Forum » Sedem umetnosti » Naučimo se igrati kitaro
Naučimo se igrati kitaro
STASI ::
Vse zasluge za to temo gredo gzibretu (je avtor tega posta)!!!!!
Ker sem se sam začel učiti kitaro in so se v zadnjem času pojavile neke teme glede akordov za igranje (očitno tudi S-T premore nekaj glasbenih talentov ali pa potencialnih glasbenih talentov
), sem se odločil, da napišem malo šolo teorije glasbe, ki bo pomagala vsakemu glasbenemu navdušencu pri začetkih in izvabljanju melodij iz inštrumenta, tudi takih lastnih, ki grejo v uho. Tale mali tečaj bo povedal dovolj tudi za lastno kreiranje akordov, seveda z obilno mero štetja poltonov in celih tonov ter ob štetju prečk (in lomljenju prstov 
), predvsem na začetku.Ta tema je namenjena vsem glasbenim navdušencem, še posebej pa kitarskim navdušencem. Če imate kakšne rife, ki so vam posebno všeč, ali pa kakšne komade oz. tablature komadov, jih pripopajte tukajle. Če najdete kakšno napako v mali šoli teorije glasbe ali pri akordih ali če bi radi dodali še kakšen svoj prispevek, pišite v to temo ali meni na zs. Prav tako ste vabljeni majstri kitare, da delite z nami, ki smo bolj začetniki, kakšne napotke. Dobrodošle tudi povezave do tablatur in pesmi.
Če imate še kakšne koristne linke, jih lahko pripopate v to temo. Prav tako bi bilo zelo zaželjeno, če je kdo hodil v srednjo glasbeno šolo, da napiše nekaj besed o skladanju, kako kombiniramo dure, kako zapletemo in kako razpletemo melodijo in ostale finte. Lahko tudi kdo dopolni teorijo. Recimo intervalov sploh nisem omenil (za neke "osnovne osnove" se mi ne zdijo bistveni, lahko furaš tudi brez njih, je pa fajn, če veš, da obstajajo). Prav tako ni niti ene besede (no, ena beseda je
) o ritmu, kaj je takt, kaj četrtinka, kaj tričetrtinski takt, sedemosminski (ta zveni bolj orientalsko), štiričetrtinski.... Vendar to je bolj pomembno pri branju not. Lahko bi tudi kdo napisal "abecedo not".... Zgolj fantaziram 
Itak je velika večino muzike za kitaro napisano tako, da sploh ni treba vedet, kaj je to notno črtovje Nekaj koristnih strani, kjer najdete veliko pametnega materiala:
ultimateGuitar
Tabi, akordi, šole, teorija..... Skratka vse.
trzalica
Slovenska stran, tabi za komade, akordi, teorija.... Tudi vse, čeprav manj, kot na Incredible Guitar.
Guitar Pro
Program, ki zmore veliko!
Škola Gitare
Srpska stran, vsebuje tudi primere, zelo dobra.
Glasba je čudežna matematična vaja; kdor se z njo ukvarja, se nezavedno ukvarja s števili. (Leibnitz)
"WAR IS PEACE, FREEDOM IS SLAVERY, IGNORANCE IS STRENGTH"
abcčdefghijklmnoprsštuvzž
abcčdefghijklmnoprsštuvzž
- spremenilo: STASI ()
STASI ::
----------------------------------------------------------------------------------------------------------
Lepo vas prosimo, da postate odgovore v to temo izključno konstruktivno naravnane stvari. Če hočete komentirati (hvaliti, grajati) zadeve, potem si odprite novo temo. Za konstruktivne stvari se smatrajo:
- dodajanje pesmi, tablatur, akordov....;
- dodajanje prispevkov k teoriji glasbe (jih bomo pripopali v drugi post);
- dodajanje not....;
- če je kdo našel napako (sigurno so notri napake), tudi to je konstruktivni dodatek;
- dodajanje lastnih rifov ali prijemov, ki ste jih izumili in so vam pri srcu;
- z vsaj 10 stavki (lahko tudi dosti več, ne pa manj) podajanje lastnih izkušenj, napotkov, priporočil (tudi glede nakupa...);
- vprašanja, nejasnosti ali če kako drugače iščete informacije v zvezi z ustvarjanjem glasbe (ni nujno, da le s kitaro, lahko tudi s čim drugim
).
!!!!! ČE BOSTE COPY/PASTALI IZ KAKEGA INTERNETNEGA VIRA, POTEM OBVEZNO NAVEDITE ZRAVEN ŠE VIR!!!!!
Še link do slike vrata kitare + krogci, če boste limali slike lastnih akordov. Slika je ista, kot na postu z akordi s tem, da je v Corel photo paint formatu, da lahko spreminjate črke in postavitev rdečih krogcev: zip file
----------------------------------------------------------------------------------------------------------
Lepo vas prosimo, da postate odgovore v to temo izključno konstruktivno naravnane stvari. Če hočete komentirati (hvaliti, grajati) zadeve, potem si odprite novo temo. Za konstruktivne stvari se smatrajo:
- dodajanje pesmi, tablatur, akordov....;
- dodajanje prispevkov k teoriji glasbe (jih bomo pripopali v drugi post);
- dodajanje not....;
- če je kdo našel napako (sigurno so notri napake), tudi to je konstruktivni dodatek;
- dodajanje lastnih rifov ali prijemov, ki ste jih izumili in so vam pri srcu;
- z vsaj 10 stavki (lahko tudi dosti več, ne pa manj) podajanje lastnih izkušenj, napotkov, priporočil (tudi glede nakupa...);
- vprašanja, nejasnosti ali če kako drugače iščete informacije v zvezi z ustvarjanjem glasbe (ni nujno, da le s kitaro, lahko tudi s čim drugim
).!!!!! ČE BOSTE COPY/PASTALI IZ KAKEGA INTERNETNEGA VIRA, POTEM OBVEZNO NAVEDITE ZRAVEN ŠE VIR!!!!!
Še link do slike vrata kitare + krogci, če boste limali slike lastnih akordov. Slika je ista, kot na postu z akordi s tem, da je v Corel photo paint formatu, da lahko spreminjate črke in postavitev rdečih krogcev: zip file
----------------------------------------------------------------------------------------------------------
"WAR IS PEACE, FREEDOM IS SLAVERY, IGNORANCE IS STRENGTH"
abcčdefghijklmnoprsštuvzž
abcčdefghijklmnoprsštuvzž
Zgodovina sprememb…
- spremenilo: gzibret ()
gzibret ::
Pa začnimo....
Najosnovnejše vedenje o glasbi je vedenje o tonih. Bom razložil malo fizikalno obarvano (no ja, ne morem iz svoje kože
). Osnovni ton, ki ga producirajo glasbene vilice in so po njih uglašeni vsi inštrumenti, ima frekvenco 440 Hz. To je ton A. Pol celega tona se spremeni za faktor 1.0595 oziroma za dvanajsti koren iz 2. Torej naslednji višji ton od A, Ais, ima frekvenco 466.164 Hz. To spremembo imenujemo POLTON. CELI TON ima spremembo frekvence za 2 poltona oziroma za faktor (dvanajsti koren iz 2)^2. OKTAVA ima razpon 12 poltonov oz. šestih celih tonov. To znese za faktor 2 = (dvanajsti koren iz 2)^12. Torej osnovni ton A v višji oktavi ima frekvenco 880 Hz, v nižji oktavi pa 220 Hz. Če boste merili kitaro z ravnilom boste opazili, da se prečke krajšajo prav po istem pravilu. Vsaka prečka je krajša za faktor 1.0959 od prejšnje prečke. 12. prečka točno razpolovi struno.Osnova vsake glasbe so lestvice. Najenostavnejši komadi (recimo Čuk se je oženil) so napisani v eni, točno določeni lestvici. V osnovi obstajata dva tipa lestvic - durove in molove lestvice. Durove lestvice zvenijo bolj veselo, molove pa bolj žalostno. Poznamo še druge tipe, npr. cigansko, balkansko...
