O123
e
E
B
C
G
G
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E
A
A
E
✕
O1234567
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A
B
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G
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E
A
O123
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F
B
C#
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G#
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F
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A#
E
✕
O12345678
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A#
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G
C#
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G#
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E
A#
O1234
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F#
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G
A
D
F#
A
B
E
✕
O123456789
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B
B
F#
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D
D
A
A
F#
E
B
O12345
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G
B
D#
G
A#
D
G
A
C
E
✕
O12345678910
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8. Maj7 (Major 7th) Family (1 - 3 - 5 - 7) Link to heading
Lush, dreamy jazz harmony highlighting Shuddha Nishad (N3) .
Major 7th Chords (All 12 Roots, 2 Voicings Each)
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9. Diminished (dim / dim7) Family (1 - #2 / min3 - #4 / dim5) Link to heading
Symmetrical, highly dissonant tension driving upward chromatic resolution .
Diminished Chords (All 12 Roots, 2 Voicings Each)
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10. + (Augmented) Family (1 - 3 - #5) Link to heading
Dreamy whole-tone harmony connecting moving voices between chords I and IV .
Augmented Chords (All 12 Roots, 2 Voicings Each)
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11. sus4 Family (1 - 4 - 5) Link to heading
Neutral drone structure emulating Tanpura resonance (Sa-Pa), ideal for open melodic vamps .
Suspended 4th Chords (All 12 Roots, 2 Voicings Each)
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⚡ Cross-Genre & Indian Classical Application Tips Link to heading
- Tanpura Drone Emulation (Sus Chords): In Indian classical accompaniment, acoustic guitars often avoid full triads . Use sus4 (S - M1 - P) to establish a neutral harmonic bed that lets the vocalist or soloist move freely across ragas like Yaman or Bhairav without pitch clash .
- Khamaj That & Thumri (Dominant 7th): When accompanying folk or semi-classical thumris built on That Khamaj, use the 7th chord (V7) to introduce Komal Nishad (n2) with authentic expressive color .
- Bhoopali & Mohanam Voicings (6th Chords): Major 6th chords highlight the combination of Shuddha Gandhar (G3) and Shuddha Dhaivat (D2), providing the exact melodic flavor for pentatonic ragas like Bhoopali and Deshkar .
- Sufi-Rock & Ballad Beds (add9 & m7): The signature acoustic sound in modern Bollywood/Sufi arrangements (A.R. Rahman, Pritam) relies heavily on open-string add9 and m7 shapes to produce an airy, non-intrusive harmonic bed .
🧭 The Circle of Fifths & Modal Harmony Architecture Link to heading
The Circle of Fifths maps all 12 chromatic pitches as an ascending sequence of Perfect 5ths (clockwise) or Perfect 4ths (counter-clockwise) . It governs key signatures, relative minor relationships, and harmonic proximity:
- Clockwise (Ascending 5ths):
C → G → D → A → E → B → F# → C# → G# → D# → A#(each step adds one Sharp #). - Harmonic Neighbor Rule: Chords directly adjacent on the circle share 6 out of 7 scale notes, making them the most natural substitutions and chord changes in popular progressions .
Grouping Modes by Harmonic Quality Link to heading
Rather than memorizing the 7 diatonic modes as disconnected patterns, divide them into Two Symmetrical Primary Triad Groups (Major vs. Minor) governed by their defining 3rd degree (Gandhar), plus the single unstable diminished outlier (Locrian) :
1. The Three Major Modes (Natural 3rd / Shuddha Gandhar) Link to heading
All three modes contain a Major 3rd (1 - 3 - 5) and resolve to a Major tonic triad :
- Lydian (Brightest / Dreamy): Formula:
1 - 2 - 3 - #4 - 5 - 6 - 7. Equivalent to That Kalyan (Raga Yaman) . Its raised 4th (Teevra Madhyam, M2) removes the tritone clash with the 3rd, producing an ethereal, uplifting sonic quality . - Ionian (Pure Major / Balanced): Formula:
1 - 2 - 3 - 4 - 5 - 6 - 7. Equivalent to That Bilawal . The standard diatonic reference scale with a natural 4th (Shuddha Ma) and natural 7th (Shuddha Ni) . - Mixolydian (Bluesy Major / Unresolved): Formula:
1 - 2 - 3 - 4 - 5 - 6 - #6 / min7. Equivalent to That Khamaj . Features a relaxed, bluesy Komal Nishad (#6 / n2) that gives dominant 7th chords their natural resolution into tonic targets.
