Part 4: Thinkin Chords and Modes While Improvising back to contents

Constructing Chords
in the Key of the
Chord Root

• Outline of Procedures
• Choose a Chord Quality and a Fretboard Area
• Choose a Major Scale Fingering
• Build a Major Seventh Fingering
• Build a Dominant Seventh Fingering
• Build a Minor Seventh Fingering
• Preferred Chord Tones
• Voicing Chord Tones

©2023 Jim Gleason. All Rights Reserved.

page 2 Constructing Chords in the Key of the Chord Root Part 4: Thinking Chords & Modes back to contents

OUTLINE OF PROCEDURES
Basic Construction
To construct each arpeggio and chords from the arpeggio, perform each of these steps in order:

• choose a chord quality

• chose a fretboard area
• in the key of the chord root, and in the position (fretboard area) you have chosen, play a major
scale fingering, thinking it by number
• play all instances of each note in the chord: all of the roots (“1’s”), thirds (“3’s”), etc.
• for each string, from the sixth (largest) to the first string, determine which of the chord tones
are available
• in order from the sixth to the first string, play all of the available chord tones in order of pitch,
making an arpeggio
• construct chord fingerings by playing one of each of the unique notes in the arpeggio (i.e. 1-3-
5-7). There are usually many possible chord fingerings

Refining Your Construction

Expand your capabilities by learning which chord tones are preferred and which can be omitted. A
thirteenth chord has seven notes, so one or more notes must be omitted on a six-string guitar to strum
all the chord tones of a thirteenth chord at once. See the last two sections of this chapter: Preferred
Chord Tones and Voicing Chord Tones.

©2023Jim Gleason. All Rights Reserved.

back to contents Part 4: Thinking Chords & Modes Constructing Chords in the Key of the Chord Root page 3

CHOOSE A CHORD QUALITY AND A FRETBOARD AREA

Start with seventh chords. Major seventh is good to start with. Here’s a list of common qualities:
chord name abbreviation formula
major (blank after letter name) 1, 3, 5
minor m 1, b3, 5
diminished triad dim 1, b3, b5
augmented triad aug 1, 3, #5
suspended fourth sus4 1, 4, 5
suspended second sus2 1, 2, 5

5 5
5 (i.e A or C ) 5
5 (i.e A or C ) 5 1, 5
major seventh ma7 1, 3, 5, 7
dominant seventh 7 1, 3, 5, b7
dominant seventh, sharp five 7#5 1, 3, #5, b7
dominant seventh, flat five 7b5 1, 3, b5, b7
minor seventh m7 1, b3, 5, b7
minor seventh, flat five m7b5 1, b3, b5, b7
minor, major seventh m(ma7) 1, b3, 5, 7
diminished seventh dim7 1, b3, b5, bb7 (6)
major ninth ma9 1, 3, 5, 7, 9
dominant ninth 9 1, 3, 5, b7, 9
dominant thirteenth 13 1,3,5,b7,9,11,13
dominant seventh, sharp ninth 7#9 1, 3, 5, b7, #9
dominant seventh, sharp eleventh 7#11 1, 3, 5, b7,
#11
minor ninth m9 1, b3, 5, b7, 9
minor ninth, flat five m9b5 1, b3, b5, b7, 9
dominant seventh,
sharp nine, flat thirteen 7#9b13 1, 3, 5, b7, #9, b13
six nine 6/9, 69 1, 3, 5, 6, 9
seventh, suspended fourth 7sus4 1, 4, 5, b7
major seventh, suspended fourth ma7sus4 1, 4, 5, b7
add nine add 9 1, 3, 5, 9
minor add nine m add 9 1, b3, 5, 9
dominant seventh, no third 7no3 1, 5, b7

©2023 Jim Gleason. All Rights Reserved.

page 4 Constructing Chords in the Key of the Chord Root Part 4: Thinking Chords & Modes back to contents

CHOOSE A MAJOR SCALE FINGERING

Memorize a major scale fingering by number. Any of these can be moved up and down the fretboard,
but stay in the middle of the fretboard, from approximately frets three to twelve.