KROMATIČNA LESTVICA:
To je osnova. Isto kot abeceda pri črkah. Pove, kako se določeni toni imenujejo. Kromatična lestvica je sestavljena iz 12 tonov, katerih frekvence se vsaka od prejšnje razlikujejo za faktor 2^1/12 oziroma za pol celega tona. Osnovni ton se imenuje C. Kromatična lestvica je, če jo napišemo z višaji (razlaga sledi):
C - Cis - D - Dis - E - F - Fis - G - Gis - A - Ais - H - C
Isto lestvico pa lahko napišemo še na drug način, in sicer z nižaji (razlaga sledi):
C - Des - D - Es - E - F - Ges - G - As - A - B - H - C
Torej vidimo, da Cis pomeni isto, kot Des, Es pomeni isto, kot Dis... Te tone imenujemo akromatične tone.
DUROVE LESTVICE (major po angleško):
Vsaka durova lestvica ima ime po prvem tonu. Najosnovnejša durova lestvica je C-dur (začne se s tonom C). Pri njej si sledijo (imenujejo) toni takole: C, D, E, F, G, A, H in C. Frekvenčne razlike med posameznimi toni pa so:
1. stopnja = C
2. stopnja = D; med C in D je cel ton (dva poltona oz. dve prečki)
3. stopnja = E; med D in E je cel ton, med C in E so 4 poltoni
4. stopnja = F; med E in F je pol tona (ena prečka), 5 poltonov od C
5. stopnja = G; med F in G je cel ton, 7 poltonov od C
6. stopnja = A; med G in A je cel ton, 9 poltonov od C
7. stopnja = H; med A in H je cel ton, 11 poltonov od C (tukaj naj pripomnim, da je v številnih tablaturah ton H NAPAČNO zapisan s črko B - in obratno; B v glasbi pomeni nekaj drugega od simbola H)
8. stopnja = C; med H in C je pol tona, 12 poltonov od C
Torej krajše (en pomišljaj "-" pomeni razliko pol tona ali eno prečko):
C-dur: C - - D - - E - F - - G - - A - - H - C
Zgodbo lahko ponovimo v eni, višji oktavi s tem, da za črko, ki označuje ton, dodamo številko 1 (recimo "C1"), pri še eni oktavi višje 2 (recimo "C2")in tako dalje.
C-dur v višji oktavi: C1 - - D1 - - E1 - F1 - - G1 - - A1 - - H1 - C2
Če boste pozorno pregledali celotno durovo lestvico oz. zaporedje tonov boste ugotovili, da je sestavljena iz dveh identičnih delov:
1. del: C - - D - - E - F
2. del: G - - A - - H - C
Številke med pomišljaji pomenijo število celih tonov med dvema notama.
V durovi lestvici so pomembni sledeči toni:
1. stopnja, C = tonika
4. stopnja, F = subdominanta
5. stopnja, G = dominanta (dominanta je na nek način isto, kot tonika, glej zgoraj)
7. stopnja, H = vodilni ton
8. stopnja, C1 = tonika v višji oktavi
Le z uporabo teh (pomembnih) tonov lahko iz inštrumenta izvabite za uho prijetno melodijo.
Toni pa so lahko zvišani ali znižani, ponavadi za pol tona, lahko pa tudi več, samo to je že eksotika in če ne boste igrali kakšnih oratorijev, potem tega ne rabite uporabljat (omenil bom pa vseeno, zgolj za info). Tonu, ki je zvišan za pol tona, dodamo pripono "is". Zvišan C je torej "Cis", zvišan D, "Dis" in tako dalje. V praksi to pomeni, da namesto prijema za C primete eno prečko višje. To lahko zapišemo tudi s pomočjo oznake "#", ki se doda za črko tona. Ton Cis se lahko zapiše tudi kot C#. Ton, zvišan za 2 poltona, se doda pripona "isis" (he, he, dve priponi "is"). Dvakrat zvišan C se imenuje "Cisis" in v bistvu zveni isto, kot ton D. Oznaka za dvojni višaj je x. Cisis lahko zapišemo kot Cx. Sicer ni trenutno moj namen naučiti brati in pisati glasbo z notami, ampak se ti znakci vseeno uporabljajo med tekstovnim zapisom glasbe in je to dobro vedeti.
Analogno se toni tudi nižajo, pri tem pa dodamo pripono "Es", npr. C postane "Ces", D "Des", E "Es" (ne Ees)... Znižan ton H dogovorno imenujemo B. Torej "Hes" ne obstaja, reče se mu krajše B. Dvakrat znižan ton dobi priponko "eses". Oznaka za znižan ton je b. Ces lahko torej napišemo kot Cb, Ceses pa kot Cbb. Opazili boste, da sta tona Ces in H v bistvu identična. Prav tako sta identična tona His in C. Tem tonom pravimo enharmonični toni (če se še prav spomnem), zgolj za informacijo.
Kaj pa drugi duri, recimo G-dur, ali Fis-dur. Rekel sem, da se vsak dur imenuje po prvem tonu oz. prvi stopnji. Fis dur se začne torej s Fis-om, G dur pa z G-jem. Vzemimo za primer D dur. Najprej zapišemo zaporedje tonov, začenši z D:
D - - E - F - - G - - A - - H - C - - D
Vendar to ni dur, saj je v našem zapisu med 2. in 3. stopnjo pol tona, mogel pa bi biti cel ton. Napak je še kar nekaj, najdite jih pa sami s primerjavo s C durom. Vendar mora biti zaporedje poltonov in celih tonov v vseh durovih lestvicah identično. Zatorej razčlenimo D dur:
1. stopnja = D
2. stopnja je 2 poltona višje od 1. stopnje (D), torej E.
3. stopnja je tudi 2 poltona višje 2. stopnje (od E), vendar F je le 1 polton višje od E, torej mora biti 3. stopnja zvišan F, #F ali Fis.
4. stopnja je pol tona višja od 3. stopnje, pol tona višje od Fis je G.
5. stopnja je 2 poltona višje od 4. stopnje. 2 poltona višje od G je A.
6. stopnja je 2 poltona višje od 5. stopnje, kar je glih razmik med A in H.
7. stopnja je tudi dva poltona višje od 6. stopnje, vendar je med H in C le pol tona. Torej moramo zvišati C in 7. stopnja je Cis.
8. stopnja je osnovni ton, višji za 1 oktavo, torej D1.
D dur se torej glasi: D - - E - - Fis - G - - A - - H - - Cis - D
Na takšen način lahko rekonstruirate vse možne dure, kar vam pade na pamet. Samo zgornji postopek je rahlo zamuden, pa še papir in svinčnik zraven prav pride. Obstaja krajši način oz. sistem, kako si zadeve zapomnit.
V glasbi so vsi višaji (#) razvrščeni po vrsti. To zaporedje je:
1. zaporedje: Fis, Cis, Gis, Dis, Ais, Eis, His
Prav tako so tudi nižaji razvrščeni po vrsti, grejo pa glih obratno od višajev, zato si ne bo težko zapomnit:
2. zaporedje: B, Es, As, Des, Ges, Ces, Fes
* Ton B je za pol tona znižan ton H!
Durove lestvice grejo tudi po vrsti in vsaka naslednja ima en višaj več, skladno z razvrstitvijo višajev. Recimo lestvica, ki ima 3 višaje, ima zvišane tone F, C, G, ki postanejo Fis, Cis in Gis.
3. zaporedje: G, D, A, E, H, Fis, Cis
(!!!! zaporedje je skoraj identično zaporedju višajev !!!!)
Durove lestvice, ki imajo znižane tone, pa grejo takole po vrsti (glede število in vrsto znižanih tonov velja isto pravilo, kot pri durovih lestvicah z višaji):
4. zaporedje: F, B, Es, As, Des, Ges, Ces
(!!!! zaporedje je tudi tukaj skoraj identično zaporedju nižajev !!!!)
Za primer: katere tone ima A dur?
Napišemo zaporedje tonov začenši z A: A - - H - C - - D - - E - F - - G - - A, pogledamo, koliko zvišanih (znižanih) tonov ima A-dur in vidimo, da ima 3 zvišane tone (3. zaporedje). Kateri so ti toni, pogledamo v 1. zaporedje in vidimo, da so to Fis, Cis in Gis. Torej A-dur ima sledeče zaporedje:
A - - H - - Cis - D - - E - - Fis - - Gis - A
Ali pa recimo Des dur? Ta dur ima 5 nižajev (4. zaporedje), to so B, Es, As, Des in Ges. Des dur se torej glasi:
Des - - Es - - F - Ges - - As - - B - - C - Des
Morda boste tudi opazili, da so si nekateri duri identični. Npr. med Des in Cis durom je razlika zgolj v poimenovanju, ne pa v frekvencah. Opazili boste tudi recimo, da npr. Gis dur ne obstaja (ga ne najdemo v 3. zaporedju). Ni panike! Ton Gis je isti, kot ton As, zatorej je tudi Gis-dur identičen As duru.