2. The Three Minor Modes (Flat 3rd / Komal Gandhar) Link to heading
All three modes contain a Minor 3rd (1 - #2 / min3 - 5) and resolve to a Minor tonic triad:
- Dorian (Bright Minor / Jazzy): Formula:
1 - 2 - #2 - 4 - 5 - 6 - #6. Equivalent to That Kafi. Features a bright natural 6th (Shuddha Dhaivat, D2) alongside Komal Gandhar (#2) and Komal Nishad (#6), eliminating the melancholy drag of natural minor. - Aeolian (Natural Minor / Melancholy): Formula:
1 - 2 - #2 - 4 - 5 - #5 - #6. Equivalent to That Asavari. The standard relative minor of the major scale, colored by the dark, lamenting Komal Dhaivat (#5). - Phrygian (Dark Minor / Spanish & Flamenco): Formula:
1 - #1 - #2 - 4 - 5 - #5 - #6. Equivalent to That Bhairavi. Its defining Komal Rishabh (#1 / r1) creates immediate Middle Eastern, Flamenco, and dramatic cinematic tension right off the tonic note.
3. The Outlier Mode Link to heading
- Locrian (Diminished / Highly Unstable): Formula:
1 - #1 - #2 - 4 - #4 - #5 - #6. Contains a diminished 5th (#4 / dim5), making it incapable of sustaining a stable major or minor triad resolution . It acts purely as a passing leading-tone harmony (vii°) .
🗺️ Master Diatonic Key Families: Complete Mapping Table (All Sharp References) Link to heading
Use these master charts to identify every diatonic chord available across all 12 keys using strictly sharp (#) accidentals.
1. Major Key Families (Ionian) Link to heading
Formula: I - ii - iii - IV - V - vi - vii°
| Key | I (Tonic) | ii (Supertonic) | iii (Mediant) | IV (Subdominant) | V (Dominant) | vi (Relative Minor) | vii° (Leading Tone) |
|---|---|---|---|---|---|---|---|
| A Major | A | Bm | C#m | D | E (or E7) | F#m | G#dim |
| A# Major | A# | B#m (Cm) | C##m (Dm) | D# | E# (F or F7) | F##m (Gm) | G##dim (Adim) |
| B Major | B | C#m | D#m | E | F# (or F#7) | G#m | A#dim |
| C Major | C | Dm | Em | F | G (or G7) | Am | Bdim |
| C# Major | C# | D#m | E#m (Fm) | F# | G# (or G#7) | A#m | B#dim (Cdim) |
| D Major | D | Em | F#m | G | A (or A7) | Bm | C#dim |
| D# Major | D# | E#m (Fm) | F##m (Gm) | G# | A# (or A#7) | B#m (Cm) | C##dim (Ddim) |
| E Major | E | F#m | G#m | A | B (or B7) | C#m | D#dim |
| F Major | F | Gm | Am | A# | C (or C7) | Dm | Edim |
| F# Major | F# | G#m | A#m | B | C# (or C#7) | D#m | E#dim (Fdim) |
| G Major | G | Am | Bm | C | D (or D7) | Em | F#dim |
| G# Major | G# | A#m | B#m (Cm) | C# | D# (or D#7) | E#m (Fm) | F##dim (Gdim) |
2. Natural Minor Key Families (Aeolian) Link to heading
Formula: i - ii° - III - iv - v - VI - VII
| Minor Key | i (Tonic Minor) | ii° (Diminished) | III (Relative Major) | iv (Subdominant) | v (Minor Dominant) | VI (Submediant) | VII (Subtonic) |