A major IV Bb major V B major III C major IV C# major IV Db major IV D major V

fingering 7 fingering 7 fingering 6 fingering 6 fiongering 5 fingering 5 fingering 5
scale tones scale tones scale tones scale tones scale tones scale tones scale tones
7362 7 7362 7 (7) (7) 514 (2) 5 514 (2) 5 514 (2) 5
14 51 14 51 6 25 1 36 6 25 1 36 7 7 7
73 73 4 4 625136 625136 625136
25146 2 25146 2 736 2 7 736 2 7 4 4 4
14 51 14 51 7362 7 7362 7 7362 7
7 7
fingers fingers fingers fingers fingers fingers fingers
11 11 1 11 11 1 (1) (1) 1 1 1 (1) 1 1 1 1 (1) 1 1 1 1 (1) 1
22 22 22 22 11 1 111 11 1 111 1 1 1
33 33 2 2 222222 222222 222222
444444 444444 3333 3 3333 3 3 3 3
44 44 44 44 44 44 4 44 44 4 44 44 4
4 4 4 4 4

Eb major IV E major IV F major V F# major III Gb major III G major IV Ab major IV

fingering 4 fingering 3 fingering 3 fingering 2 fiongering 2 fingering 2 fingering 1
scale tones scale tones scale tones scale tones scale tones scale tones scale tones
4 (1) 4 3 62 5 73 3 62 5 73 (7) (3) (7) (3) (7) (3) 14 (5) 1
736 4 14 4 14 251462 251462 251462 73
514 25 736 736 251462
7 514 25 514 25 362573 362573 362573
625136 4 14 4 14 4 14 362573
7 3 (6) 7 3 (6) 7 3 (6)

fingers fingers fingers fingers fingers fingers fingers

1 (1) 1 1 11 1 11 1 11 1 11 (1)(1) (1)(1) (1)(1) 11 11
111 2 22 2 22 111111 111111 111111 11
222 22 333 333 222222
3 444 44 444 44 333333 333333 333333
444444 4 44 4 44 4 44 444344
44 44 44

You can also use octave shapes to conceive playing chords, scales or melodies in all keys in one area of
the fretboard. All of the fingerings above are in the fourth or fifth postition, meaning the index finger
is hovering over the fourth or fifth fret.

©2023Jim Gleason. All Rights Reserved.

 theo 1.850 theo 1.850

theo 1.850 theo 1.850

back to contents Part 4: Thinking Chords & Modes Constructing Chords in the Key of the Chord Root page 5
CONSTRUCTING
Fingerings one through seven are numbered in relation to the lowest-pitched tone fretted with the
MAJORCONSTRUCTING
SCALE FINGERINGS
index finger on the sixth string. In fingerings 7, 6, 3 and 2, the position is numbered in relation to the
MAJOR SCALE FINGERINGS
lowest-pitched tone on the sixth string., In fingerings 5, 4 and 1, the position is one fret higher than the
lowest-pitched tone on the sixth string.
You must know the information in the previous section: Preparation For Major Scale Construction to
effectively
Youstudy
mustthis section.
After studying
effectively
know
this section.
study this
Strict
the information in theVertical
previous section:Position
Preparation For Major Scale Construction to
section, you should be able to begin a major scale at scale tone “1” with the index,
middle or littlestudying
After finger of
thisyour fretting
section, hand
shouldonbestrings
yousingle-note able tosix andafive
begin andscale
major withatthe index
scale tonefinger on string
“1” with the four.
index,
This concept is primarily used for playing of melodies, scales and arpegios. Position is
middle or little finger of your fretting hand on strings six and five and with the index finger on string four.
numbered
Review after
“Strictthe Vertical
fret at which your index
Position” finger is placed.
(primarily for singleIn that
noteposition,
playing) the other three fingers are
assigned one of the next
Review three frets in-a-row toward the forbody of the guitar. In other words, each of the
Position“Strict Vertical
is numbered afterPosition” (primarily
the fret at which your index single
finger isnote playing)
placed. In that position, the other three
four fingers are assigned
Position
fingers are assigned
to one
is numbered
one of the
ofthe
after
next
four
fretconsecutive
three at which
frets yourfrets.
in-a-row index
towardfinger is placed.
the body of theInguitar.
that position,
In otherthewords,
other three
each
fingers are assigned one of the next three frets in-a-row toward the body of the guitar. In other words, each
of the four fingers are assigned to one of four consecutive frets.
The examples
ofThe fourbelow
the examples
fingersshow the firsttostring.
are assigned one of Theconsecutive
four position numbers
frets. would be the same, regardless of which
below show the first string. The position numbers would be the same, regardles of
string
whichthe fingers
The
string were below
examples placed
the fingers upon.
wereshow
placedtheupon.
first string. The position numbers would be the same, regardles of
which string the fingers were placed upon.
fifth sixth seventh
fifth
position sixth
position seventh
position
position position position
V VI VII
V fifth VI sixth VII seventh
1 fifth 1 sixth 1 seventh
1 fret 1 fret 1 fret
2 fret 2 fret 2 fret
2 2 2
3 3 33 3
3
4 4 44 44