Zakaj tako kompliciramo, saj imamo že C-dur, a to ni dovolj? To je važno zato, da lahko tonike, subdominante in dominante zapakiramo v različne dure ter na takšen način zapletemo in razpletemo melodijo, ki postane za uho prijetna. Recimo nek takt (osnovna enota ritma neke pesmi) se začne s toniko in konča s subdominanto, en takt dalje se začne z dominanto (še vedno istega dura), ki pa v novem taktu postane tonika nekega novega dura. Pri kombiniranju za začetek pazite le, da je prvi ton v taktu tonika nekega dura in ta dur furajte čez 1, 2 ali 4, 8 ali več taktov ali pa kar čez cel komad. Takt lahko končate z subdominanto, melodijo "razvežete" z dominanto in to prevzamete kot novo toniko. Malce zapleteno, ampak je treba probat, pol pa hitro poštekaš foro. Značilnost večine domačih viž (goveje muzike
) je v tem, da avtorji melodije ne znajo kombinirati lestvic, ampak cel komad trajbajo v enem in istem duru. Tako dobiš lajna efekt.Načeloma pa z uporabo subdominante in vodilnega tona melodijo "zapletemo", z uporabo tonik in dominant pa melodijo "razpletemo". Uporaba tonik in dominant ter subdominant in vodilnih tonov je zamenljiva. Torej ton H je vodilni ton C-dura in hkrati subdominanta Fis-dura. Vodilni ton Fis dura je Eis oz. F, kar pa je spet subdominanta C duru. S pomočjo teh specialnih tonov melodiji spreminjamo dur (ali mol) in tako naredimo melodijo zanimivo.
MOLOVE LESTVICE (minor po angleško):
Pri molih ne bom veliko razlagal, le glavne fore, sistem pa si boste izpeljali sami. Vsaka durova lestvica ima svojo ekvivalentno molovo lestvico. Mol se, isto kot dur, imenuje po prvem tonu oz. prvi stopnji. Kako pogruntati, kateri mol spada k nekemu duru. Preprosto. Od 1. stopnje dura gremo 3 poltone (2 stopnji) navzdol. Tako je C-duru ekvivalent A-mol, G-duru, E-mol, Des-duru pa B-mol, recimo. Ekvivalentna dur in mol imata isto število (in vrsto) zvišanih/znižanih tonov. Torej, če ima dur 3 višaje (Fis, Cis in Gis), potem bo imel tudi mol 3 ISTE višaje (Fis, Cis in Gis). Kot primer vzemimo sistem C-dur / A-mol, ostalo pa gre po istem kopitu. Pri A-molu začnemo z A in zapišemo isto , kot dur. Pri tem je A 1. stopnja, H 2. stopnja itd...
C-dur: C - - D - - E - F - - G - - A - - H - C
A-mol: A - - H - C - - D - - E - F - - G - - A
!!!!poglejte, med katerimi stopnjami so poltoni in celi toni!!!!
Recimo še D-dur / H-mol:
D-dur: D - - E - - Fis - G - - A - - H - - Cis - D
H-mol: H - - Cis - D - - E - - Fis - G - - A - - H
Pri H-molu je 1. stopnja H, 2. stopnja Cis itd...
Poleg "navadnih" molov, ki jih imenujemo naravni, poznamo še melodične in harmonične mole. Harmonični moli imajo zvišano 7. stopnjo, melodični pa 6. in 7. stopnjo s tem, ko gremo navzdol po molu le-ta postane navadni mol. Razlika med njimi je v zvenu. Vsi zvenijo žalostno, samo vsak rahlo drugače. Pri teh zadevicah pridejo razni "isis"-i in "eses"-i v poštev, saj se večkrat zgodi, da moramo že zvišan ton še enkrat zvišati. Primera:
A-mol (od C-dura):
nar.: A - - H - C - - D - - E - F - - G - - A - - G - - F - E - - D - -C - H - - A
harm.: A - - H - C - - D - - E - F - - - Gis - A - Gis - - - F - E - - D - - C - H - - A
mel.: A - - H - C - - D - - E - - Fis - - Gis - A - - G - - F - E - - D - - C - H - - A
H-mol (od D-dura):
nar.: H - - Cis - D - - E - - Fis - G - - A - - H - - A - - G - Fis - - E - - D - Cis - - H
har.: H - - Cis - D - - E - - Fis - G - - - Ais - H - Ais - - - G - Fis - - E - - D - Cis - - H
mel.: H - - Cis - D - - E - - Fis - - Gis - - Ais - H - - A - - G - Fis - - E - - D - Cis - - H
AKORDI:
Igranje akordov je fora kitare. Akordi so narejeni tako, da se "čujejo prijetno za uho". Pri tem so nihanja urejena, da povzročajo prijetne interference in čim manj "utripanja", ki ga zaznamo ob interferencah dveh valovanj z zelo podobno valovno dolžino (dva tona, ki se razlikujeta zgolj za polton in sta zaigrana istočasno, čujemo kot "grozo").
Glavni akordni toni so: 1. stopnja, 3. stopnja, 5. stopnja in 8. (1. st. v višji oktavi) stopnja. Tukaj ni važno, a gre za dur, ali za mol. Princip je enak. Vse možne akorde najdete v spodnjem postu (ter kako se primejo na kitari), zato bom tule le razložil princip.
Osnovni akord zaigramo tako, da sočasno zaigramo sledeče stopnje v posameznem duru ali molu: 1. stopnjo, 3. stopnjo in 5. stopnjo. Ker ima kitara več, kot 3 strune, lahko zgodbo ponovimo dvakrat, torej 1., 3. in 5. stopnja v eni oktavi ter 1., 3., in 5. stopnja v višji oktavi.
Druge akorde kombiniramo tako, da osnovnim trem tonom kaj odvzamemo ali dodamo. Če osnovnemu akordu dodamo 7. stopnjo dura, znižano za pol tona, dobimo septakord. V kitarski literaturi ga !!!napačno!!! zapišemo z oznako dura + številka 7, recimo C7. Zakaj napačno? Bom razložil.
Dominantni septakord, kakor so nas učili pri teoriji glasbe (oznaka je d7), je sestavljen iz zaporedja 5., 7., 2. in 4. stopnje nekega dura. Pri tem gremo vedno s toni navzgor (če igramo solo inštrument), torej 2. in 4. stopnja sta že v višji oktavi, kot 5. in 7. stopnja. Recimo primeri za osnovne dure:
dominantni septakord (d7) od C-dura (v kit. lit. G7) = G, H, D1, F1, G1
dominantni septakord (d7) od F-dura (v kit. lit. C7) = C, E, G, B (Hb oz. Hes), C1
dominantni septakord (d7) od G-dura (v kit. lit. D7) = D, Fis, A, C1, D1
Dominantni septakord, pa naj si bo po teoriji glasbe ali po kitarski literaturi se čuje malo čudno in kar teži k temu, da ga "razvežemo" na osnovni akord. Vendar na katerega. Če za C7, kot je napisano v kitarski literaturi, zaigramo C-dur, bomo vsi rekli: lej ga, ta pa nima posluha. Ne čuje se dobro. Kateri dur pa torej zaigrati?
Če se malo bolj poglobimo v tele dominantne septakorde vidimo, da je dominantni septakord od nekega dura (glede na simbole, zapisane v tablaturah) sestavljen iz osnovnega akorda enega drugega dura + vodilni ton tistega dura, zmanjšan za pol tona. Najprej zapišimo:
osnovni akord od C-dura = C, E, G, C1
osnovni akord od F-dura = F, A, C1, F1
osnovni akord od G-dura = G, H, D1, G1
In primerjamo:
d7 od F-dura (v tablaturah kot C7) = C-durov osnovni akord + znižana 7. stopnja od C-dura
d7 od C-dura (v tablaturah kot G7) = G-durov osnovni akord + znižana 7. stopnja od G-dura
d7 od G-dura (v tablaturah kot D7) = D-durov osnovni akord + znižana 7. stopnja od D-dura
Dominantni septakord (d7) se torej razveže v tisti dur, iz katerega je izšel. Zato je v tablaturah to malo nerodno zapisano, saj se C7 ne razveže v C-dur, ampak v F-dur. Poglejte zgoraj. G7 se bo razvezal v C-dur, D7 pa v G-dur. TO JE DOBRO VEDETI!