|---|---|---|---|---|---|---|---|
| A Minor | Am | Bdim | C | Dm | Em (or E7) | F | G |
| A# Minor | A#m | B#dim (Cdim) | C# | D#m | E#m (Fm or F7) | F# | G# |
| B Minor | Bm | C#dim | D | Em | F#m (or F#7) | G | A |
| C Minor | Cm | Ddim | D# | Fm | Gm (or G7) | G# | A# |
| C# Minor | C#m | D#dim | E | F#m | G#m (or G#7) | A | B |
| D Minor | Dm | Edim | F | Gm | Am (or A7) | A# | C |
| D# Minor | D#m | E#dim (Fdim) | F# | G#m | A#m (or A#7) | B | C# |
| E Minor | Em | F#dim | G | Am | Bm (or B7) | C | D |
| F Minor | Fm | Gdim | G# | A#m | Cm (or C7) | C# | D# |
| F# Minor | F#m | G#dim | A | Bm | C#m (or C#7) | D | E |
| G Minor | Gm | Adim | A# | Cm | Dm (or D7) | D# | F |
| G# Minor | G#m | A#dim | B | C#m | D#m (or D#7) | E | F# |
3. Dorian Mode Families (That Kafi Equivalent) Link to heading
Formula: i - ii - III - IV - v - vi° - VII
| Dorian Key | i (Minor Tonic) | ii (Minor) | III (Major) | IV (Major) | v (Minor) | vi° (Diminished) | VII (Major) |
|---|---|---|---|---|---|---|---|
| A Dorian | Am | Bm | C | D | Em | F#dim | G |
| A# Dorian | A#m | B#m (Cm) | C# | D# | E#m (Fm) | F##dim (Gdim) | G# |
| B Dorian | Bm | C#m | D | E | F#m | G#dim | A |
| C Dorian | Cm | Dm | D# | F | Gm | Adim | A# |
| C# Dorian | C#m | D#m | E | F# | G#m | A#dim | B |
| D Dorian | Dm | Em | F | G | Am | Bdim | C |
| D# Dorian | D#m | E#m (Fm) | F# | G# | A#m | B#dim (Cdim) | C# |
| E Dorian | Em | F#m | G | A | Bm | C#dim | D |
| F Dorian | Fm | Gm | G# | A# | Cm | Ddim | D# |
| F# Dorian | F#m | G#m | A | B | C#m | D#dim | E |
| G Dorian | Gm | Am | A# | C | Dm | Edim | F |
| G# Dorian | G#m | A#m | B | C# | D#m | E#dim (Fdim) | F# |
4. Mixolydian Mode Families (That Khamaj Equivalent) Link to heading
Formula: I - ii - iii° - IV - v - vi - VII
| Mixolydian Key | I (Major Tonic) | ii (Minor) | iii° (Diminished) | IV (Major) | v (Minor) | vi (Minor) | VII (Major) |
|---|---|---|---|---|---|---|---|
| A Mixolydian | A | Bm | C#dim | D | Em | F#m | G |
| A# Mixolydian | A# | B#m (Cm) | C##dim (Ddim) | D# | E#m (Fm) | F##m (Gm) | G# |
| B Mixolydian | B | C#m | D#dim | E | F#m | G#m | A |
| C Mixolydian | C | Dm | Edim | F | Gm | Am | A# |
| C# Mixolydian | C# | D#m | E#dim (Fdim) | F# | G#m | A#m | B |
| D Mixolydian | D | Em | F#dim | G | Am | Bm | C |
| D# Mixolydian | D# | E#m (Fm) | F##dim (Gdim) | G# | A#m | B#m (Cm) | C# |
| E Mixolydian | E | F#m | G#dim | A | Bm | C#m | D |
| F Mixolydian | F | Gm | Adim | A# | Cm | Dm | D# |
| F# Mixolydian | F# | G#m | A#dim | B | C#m | D#m | E |
| G Mixolydian | G | Am | Bdim | C | Dm | Em | F |
| G# Mixolydian | G# | A#m | B#dim (Cdim) | C# | D#m | E#m (Fm) | F# |