You can also reach one fret out-of-position with the index and little fingers:
Youreach
can also
You can also onereach
fretone fret out-of-position
out-of-position withwith
the the index
index andlittle
and littlefingers:
fingers:

fifthfifth sixth
sixth seventh
seventh
position
position position
position position
position
IV IV VV VI
VI
fourth
fourth fifth
fifth sixth
sixth
1 1 fretfret 11 fret
fret
11 fret
fret
1 1 11 11
2 2 22 22
3 3 33 33
4 4 44 44
4 4 4
4 4 4

head reach and body reach

A head reach is a reach out of position toward the head of the guitar with the index finger, shown above
where the index finger is used twice on the same string. A body reach is a reach out of position toward the
body of the guitar with the little finger, shown above where the little finger is used twice on the same string.
©1998 Jim Gleason. All Rights Reserved.
©1998 Jim Gleason. All Rights Reserved.

©2023 Jim Gleason. All Rights Reserved.

page 6 Constructing Chords in the Key of the Chord Root Part 4: Thinking Chords & Modes back to contents

side step
A side step is a temporary change of position before returning to the original position. It usually involves
notes in the temporary position on only one or two strings. In fingering six of C major scale below, most of
the scale is fingered in fifth position (with the index finger at the fifth fret), but there is a side step where the
notes on the third string are fingered in fourth position. In fingering two of C major scale below, most of the
scale is fingered in tenth position (with the index finger at the tenth fret), but there is a side step where the
notes on the fourth and third string are fingered in ninth tenth position.
C major scale C major scale
fingering 6 fingering 2
1 fourth fret 11 ninth fret
11 12 11 fifth fret 1 1 2 2 1 1 tenth fret
2
theo 1.851 3334 3 334433 theo 1.851
44 44 4 44
4
So......what position are each of these examples (example 3 has two answers)?
quiz: in what position
Example 1 are each of Example
the examples
2 below? Example 3

which which which

Example
position?1 Example
position?2 Example 3
position?
X II II
tenth second 1
second
fret fret fret
2
3

answers: Example 1: eleventh position. Example 2: third position. Example 3: second OR third position.

BEGINNING A MAJOR SCALE FINGERING

FROM THE LITTLE FINGER ON THE SIX STRING

Be careful not to change position. Position was defined earlier in this lesson.
Let's start in fifth position. Play the note at the sixth string, eighth fret and think of it as scale tone one:
V
fifth
fret
scale tone 1

The interval from scale tone one to scale tone two should be a whole step. According to the fingering
for a whole step shown in the previous section,Gleason.
©2023Jim a wholeAll
step above
Rights step one would be here:
Reserved.
V
fifth
back to contents Part 4: Thinking Chords & Modes Constructing Chords in the Key of the Chord Root page 7