Če pogledamo zaporedje lestvic glede na število višajev/nižajev vidimo, da se septakord razveže v tisto lestvico, ki ima en višaj manj ali en nižaj več. Če boste vedeli zaporedje na pamet, boste to hitro ugotovili brez svinčnika in papirja. 2 "nemogoča" primera za ilustracijo:
Cis7: Cis-dur ima 8 višajev, torej se razveže v dur, ki ima 7 višajev, torej v Fis-dur.
As7: As-dur ima 4 nižaje, torej se razveže v dur, ki ima 5 nižajev, torej v Des-dur.
Ista zgodba je pri molih, zato je ne bom razlagal.
Poznamo tudi druge variacije na osnovni akord.
Če osnovnemu akordu dodamo 2. stopnjo lestvice, to zapišemo kot add2, recimo Cadd2 ali pa Cadd9, kar je v bistvu eno in isto, le eden akord ima en ton oktavo višje, kot drugi (kateri, uganite sami). Cadd2 torej vsebuje 1., 2., 3. in 5. stopnjo C-durove lestvice.
Če osnovnemu akordu dodamo odvzamemo 3. stopnjo, dobimo t.i. "power chord". Torej power chord je tonika in dominanta skupaj (power chordi so v komadu Smoke on the Water od Deep Purple, uvod). Če temu power chordu dodamo še 2. stopnjo, dobimo sus2 akorde, recimo Csus2. Ekvivalentno pri sus4 akordu dodamo 4. stopnjo in sus9 akordu 9. stopnjo.
V literaturi za kitaro se durovi akordi označijo kar s črko (recimo C, D, Fis...), molovi akordi pa imajo dodano malo črko m ("Am" je recimo A-mol). Am7 je tako recimo osnovni A-molov akord z dodano znižano 7. stopnjo A-mola.
TONSKI NAČINI IN DRUGE LESTVICE
So uporabne zadeve, ko hočete melodijo zaigrati bolj na blues ali bolj na jazz ali bolj na baročno ali bolj na (skoraj) karkoli.... Fora teh načinov je, da se začnejo na različnih stopnjah durove lestvice in melodijo igramo na način, da privzamemo, da je tista stopnja prva in gremo po vrsti tako, kot bi šli po navadni lestvici navzgor (s poltoni in celimi toni, kot v originalnem duru).
JONSKI NAČIN: C - - D - - E - F - - G - - A - - H - C
To je navadni dur.
DORSKI NAČIN: D - - E - F - - G - - A - - H - C - - D
Če začnemo s C-jem: C - - D - Es - - F - - G - - A - B - - C
Dorski način je bolj jazz način. Zelo podoben molu.
FRIGIJSKI NAČIN: E - F - - G - - A - - H - C - - D - - E
Če začnemo s C-jem: C - Des - - Es - - F - - G - As - - B - - C
Zveni špansko.
LIDIJSKI NAČIN: F - - G - - A - - H - C - - D - - E - F
Če začnemo s C-jem: C - - D - - E - - Fis - G - - A - - H - C
Zveni žalostno, zelo podobno molovi lestvici.
MIKSOLIDIJSKI NAČIN: G - - A - - H - C - - D - - E - F - - G
Če začnemo s C-jem: C - - D - - E - F - - G - - A - B - - C
To je način za blues.
EOLSKI NAČIN: A - - H - C - - D - - E - F - - G - - A
Če začnemo s C-jem: C - - D - Es - - F - - G - As - - B - - C
To je naravna molova lestvica.
LOKRIJSKI NAČIN: H - C - - D - - E - F - - G - - A - - H
Če začnemo s C-jem: C - Des - - Es - - F - Ges - - As - - B - - C.
Ta način redko uporabljamo, zveni pa temačno.
BALKANSKA LESTVICA: C - Des - - - E - F - - G - As - - - H - C
CIGANSKA LESTVICA: A - - H - C - - - Dis - E - F - - - Gis - A
BLUES LESTVICA: C - - - Es - - F - Ges - G - - - B - - C
FLAMENKO LESTVICA: E - F - - - Gis - A - - H - C - - D - - E
Miksolidijski način harmoničnega mola. Rekonstruirajte
!UGLAŠEVANJE STRUN
Strune uglasite tako, da bo najdebelejša struna imela ton E (to lahko naredite le, če imate merilni inštrument ali glasbene vilice). Drugače pač izberite poljubni ton na prvi najdebelejši struni in ostale uglasite po njej.
Strune si grejo po vrsti: E - A - D - G - H - E
Uglašujemo vedno 1 struno tako, da hkrati zaigramo 2 struni in na eni primemo na tisti prečki, da bomo dobili dva ista tona. Z opisano teorijo, štetjem poltonov in prečk, boste lahko pogruntali, na kateri prečki morate prijeti struno, da boste lahko pravilno uglasili kitaro. No, za A struno bom napisal: med tonoma E in F je 1/2 tona, med F in G je cel ton in med G in A je tudi cel ton. Cel ton nanese dve prečki, torej je razlika med E in A 1+2+2=5 prečk. Struno E moramo torej prijeti na 5. prečki, da zaigra A.
Vendar bi povedal eno drugo foro, kako lahko točno in natančno uglasite kitaro klub temu, da da vaš posluh ni popoln. Ta fora je, da toni, ki imajo zelo podobne frekvence interferirajo tako, da nastane novo valovanje z dosti daljšo periodo, kot je frekvenca obeh nihanj, ki interferirata. To v praksi pomeni, da, če zaigramo hkrati dva tona in se frekvenca slednjih razlikuje le za malenkost, čujemo "utripanje". To izgleda, kot bi kitara pela uuuuuaaaaaauuuuuaaaauuuuaaa (nekaj takega). Če to slišite, potem kitara ni uglašena v redu. Lahko tudi probate, koliko energije se iz ene strune prenese na drugo struno. Torej na E struni primemo ton A (5. prečka) in zabrenkamo, se mora začeti tresti tudi slednja struna, kljub temu, da se je nismo dotaknili. Čim bolj se bo ta tresla, bolj je kitara uglašana. To seveda velja za vse strune s tem, da pri 5. struni primemo 4. prečko.
No, to je zaenkrat vse o teoriji, bom še kaj dodal ali poravil, seveda z vašimi predlogi in pripombami. Nekoč bom nalimal tudi kakšne slikice, vsaj prijeme za osnovne akorde, in to takrat, ko si bom sposodil digitalca.
Kar vam ostane je to, da se začnete učiti igrati. Predlagam sledeči postopek, ki je bolj duhamoren, ampak učinkovit:
1) NAJPREJ se nadudlajte teorijo, malo povadite v stilu: kateri mol spada k E-duru? V kateri dur se razveže A7? Iz katerih tonov je sestavljen B-durov akord? Bo lažje, ko boste šli na prakso.
2) Naučite se nekaj osnovnih akordov. Osnovni akordi so napisani nižje v posebnem postu.
3) naučite se zaigrati dure na kitari. Začnite z E-durom, ker je prva struna E struna. Nadaljujte z G-durom, pol pejte na C-dur.... Pri kitari je to fajn, da so prijemi bolj ali manj isti, važno je le, kje začneš. Torej, ko se boste nadudlali en dur, boste z le malo vaje osvojili tudi druge lestvice. Pri vsakem duru malo povadite tudi mol. Pri vsakem duru tudi zaigrajte akorde, vendar ne skupaj, ampak vsak ton za sebe. Isto naredite pri molu. Videli boste, da je zadeva zelo enostavna.
4) Ko boste znali vse dure zaigrati poljubno hitro, boste že pravi virtuozi in ne bo vam več problem melodije igrati kar iz ušesa. Edino, kar boste morali pogruntati bo to, v katerem duru špila muzika na CD-ju, pol pa gasa!
Recimo Shine On You, Crazy Diamond od Floydov, uvod, je napisan v G-molu. Pol mol sicer spremenijo.... boste že pogruntali, kdaj. Ko boste to znali, boste tudi akorde utrofili iz prve!5) S poznavanjem teorije glasbe vam ne bo problem prešaltati na katerikoli inštrument.
Vse je za neki dobr!
