These are chords that can be built from the scale. They only include notes from the scale
The chord diagrams show theoretical full fretboard positions for educational purposes. Many extended chords (especially 9th, 11th, and 13th chords) contain 5-7 notes and cannot be physically played on a 6-string guitar as shown.
This site displays different chord types based on the selected scale:
In practice, guitarists use note omission to create playable voicings. Here's the established hierarchy:
The fifth is "harmonically inert" and doesn't define major/minor quality. It's implied in the overtones of the root.
Can be omitted when playing with a bass player or other harmonic instruments that provide the root.
For 13th chords, the 9th and 11th can be omitted while retaining the characteristic 13th extension.
The 3rd defines major/minor quality. The 7th determines dominant vs. major 7th character. These are essential for chord identity.
For maj6 chords, you must include the fifth to avoid sounding like the relative minor triad. Cmaj6 without the 5th (C-E-A) sounds like Am (A-C-E).
In music theory, intervals must follow the consecutive numbering rule. For 7-note scales (like major scale, harmonic minor scale, and melodic minor scale), every scale degree (1, 2, 3, 4, 5, 6, 7) must be represented exactly once.
The key principle: interval spelling determines note spelling using consecutive letters. Exceptions: Pentatonic scales skip certain letters to match their missing intervals, and diminished scales may repeat letters due to their size exceeding the 7-letter system.
Intervals that sound the same but are spelled differently share identical colours:
Chord intervals follow different rules than scale intervals. Understanding when to display 9, 11, 13 vs 2, 4, 6 is crucial for proper chord analysis.
Tertiary chord tones (1, 3, 5, 7) are always displayed as simple intervals, regardless of octave:
Extensions (9, 11, 13) are calculated by adding 7 to simple intervals (2, 4, 6), representing their octave displacement—a full seven scale degrees higher.
Extensions (2, 4, 6) depend on harmonic context:
Extended intervals share colors with their simple equivalents to maintain visual consistency:
My interval colour system is based on academic research in music psychology, cross-modal perception, and colour theory. Colours represent the harmonic tension and emotional characteristics of each interval.
This system synthesises research from:
Most guitarists struggle with scales because they approach them backwards. They try to learn:
This leads to years of confusion and slow progress.
Learn the major scale first → everything else clicks into place.
The major scale isn't just another scale - it's the foundation of all Western music. Every other scale, chord, and musical concept is defined by how it relates to the major scale.
Instead of memorizing everything separately, you learn:
The major scale is a sequence of 7 notes following this pattern of whole steps (W) and half steps (H):
Example in C major: C - D - E - F - G - A - B - C
The scale covers one octave (12 semitones) from the root note back to the same note at a higher pitch. While there are technically only 7 unique scale degrees, we conventionally include the octave as the 8th degree.
Intervals measure the distance between notes, counted in semitones from the root note:
Along one string: 1 semitone = 1 fret
Across strings: Most interval shapes remain consistent across string pairs
Every other musical element is described by how it differs from the major scale:
This approach makes memorization exponentially easier - instead of learning dozens of unrelated formulas, you learn one reference point and simple modifications.
Most songs use one of two key types:
Modes sound intimidating, but they're simply the major scale starting from different notes. Each mode uses the exact same notes as the major scale, just with a different starting point (root).
Here's the crucial concept: When you change the root note, the interval relationships change completely.
Example using A and C:
Same notes (A and C), but completely different interval relationships depending on which note you treat as the root.
The other modes are less common in popular music, so focus on these three first.
Tertiary harmony is the foundation of Western chord construction. It works by stacking thirds (every other note) from a scale to create chords of increasing complexity.
Starting with any scale degree, stack two thirds to create a triad:
Add another third above the triad (the 7th):
Keep stacking thirds beyond the octave:
Suspended chords lack the defining major/minor third, making them harmonically ambiguous.