BUILD A MAJOR SEVENTH FINGERING

Practice building major seventh arpeggios first, since they are common and don’t modify the major scale.
Major seventh is constructed with major scale tones 1-3-5-7, which is called its formula. Here is the A
major scale, fingering 7 in IV position, for example.
7362 7
14 51
73
25146 2

Locate All the Instances of Each Chord Tone within the Major Scale
In the major scale fingering you have chosen to memorize, there should be two or three instances of each
numbered tone 1, 3, 5 and 7 in the major scale fingering. Locate all the instances of each.
A major IV
fingering 7 scale tones scale tones scale tones scale tones
7362 7 3 7 7
14 51 1 1 5
73 3 7
25146 2 1 5

on each string, assess which of the 1-3-5-7 tones are available

A major IV string 6 string 5 string 4 string 3 string 2 string 1
fingering 7 chord tones chord tones chord tones chord tones chord tones chord tones
7362 7 7 3 7
14 51 1 5 1
73 7 3
25146 2 5 1

Finger all of the 1-3-5-7 tones in order of pitch from the sixth through the first string to build a major
seventh arpeggio. Play the notes in order from loweset to highest pitch, then highest to lowest.

A major IV
fingering 7 Ama7 IV

7362 7 73 7
14 51 1 51
73 73
25146 2 51

©2023 Jim Gleason. All Rights Reserved.

page 8 Constructing Chords in the Key of the Chord Root Part 4: Thinking Chords & Modes back to contents

play one of each of them to build a chord

Avoid using the seventh in the bass (as the lowest pitch). Prefer the root or fifth in the bass, sometimes
the third.
A major IV
fingering 7 Ama7 IV Ama7 IV Ama7 IV Ama7 IV

7362 7 3 7 7
14 51 1 1 5 5 5
73 73 73 3
25146 2 5 1 1

©2023Jim Gleason. All Rights Reserved.

back to contents Part 4: Thinking Chords & Modes Constructing Chords in the Key of the Chord Root page 9

BUILD A DOMINANT SEVENTH FINGERING

Dominant sevenths are more common than major sevenths, but bring a little complexity.
A dominant seventh chord is constructed with major scale tones 1-3-5-b7. Here is the A major scale,
fingering 7 in IV position, along with A Mixolydian, which has the flatted seventh we need. To change
“7” to “b7” in any major scale fingering, either move it one fret toward the head of the guitar or change “7”
to “b7” located one fret toward the body of the guitar from “6”. Flatting the seventh in any major scale
fingering will change it to another major scale fingering pattern, as you can see where fingering 7 below
has changed to fingering 4/5. If you play fingering 4/5 from “4” to “4” below, you’ll hear a D major scale.
A major IV A Mixolydian III
fingering 7 fingering 4/5
7362 7 b7
14 51 3 62
73 1 4 b7 5 1
25146 2 3
251462
b7

Locate All the Instances of Each Chord Tone

within the Mixolydian Scale (major flat seven)
Memorize the Mixolydian scale fingering below. There should be two or three instances of each
numbered tone 1, 3, 5 and b7 in the Mixolydian scale fingering. Locate all the “1’s’, then all the “3’s”, then
the “5’s”, then the “b7’s”.

A Mixolydian III
fingering 4/5 scale tones scale tones scale tones scale tones
b7 b7
3 62 3
1 4 b7 5 1 1 1 5 b7
3 3
251462 1 5
b7 b7

©2023 Jim Gleason. All Rights Reserved.

page 10 Constructing Chords in the Key of the Chord Root Part 4: Thinking Chords & Modes back to contents

on each string, assess which of the 1-3-5-b7 tones are available

A Mixolydian III string 6 string 5 string 4 string 3 string 2 string 1
fingering 4/5 chord tones chord tones chord tones chord tones chord tones chord tones
b7 b7
3 62 3
1 4 b7 5 1 1 b7 5 1
3 3
251462 5 1
b7 b7