Zgodovina sprememb…
- spremenilo: gzibret ()
gzibret ::
KROMATIČNA LESTVICA (vsi toni):
Tukaj so prikazani nekateri akordi, predvsem tisti, ki jih v glasbi najpogosteje srečamo. Ko se boste naučili te akorde, boste lahko že marsikaj spravili skupaj.
Še enkrat ponavljam:
B = znižani ton H
ankromatični toni: se imenujejo drugače, zvenijo isto: Ais = B; Des = Cis, Fes = E... Poiščite jih sami!
X - strune ne igramo.
SHEMA (ponovitev teorije):
dur: toni
durov (terc)akord: 1., 3. in 5. ton
_7: 1., 3., 5., b7. ton (za pol tona znižana 7. stopnja)
pripadajoči naravni mol: začnemo s 6. stopnjo dura
pripadajoči molov (terc)akord: 6., 1., 3. stopnja
C-dur: C D E F G A H C
C-durov akord: C E G
C7: C E G B
A-mol: A H C D E F G A
A-molov akord: A C E
G-dur (1 višaj): G A H C D E Fis G
G-durov akord: G H D
G7: G H D F
E-mol: E Fis G A H C D E
E-molov akord: E G H
D-dur (2 višaja): D E Fis G A H Cis D
tercakord: D Fis A
D7: D Fis A C
H-mol: H Cis D E Fis G A H
H-molov akord: H D Fis
A-dur (3 višaji): A H Cis D E Fis Gis A
A-durov akord: A Cis E
A7: A Cis E G
Fis-mol: Fis G A H Cis D E Fis
Fis-molov akord: Fis A Cis
E-dur (4 višaji): E Fis Gis A H Cis Dis E
E-durov akord: E Gis H
E7: E Gis H D
Cis-mol: Cis Dis E Fis Gis A H Cis
Cis-molov akord: Cis E Gis
Ostale dure, septakorde, mole in komplet molove septakorde si izpeljite sami s pomočjo zgoraj opisane teorije (sem povedal vse, kar je potrebno). Akorde si lahko sestavite tudi sami. C-dur recimo lahko primete na vsaj 10 načinov (glej spodnji post)! Važno je le, da so notri C, E in G ton. Ko (če) boste hoteli zaigrati akorde z nižaji (tukaj so prikazane le lestvice z višaji in brez njih), recimo F dur, B dur, Es dur itd..., upoštevajte akromatične tone. Na kromatiki (kdor ne ve kaj je to, naj pogugla!) nisem pisal vseh variant, ker bi pol bilo nepregledno.
Kateri prst date na katero struno prepuščam domišliji. Tam, ko je za pritisnat vseh 6 strun, taki akordi se imenujejo barre akordi in ga zaigrate tako, da položite kazalec na vse strune tam, ko je to treba. Ostanejo še trije prsti! Ti akordi so dobri za zlomit si dlan, nategnat mišice in potrgat prstne vezi
.
Tukaj so prikazani nekateri akordi, predvsem tisti, ki jih v glasbi najpogosteje srečamo. Ko se boste naučili te akorde, boste lahko že marsikaj spravili skupaj.
Še enkrat ponavljam:
B = znižani ton H
ankromatični toni: se imenujejo drugače, zvenijo isto: Ais = B; Des = Cis, Fes = E... Poiščite jih sami!
X - strune ne igramo.
SHEMA (ponovitev teorije):
dur: toni
durov (terc)akord: 1., 3. in 5. ton
_7: 1., 3., 5., b7. ton (za pol tona znižana 7. stopnja)
pripadajoči naravni mol: začnemo s 6. stopnjo dura
pripadajoči molov (terc)akord: 6., 1., 3. stopnja
C-dur: C D E F G A H C
C-durov akord: C E G
C7: C E G B
A-mol: A H C D E F G A
A-molov akord: A C E
G-dur (1 višaj): G A H C D E Fis G
G-durov akord: G H D
G7: G H D F
E-mol: E Fis G A H C D E
E-molov akord: E G H
D-dur (2 višaja): D E Fis G A H Cis D
tercakord: D Fis A
D7: D Fis A C
H-mol: H Cis D E Fis G A H
H-molov akord: H D Fis
A-dur (3 višaji): A H Cis D E Fis Gis A
A-durov akord: A Cis E
A7: A Cis E G
Fis-mol: Fis G A H Cis D E Fis
Fis-molov akord: Fis A Cis
E-dur (4 višaji): E Fis Gis A H Cis Dis E
E-durov akord: E Gis H
E7: E Gis H D
Cis-mol: Cis Dis E Fis Gis A H Cis
Cis-molov akord: Cis E Gis
Ostale dure, septakorde, mole in komplet molove septakorde si izpeljite sami s pomočjo zgoraj opisane teorije (sem povedal vse, kar je potrebno). Akorde si lahko sestavite tudi sami. C-dur recimo lahko primete na vsaj 10 načinov (glej spodnji post)! Važno je le, da so notri C, E in G ton. Ko (če) boste hoteli zaigrati akorde z nižaji (tukaj so prikazane le lestvice z višaji in brez njih), recimo F dur, B dur, Es dur itd..., upoštevajte akromatične tone. Na kromatiki (kdor ne ve kaj je to, naj pogugla!) nisem pisal vseh variant, ker bi pol bilo nepregledno.
Kateri prst date na katero struno prepuščam domišliji. Tam, ko je za pritisnat vseh 6 strun, taki akordi se imenujejo barre akordi in ga zaigrate tako, da položite kazalec na vse strune tam, ko je to treba. Ostanejo še trije prsti! Ti akordi so dobri za zlomit si dlan, nategnat mišice in potrgat prstne vezi
. Vse je za neki dobr!
Zgodovina sprememb…
- spremenilo: gzibret ()
gzibret ::
Akordi za kitaro. Številka v oklepaju pomeni, kje morate prijeti struno. Od leve proti desni si sledijo strune od najdebelejše do najtanjše. x pomeni, da te strune ne zaigrate.
Opomba - manjkajo še številni moli (Des-mol, Es mol, Ges, As in B mol). A ma kdo to? V taki obliki?
