That IV V VI VII in all major chords really dials up the triumph feeling to 11. Meaning, if you’re playing in C major, you’d borrow these chords from C minor. The three types of 11th chords are: dominant 11th, minor 11th and major 11th. The real MVPs of this progression are the VI and VII chords, which are borrowed chords from the parallel minor key. Also the 9th seems here pretty important since it’s a 9th chord. It doesn’t effect the overal sound of the extended chord.Įxtended chords are extensions of the 7th chord, therefor the (b)7th is always present in the extended chord. In this case you can leave out the 5th because it’s the least important note. The thing is you have to deal with only six strings and practical chord fingerings so here and there you are allowed to omit some of the notes. The major 9th chord consists of the root, third, fifth, seventh and ninth (1-3-5-7-9) = Cmaj9 The minor 9th chord consists of root, flat third, fifth, flat seventh and ninth (1-b3-5-b7-9) = Cm9 The dominant 9th chord consists of root, third, fifth, flatted seventh and ninth (1-3-5-b7-9) = C9 Fm barre the 9th fret Gm barre the 10th fret Gm barre the 11th fret Am barre the 12th fret Am barre the 1st fret Bm barre the 2nd fret While the above four shapes are the most commonly used and will help with many songs, you can also use the major and minor sevenths for the 6th and 5th roots and the suspended 6th root.
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