Finger all of the 1-3-5-b7 tones in order of pitch from the sixth through the first string to build a
dominant seventh arpeggio. Play the notes in order from loweset to highest pitch, then highest to
lowest.
A Mixolydian III
fingering 4/5 A7 III

b7 b7
3 62 3
1 4 b7 5 1 1 b7 5 1
3 3
251462 51
b7 b7

play one of each tone (1-3-5-b7) to build chords

Avoid using the seventh in the bass (as the lowest pitch). Prefer the root or fifth in the bass, sometimes
the third.
A Mixolydian III
fingering 4/5 A7 III A7 III A7 III A7 III A7 III

b7
3 62 3
1 4 b7 5 1 1 b7 5 1 b7 5 1 b7 5 1
3 3 3 3 3
251462 51 5
b7 b7 b7

©2023Jim Gleason. All Rights Reserved.

back to contents Part 4: Thinking Chords & Modes Constructing Chords in the Key of the Chord Root page 11

BUILD A MINOR SEVENTH FINGERING

Minor sevenths are more common than major sevenths and like dominant sevenths, are a little complex
to build. A minor seventh chord is constructed with major scale tones 1-b3-5-b7. Here is the A major
scale, fingering 7 in IV position, along with A Dorian, which has the flatted third and flatted seventh
we need. To change “3” to “b3” in any major scale fingering, either move it one fret toward the head of
the guitar or change “3” to “b3” located one fret toward the body of the guitar from “2”. Change “7” to
“b7” in any major scale fingering by either moving it one fret toward the head of the guitar or change “7”
to “b7” located one fret toward the body of the guitar from “6”. Flatting the seventh in any major scale
fingering will change it to another major scale fingering pattern, as you can see where fingering 7 below
has changed to fingering 1/2. If you play fingering 1/2 from “b7” to “b7” below, you’ll hear a G major
scale.
A major IV A Dorian III
fingering 7 fingering 1/2
7362 7 b7b3
14 51 62
73 1 4 b7 b3 5 1
25146 2
2514 62
b7 b3

Locate All the Instances of Each Chord Tone

within the Dorian Scale (major flat three and flat seven)
Memorize the Dorian scale fingering below. There should be two or three instances of each numbered
tone 1, b3, 5 and b7 in the Dorian scale fingering. Locate all the “1’s’, then all the “b3’s”, then the “5’s”,
then the “b7’s”.

A Dorian III
fingering 1/2 scale tones scale tones scale tones scale tones
b7b3 b3 b7
62
1 4 b7 b3 5 1 1 1 b3 5 b7

2514 62 1 5
b7 b3 b3 b7

©2023 Jim Gleason. All Rights Reserved.

page 12 Constructing Chords in the Key of the Chord Root Part 4: Thinking Chords & Modes back to contents

on each string, assess which of the 1-b3-5-b7 tones are available

A Dorian III string 6 string 5 string 4 string 3 string 2 string 1
fingering 1/2 chord tones chord tones chord tones chord tones chord tones chord tones
b7b3 b7 b3
62
1 4 b7 b3 5 1 1 b7 b3 5 1

2514 62 5 1
b7 b3 b7 b3

Finger all of the 1-b3-5-b7 tones in order of pitch from the sixth through the first string to build a
minor seventh arpeggio. Play the notes in order from loweset to highest pitch, then highest to lowest.
A Dorian III
fingering 1/2 Am7 III
b7b3 b7b3
62
1 4 b7 b3 5 1 1 b7 b3 5 1

2514 62 51
b7 b3 b7 b3

play one of each tone (1-3-5-b7) to build chords

Avoid using the seventh in the bass (as the lowest pitch). Prefer the root or fifth in the bass, sometimes
the third. Although the last chord in the row below has the notes of an Am7, it has the same notes as
C6 and with “C” in the bass, sounds like C6.
A Dorian III
fingering 1/2 Am7 III Am7 III Am7 III Am7 III Am7 III
b7b3 b3
62
1 4 b7 b3 5 1 1 b7 b3 5 b7 b3 5 1 b3 b3 1 b7 5 1