C-DUROVI AKORDI
C or Cmaj [ 0 3 2 0 1 0] (C E G): major triad
C or Cmaj [ 0 3 5 5 5 3] (C E G): major triad
C or Cmaj [ 3 3 2 0 1 0] (C E G): major triad
C or Cmaj [ 3 x 2 0 1 0] (C E G): major triad
C or Cmaj [ x 3 2 0 1 0] (C E G): major triad
C or Cmaj [ x 3 5 5 5 0] (C E G): major triad
C #5 or Caug [ x 3 2 1 1 0] (C E Ab): augmented triad
C b5 [ x x 4 5 x 0] (C E Gb): flat 5th
C/A [ 0 0 2 0 1 3] (C E G A): major triad (altered bass)
C/A [ x 0 2 0 1 0] (C E G A): major triad (altered bass)
C/A [ x 0 2 2 1 3] (C E G A): major triad (altered bass)
C/A [ x 0 5 5 5 8] (C E G A): major triad (altered bass)
C/B [ 0 3 2 0 0 0] (C E G B): major triad (altered bass)
C/B [ x 2 2 0 1 0] (C E G B): major triad (altered bass)
C/B [ x 3 5 4 5 3] (C E G B): major triad (altered bass)
C/Bb [ x 3 5 3 5 3] (C E G Bb): major triad (altered bass)
C/D [ 3 x 0 0 1 0] (C D E G): major triad (altered bass)
C/D [ x 3 0 0 1 0] (C D E G): major triad (altered bass)
C/D [ x 3 2 0 3 0] (C D E G): major triad (altered bass)
C/D [ x 3 2 0 3 3] (C D E G): major triad (altered bass)
C/D [ x x 0 0 1 0] (C D E G): major triad (altered bass)
C/D [ x x 0 5 5 3] (C D E G): major triad (altered bass)
C/D [ x 10 12 12 13 0] (C D E G): major triad (altered bass)
C/D [ x 5 5 5 x 0] (C D E G): major triad (altered bass)
C/F [ x 3 3 0 1 0] (C E F G): major triad (altered bass)
C/F [ x x 3 0 1 0] (C E F G): major triad (altered bass)
C5 or C(no 3rd) [ x 3 5 5 x 3] (C G): root and 5th (power chord)
C6 [ 0 0 2 0 1 3] (C E G A): major triad plus 6th
C6 [ x 0 2 0 1 0] (C E G A): major triad plus 6th
C6 [ x 0 2 2 1 3] (C E G A): major triad plus 6th
C6 [ x 0 5 5 5 8] (C E G A): major triad plus 6th
C6/add9 or C6/9 [ x 5 7 5 8 0] (C D E G A): major triad plus 6th and 9th
C7 or Cdom 7 [ x 3 5 3 5 3] (C E G Bb): major triad, minor 7th
C7sus4 [ x 3 5 3 6 3] (C F G Bb): sus4 triad, minor 7th
C9(b5) [ 0 3 x 3 3 2] (C D E Gb Bb): diminished 5th, minor 7th, plus 9th
Cadd9 or C2 [ 3 x 0 0 1 0] (C D E G): major triad plus 9th
Cadd9 or C2 [ x 3 0 0 1 0] (C D E G): major triad plus 9th
Cadd9 or C2 [ x 3 2 0 3 0] (C D E G): major triad plus 9th
Cadd9 or C2 [ x 3 2 0 3 3] (C D E G): major triad plus 9th
Cadd9 or C2 [ x x 0 0 1 0] (C D E G): major triad plus 9th
Cadd9 or C2 [ x x 0 5 5 3] (C D E G): major triad plus 9th
Cadd9 or C2 [ x 10 12 12 13 0] (C D E G): major triad plus 9th
Cadd9 or C2 [ x 3 2 0 3 0] (C D E G): major triad plus 9th
Cadd9 or C2 [ x 5 5 5 x 0] (C D E G): major triad plus 9th
Cdim/A [ x x 1 2 1 2] (C Eb Gb A): diminished triad (altered bass)
Cdim/Ab [ x x 1 1 1 2] (C Eb Gb Ab): diminished triad (altered bass)
Cdim/Ab [ x x 4 5 4 4] (C Eb Gb Ab): diminished triad (altered bass)
Cdim/D [ x 5 4 5 4 2] (C D Eb Gb): diminished triad (altered bass)
Cdim7 [ x x 1 2 1 2] (C Eb Gb A): diminished triad, diminished 7th
C-MOLOVI AKORDI
Cm [ x 3 5 5 4 3] (C Eb G): minor triad
Cm [ x x 5 5 4 3] (C Eb G): minor triad
Cm/A [ x x 1 2 1 3] (C Eb G A): minor triad (altered bass)
Cm/Bb [ x 3 5 3 4 3] (C Eb G Bb): minor triad (altered bass)
Cm6 [ x x 1 2 1 3] (C Eb G A): minor triad plus 6th
Cm7 [ x 3 5 3 4 3] (C Eb G Bb): minor triad, minor 7th
Cmaj7 or C#7 [ 0 3 2 0 0 0] (C E G B): major triad, major 7th
Cmaj7 or C#7 [ x 2 2 0 1 0] (C E G B): major triad, major 7th
Cmaj7 or C#7 [ x 3 5 4 5 3] (C E G B): major triad, major 7th
Cmaj9 or C9(#7) [ x 3 0 0 0 0] (C D E G B): major triad, major 7th plus 9th
Csus or Csus4 [ x 3 3 0 1 1] (C F G): no 3rd but a 4th from a major triad
Csus or Csus4 [ x x 3 0 1 1] (C F G): no 3rd but a 4th from a major triad
Csus2 or Cadd9(no3) [x 10 12 12 13 3] (C D G): no 3rd but a 2nd from a major triad
Csus2 or Cadd9(no3) [x 5 5 5 x 3] (C D G): no 3rd but a 2nd from a major triad
Csus2 or Cadd9(no3) [x 3 0 0 3 3] (C D G): no 3rd but a 2nd from a major triad
Csus2 or Cadd9(no3) [x 3 5 5 3 3] (C D G): no 3rd but a 2nd from a major triad
Csus2/A [ x 5 7 5 8 3] (C D G A): sus2 triad (altered bass)
Csus2/A [ x x 0 2 1 3] (C D G A): sus2 triad (altered bass)
Csus2/B [ 3 3 0 0 0 3] (C D G B): sus2 triad (altered bass)
Csus2/B [ x 3 0 0 0 3] (C D G B): sus2 triad (altered bass)
Csus2/E [ 3 x 0 0 1 0] (C D E G): sus2 triad (altered bass)
Csus2/E [ x 3 0 0 1 0] (C D E G): sus2 triad (altered bass)
Csus2/E [ x 3 2 0 3 0] (C D E G): sus2 triad (altered bass)
Csus2/E [ x 3 2 0 3 3] (C D E G): sus2 triad (altered bass)
Csus2/E [ x x 0 0 1 0] (C D E G): sus2 triad (altered bass)
Csus2/E [ x x 0 5 5 3] (C D E G): sus2 triad (altered bass)
Csus2/E [ x 10 12 12 13 0] (C D E G): sus2 triad (altered bass)
Csus2/E [ x 5 5 5 x 0] (C D E G): sus2 triad (altered bass)
Csus2/F [ 3 3 0 0 1 1] (C D F G): sus2 triad (altered bass)
Csus4/A [ 3 x 3 2 1 1] (C F G A): sus4 triad (altered bass)
Csus4/A [ x x 3 2 1 3] (C F G A): sus4 triad (altered bass)
Csus4/B [ x 3 3 0 0 3] (C F G B): sus4 triad (altered bass)
Csus4/Bb [ x 3 5 3 6 3] (C F G Bb): sus4 triad (altered bass)
Csus4/D [ 3 3 0 0 1 1] (C D F G): sus4 triad (altered bass)
Csus4/E [ x 3 3 0 1 0] (C E F G): sus4 triad (altered bass)
Csus4/E [ x x 3 0 1 0] (C E F G): sus4 triad (altered bass)
D-DUROVI IN Des-DUROVI AKORDI
D or Dmaj [ x 5 4 2 3 2] (D Gb A): major triad
D or Dmaj [ x 9 7 7 x 2] (D Gb A): major triad
D or Dmaj [ 2 0 0 2 3 2] (D Gb A): major triad
D or Dmaj [ x 0 0 2 3 2] (D Gb A): major triad
D or Dmaj [ x 0 4 2 3 2] (D Gb A): major triad
D or Dmaj [ x x 0 2 3 2] (D Gb A): major triad
D or Dmaj [ x x 0 7 7 5] (D Gb A): major triad
D #5 or Daug [ x x 0 3 3 2] (D Gb Bb): augmented triad
D/B [ x 0 4 4 3 2] (D Gb A B): major triad (altered bass)
D/B [ x 2 0 2 0 2] (D Gb A B): major triad (altered bass)
D/B [ x 2 0 2 3 2] (D Gb A B): major triad (altered bass)
D/B [ x 2 4 2 3 2] (D Gb A B): major triad (altered bass)
D/B [ x x 0 2 0 2] (D Gb A B): major triad (altered bass)
D/C [ x 5 7 5 7 2] (C D Gb A): major triad (altered bass)
D/C [ x 0 0 2 1 2] (C D Gb A): major triad (altered bass)
D/C [ x 3 x 2 3 2] (C D Gb A): major triad (altered bass)
D/C [ x 5 7 5 7 5] (C D Gb A): major triad (altered bass)
D/Db [ x x 0 14 14 14] (Db D Gb A): major triad (altered bass)
D/Db [ x x 0 2 2 2] (Db D Gb A): major triad (altered bass)
D/E [ 0 0 0 2 3 2] (D E Gb A): major triad (altered bass)
D/E [ 0 0 4 2 3 0] (D E Gb A): major triad (altered bass)
D/E [ 2 x 0 2 3 0] (D E Gb A): major triad (altered bass)
D/E [ x 0 2 2 3 2] (D E Gb A): major triad (altered bass)
D/E [ x x 2 2 3 2] (D E Gb A): major triad (altered bass)
D/E [ x 5 4 2 3 0] (D E Gb A): major triad (altered bass)
D/E [ x 9 7 7 x 0] (D E Gb A): major triad (altered bass)
D/G [ 5 x 4 0 3 5] (D Gb G A): major triad (altered bass)
D/G [ 3 x 0 2 3 2] (D Gb G A): major triad (altered bass)
D5 or D(no 3rd) [ 5 5 7 7 x 5] (D A): root and 5th (power chord)
D5 or D(no 3rd) [ x 0 0 2 3 5] (D A): root and 5th (power chord)
D6 [ x 0 4 4 3 2] (D Gb A B): major triad plus 6th
D6 [ x 2 0 2 0 2] (D Gb A B): major triad plus 6th
D6 [ x 2 0 2 3 2] (D Gb A B): major triad plus 6th
D6 [ x 2 4 2 3 2] (D Gb A B): major triad plus 6th
D6 [ x x 0 2 0 2] (D Gb A B): major triad plus 6th
D6/add9 or D6/9 [ 0 0 2 4 3 2] (D E Gb A B): major triad plus 6th and 9th
D6/add9 or D6/9 [ 0 2 0 2 0 2] (D E Gb A B): major triad plus 6th and 9th
D7 or Ddom 7 [ x 5 7 5 7 2] (C D Gb A): major triad, minor 7th
D7 or Ddom 7 [ x 0 0 2 1 2] (C D Gb A): major triad, minor 7th
D7 or Ddom 7 [ x 3 x 2 3 2] (C D Gb A): major triad, minor 7th
D7 or Ddom 7 [ x 5 7 5 7 5] (C D Gb A): major triad, minor 7th
D7sus4 [ x 5 7 5 8 3] (C D G A): sus4 triad, minor 7th
D7sus4 [ x x 0 2 1 3] (C D G A): sus4 triad, minor 7th
D9 or Ddom 9 [ 0 0 0 2 1 2] (C D E Gb A): major triad, minor 7th plus 9th
D9 or Ddom 9 [ 2 x 0 2 1 0] (C D E Gb A): major triad, minor 7th plus 9th
D9 or Ddom 9 [ x 5 7 5 7 0] (C D E Gb A): major triad, minor 7th plus 9th
D9(#5) [ 0 3 x 3 3 2] (C D E Gb Bb): augmented 5th, minor 7th plus 9th
Dadd9 or D2 [ 0 0 0 2 3 2] (D E Gb A): major triad plus 9th
Dadd9 or D2 [ 0 0 4 2 3 0] (D E Gb A): major triad plus 9th
Dadd9 or D2 [ 2 x 0 2 3 0] (D E Gb A): major triad plus 9th
Dadd9 or D2 [ x 0 2 2 3 2] (D E Gb A): major triad plus 9th
Dadd9 or D2 [ x x 2 2 3 2] (D E Gb A): major triad plus 9th
Dadd9 or D2 [ x 5 4 2 3 0] (D E Gb A): major triad plus 9th
Dadd9 or D2 [ x 9 7 7 x 0] (D E Gb A): major triad plus 9th
Daug/E [ 2 x 4 3 3 0] (D E Gb Bb): augmented triad (altered bass)
Db or Dbmaj [ 4 4 6 6 6 4] (Db F Ab): major triad
Db or Dbmaj [ x 4 3 1 2 1] (Db F Ab): major triad
Db or Dbmaj [ x 4 6 6 6 4] (Db F Ab): major triad
Db or Dbmaj [ x x 3 1 2 1] (Db F Ab): major triad
Db or Dbmaj [ x x 6 6 6 4] (Db F Ab): major triad
Db #5 or Dbaug [ x 0 3 2 2 1] (Db F A): augmented triad
Db #5 or Dbaug [ x 0 x 2 2 1] (Db F A): augmented triad
Db b5 [ x x 3 0 2 1] (Db F G): flat 5th
Db/B [ x 4 3 4 0 4] (Db F Ab B): major triad (altered bass)
Db/Bb [ x 1 3 1 2 1] (Db F Ab Bb): major triad (altered bass)
Db/C [ x 3 3 1 2 1] (C Db F Ab): major triad (altered bass)
Db/C [ x 4 6 5 6 4] (C Db F Ab): major triad (altered bass)
Db5 or Db(no 3rd) [x 4 6 6 x 4] (Db Ab): root and 5th (power chord)
Db6 [ x 1 3 1 2 1] (Db F Ab Bb): major triad plus 6th
Db7 or Dbdom 7 [ x 4 3 4 0 4] (Db F Ab B): major triad, minor 7th
Dbaug/D [ x x 0 2 2 1] (Db D F A): augmented triad (altered bass)
Dbaug/G [ 1 0 3 0 2 1] (Db F G A): augmented triad (altered bass)
Dbdim/A [ 3 x 2 2 2 0] (Db E G A): diminished triad (altered bass)
Dbdim/A [ x 0 2 0 2 0] (Db E G A): diminished triad (altered bass)
Dbdim/A [ x 0 2 2 2 3] (Db E G A): diminished triad (altered bass)
Dbdim/B [ 0 2 2 0 2 0] (Db E G B): diminished triad (altered bass)
Dbdim/Bb [ x 1 2 0 2 0] (Db E G Bb): diminished triad (altered bass)
Dbdim/Bb [ x x 2 3 2 3] (Db E G Bb): diminished triad (altered bass)
Dbdim/D [ 3 x 0 0 2 0] (Db D E G): diminished triad (altered bass)
Dbdim/D [ x x 0 0 2 0] (Db D E G): diminished triad (altered bass)
Dbdim7 [ x 1 2 0 2 0] (Db E G Bb): diminished triad, diminished 7th
Dbdim7 [ x x 2 3 2 3] (Db E G Bb): diminished triad, diminished 7th
Dbm [ x 4 6 6 5 4] (Db E Ab): minor triad
Dbm [ x x 2 1 2 0] (Db E Ab): minor triad
Dbm [ x 4 6 6 x 0] (Db E Ab): minor triad
Dbm/A [ x 0 2 1 2 0] (Db E Ab A): minor triad (altered bass)
Dbm/B [ 0 2 2 1 2 0] (Db E Ab B): minor triad (altered bass)
Dbm/B [ x 4 6 4 5 4] (Db E Ab B): minor triad (altered bass)
Dbm7 [ 0 2 2 1 2 0] (Db E Ab B): minor triad, minor 7th
Dbm7 [ x 4 6 4 5 4] (Db E Ab B): minor triad, minor 7th
Dbm7(b5) or Dbo7 [ 0 2 2 0 2 0] (Db E G B): diminished triad, minor 7th : half-diminished 7th
Dbmaj7 or Db#7 [ x 3 3 1 2 1] (C Db F Ab): major triad, major 7th
Dbmaj7 or Db#7 [ x 4 6 5 6 4] (C Db F Ab): major triad, major 7th
Dbsus2 or Dbadd9(no3) [ x x 6 6 4 4] (Db Eb Ab): no 3rd but a 2nd from a major triad
Dbsus4/Bb [ x x 4 3 2 4] (Db Gb Ab Bb): sus4 triad (altered bass)
Ddim/B [ x 2 0 1 0 1] (D F Ab B): diminished triad (altered bass)
Ddim/B [ x x 0 1 0 1] (D F Ab B): diminished triad (altered bass)
Ddim/B [ x x 3 4 3 4] (D F Ab B): diminished triad (altered bass)
Ddim/Bb [ x 1 3 1 3 1] (D F Ab Bb): diminished triad (altered bass)
Ddim/Bb [ x x 3 3 3 4] (D F Ab Bb): diminished triad (altered bass)
Ddim/C [ x x 0 1 1 1] (C D F Ab): diminished triad (altered bass)
Ddim7 [ x 2 0 1 0 1] (D F Ab B): diminished triad, diminished 7th
Ddim7 [ x x 0 1 0 1] (D F Ab B): diminished triad, diminished 7th
Ddim7 [ x x 3 4 3 4] (D F Ab B): diminished triad, diminished 7th