2514 62 51 5
b7 b3 b7 b7

©2023Jim Gleason. All Rights Reserved.

back to contents Part 4: Thinking Chords & Modes Constructing Chords in the Key of the Chord Root page 13

PREFERRED CHORD TONES

The Third, Seventh and Altered Tones Specified in the Chord Name
Since music relies heavily on the human imagination, all notes of a chord don’t have to be included to
suggest its sound. The essential notes most necessary to suggest a chord’s sound are:

“the third and the seventh (if part of the chord)

and any tone specified by the chord name “

Roots are usually implied by the chord progression and can be omitted, especially in chords of four or
more different notes (such as seventh or ninth chords). An exception is in the first presentation of a
chord progression in a solo guitar piece (or a solo piece for any chording instrument, like the piano),
where it may be preferrable to play chord roots in the bass to clearly define the chord progression.
Many chord tones are implied by our familiarity with a chord and can be imagined when they are
left out. These include unaltered fifths in any chord, ninths in eleventh chords, ninths or elevenths in
thirteenth chords and any one of the tones in a diminished seventh chord.
Use your own discretion in preserving the emotive quality of a chord when you omit notes. In one
arrangement, it may be fine to omit the ninth in a ninth chord and only play a seventh chord, while in
another arrangement, the ninth may be essential in producing the mood or may be an important note
in voice leading. A note may essential because it is a common tone with other chords, or where the
series of notes created by the highest note (or lowest note) in each chord in a series of chords creates an
ascending or descending scale.

©2023 Jim Gleason. All Rights Reserved.

page 14 Constructing Chords in the Key of the Chord Root Part 4: Thinking Chords & Modes back to contents

The Root and Fifth Can Usually be Omitted and Still Imagined
In this twelve-bar jazz blues chord example, you can play the chords and imagine a bass line or other
instruments and hear the progression as being in the key of C, while no “C” note was played in any of
the chords! Each diagram is one bar.

C9 VII F9 VII C9 VII C9 VII F9 VII F7b9 VII

C9 VII A7 VI Dm V G13 VII C9 VII G7#9 IX

C9 VII

©2023Jim Gleason. All Rights Reserved.

back to contents Part 4: Thinking Chords & Modes Constructing Chords in the Key of the Chord Root page 15

VOICING CHORD TONES

Voice Ninth, Eleventh and Thirteenth Tones High
Ninth and higher chord tones should be voiced in middle to high range of pitch, Except a flat nine in a
dominant seventh type chord where the flat nine is sometimes used in the bass. In the example below,
the chord progression is IIm7-V13b9-Ima7 in the key of D. The “9” of the V chor (A13b9), a “Bb”
note, implies resolution to the fifth of the Dma7 chord, the “A” note on the sixth string. The “A” note
on the sixth string doesn’t necessarily have to be played. If you play the second example below, where
the Dma7 has “D” in the bass on the fifth string, you can still hear the resolutioin by imagining the “Bb”
resolving to “A”.

IIm7 V13b9 Ima7

Bm7 VII A13b9/Bb V Dma7 V

IIm7 V13b9 Ima7

Bm7 VII A13b9/Bb V Dma7 V

When the Top Note Is a Melody Note Stay a Minor Third Below It
In the example below, the notes on the first string are intended to make a melody with the notes
E-D-C. In the last chord, the “C” note on the first string is obscured by the “Bb” note on the second
string, a whole step (two frets in pitch) below the C. The “C” melody note on the last chord can more
clearly be heard in the second row of chords below, where the interval from the “G” on the second string
to the “C” on the first string in the last chord is two and a half steps a five-fret interval,

©2023 Jim Gleason. All Rights Reserved.

page 16 Constructing Chords in the Key of the Chord Root Part 4: Thinking Chords & Modes back to contents

IIm9 G9 C7
Dm9 X G9 IX C7 VIII

IIm9 G9 C7
Dm9 X G9 IX C7 VIII

©2023Jim Gleason. All Rights Reserved.