D-MOLOVI AKORDI
Dm [ x 0 0 2 3 1] (D F A): minor triad
Dm/B [ 1 2 3 2 3 1] (D F A B): minor triad (altered bass)
Dm/B [ x 2 0 2 0 1] (D F A B): minor triad (altered bass)
Dm/B [ x x 0 2 0 1] (D F A B): minor triad (altered bass)
Dm/Bb [ 1 1 3 2 3 1] (D F A Bb): minor triad (altered bass)
Dm/C [ x 5 7 5 6 5] (C D F A): minor triad (altered bass)
Dm/C [ x x 0 2 1 1] (C D F A): minor triad (altered bass)
Dm/C [ x x 0 5 6 5] (C D F A): minor triad (altered bass)
Dm/Db [ x x 0 2 2 1] (Db D F A): minor triad (altered bass)
Dm/E [ x x 7 7 6 0] (D E F A): minor triad (altered bass)
Dm6 [ 1 2 3 2 3 1] (D F A B): minor triad plus 6th
Dm6 [ x 2 0 2 0 1] (D F A B): minor triad plus 6th
Dm6 [ x x 0 2 0 1] (D F A B): minor triad plus 6th
Dm7 [ x 5 7 5 6 5] (C D F A): minor triad, minor 7th
Dm7 [ x x 0 2 1 1] (C D F A): minor triad, minor 7th
Dm7 [ x x 0 5 6 5] (C D F A): minor triad, minor 7th
Dm7(b5) or Do7 [ x x 0 1 1 1] (C D F Ab): diminished triad, minor 7th : half-diminished 7th
Dm7/add11 or Dm7/11 [ 3 x 0 2 1 1] (C D F G A): minor triad, minor 7th, plus 11th
Dmaj7 or D#7 [ x x 0 14 14 14] (Db D Gb A): major triad, major 7th
Dmaj7 or D#7 [ x x 0 2 2 2] (Db D Gb A): major triad, major 7th
Dmin/maj7 [ x x 0 2 2 1] (Db D F A): minor triad, major 7th
Dsus or Dsus4 [ 5 x 0 0 3 5] (D G A): no 3rd but a 4th from a major triad
Dsus or Dsus4 [ 3 0 0 0 3 3] (D G A): no 3rd but a 4th from a major triad
Dsus or Dsus4 [ x 0 0 0 3 3] (D G A): no 3rd but a 4th from a major triad
Dsus or Dsus4 [ x x 0 2 3 3] (D G A): no 3rd but a 4th from a major triad
Dsus2 or Dadd9(no3) [5 5 7 7 x 0] (D E A): no 3rd but a 2nd from a major triad
Dsus2 or Dadd9(no3) [x 0 0 2 3 0] (D E A): no 3rd but a 2nd from a major triad
Dsus2 or Dadd9(no3) [0 0 2 2 3 0] (D E A): no 3rd but a 2nd from a major triad
Dsus2 or Dadd9(no3) [x 0 2 2 3 0] (D E A): no 3rd but a 2nd from a major triad
Dsus2 or Dadd9(no3) [x x 0 2 3 0] (D E A): no 3rd but a 2nd from a major triad
Dsus2/Ab [ 4 x 0 2 3 0] (D E Ab A): sus2 triad (altered bass)
Dsus2/B [ 0 2 0 2 0 0] (D E A B): sus2 triad (altered bass)
Dsus2/B [ x 2 0 2 3 0] (D E A B): sus2 triad (altered bass)
Dsus2/Bb [ 0 1 x 2 3 0] (D E A Bb): sus2 triad (altered bass)
Dsus2/C [ x x 0 2 1 0] (C D E A): sus2 triad (altered bass)
Dsus2/C [ x x 0 5 5 5] (C D E A): sus2 triad (altered bass)
Dsus2/Db [ x 0 0 2 2 0] (Db D E A): sus2 triad (altered bass)
Dsus2/Db [ x x 0 2 2 0] (Db D E A): sus2 triad (altered bass)
Dsus2/Db [ x x 0 6 5 5] (Db D E A): sus2 triad (altered bass)
Dsus2/Db [ x x 0 9 10 9] (Db D E A): sus2 triad (altered bass)
Dsus2/F [ x x 7 7 6 0] (D E F A): sus2 triad (altered bass)
Dsus2/G [ x 0 2 0 3 0] (D E G A): sus2 triad (altered bass)
Dsus2/G [ x 0 2 0 3 3] (D E G A): sus2 triad (altered bass)
Dsus2/G [ x 0 2 2 3 3] (D E G A): sus2 triad (altered bass)
Dsus2/G [ 5 x 0 0 3 0] (D E G A): sus2 triad (altered bass)
Dsus2/G [ x 0 0 0 x 0] (D E G A): sus2 triad (altered bass)
Dsus2/Gb [ 0 0 0 2 3 2] (D E Gb A): sus2 triad (altered bass)
Dsus2/Gb [ 0 0 4 2 3 0] (D E Gb A): sus2 triad (altered bass)
Dsus2/Gb [ 2 x 0 2 3 0] (D E Gb A): sus2 triad (altered bass)
Dsus2/Gb [ x 0 2 2 3 2] (D E Gb A): sus2 triad (altered bass)
Dsus2/Gb [ x x 2 2 3 2] (D E Gb A): sus2 triad (altered bass)
Dsus2/Gb [ x 5 4 2 3 0] (D E Gb A): sus2 triad (altered bass)
Dsus2/Gb [ x 9 7 7 x 0] (D E Gb A): sus2 triad (altered bass)
Dsus4/B [ 3 0 0 0 0 3] (D G A B): sus4 triad (altered bass)
Dsus4/B [ 3 2 0 2 0 3] (D G A B): sus4 triad (altered bass)
Dsus4/C [ x 5 7 5 8 3] (C D G A): sus4 triad (altered bass)
Dsus4/C [ x x 0 2 1 3] (C D G A): sus4 triad (altered bass)
Dsus4/E [ x 0 2 0 3 0] (D E G A): sus4 triad (altered bass)
Dsus4/E [ x 0 2 0 3 3] (D E G A): sus4 triad (altered bass)
Dsus4/E [ x 0 2 2 3 3] (D E G A): sus4 triad (altered bass)
Dsus4/E [ 5 x 0 0 3 0] (D E G A): sus4 triad (altered bass)
Dsus4/E [ x 0 0 0 x 0] (D E G A): sus4 triad (altered bass)
Dsus4/Gb [ 5 x 4 0 3 5] (D Gb G A): sus4 triad (altered bass)
Dsus4/Gb [ 3 x 0 2 3 2] (D Gb G A): sus4 triad (altered bass)
E-DUROVI IN Es-DUROVI AKORDI
E or Emaj [ 0 2 2 1 0 0] (E Ab B): major triad
E or Emaj [ x 7 6 4 5 0] (E Ab B): major triad
E #5 or Eaug [ x 3 2 1 1 0] (C E Ab): augmented triad
E/A [ x 0 2 1 0 0] (E Ab A B): major triad (altered bass)
E/D [ 0 2 0 1 0 0] (D E Ab B): major triad (altered bass)
E/D [ 0 2 2 1 3 0] (D E Ab B): major triad (altered bass)
E/D [ x 2 0 1 3 0] (D E Ab B): major triad (altered bass)
E/D [ x x 0 1 0 0] (D E Ab B): major triad (altered bass)
E/Db [ 0 2 2 1 2 0] (Db E Ab B): major triad (altered bass)
E/Db [ x 4 6 4 5 4] (Db E Ab B): major triad (altered bass)
E/Eb [ 0 2 1 1 0 0] (Eb E Ab B): major triad (altered bass)
E/Eb [ 0 x 6 4 4 0] (Eb E Ab B): major triad (altered bass)
E/Eb [ x x 1 1 0 0] (Eb E Ab B): major triad (altered bass)
E/Gb [ 0 2 2 1 0 2] (E Gb Ab B): major triad (altered bass)
E/Gb [ 0 x 4 1 0 0] (E Gb Ab B): major triad (altered bass)
E/Gb [ 2 2 2 1 0 0] (E Gb Ab B): major triad (altered bass)
E11/b9 [ 0 0 3 4 3 4] (D E F Ab A B): major triad, minor 7th, flat 9th, plus 11th
E5 or E(no 3rd) [ 0 2 x x x 0] (E B): root and 5th (power chord)
E5 or E(no 3rd) [ x 7 9 9 x 0] (E B): root and 5th (power chord)
E6 [ 0 2 2 1 2 0] (Db E Ab B): major triad plus 6th
E6 [ x 4 6 4 5 4] (Db E Ab B): major triad plus 6th
E7 or Edom 7 [ 0 2 0 1 0 0] (D E Ab B): major triad, minor 7th
E7 or Edom 7 [ 0 2 2 1 3 0] (D E Ab B): major triad, minor 7th
E7 or Edom 7 [ x 2 0 1 3 0] (D E Ab B): major triad, minor 7th
E7 or Edom 7 [ x x 0 1 0 0] (D E Ab B): major triad, minor 7th
E7/add11 or E7/11 [ x 0 0 1 0 0] (D E Ab A B): major triad, minor 7th, plus 11th
E7/b9(b5) [ 0 1 3 1 3 1] (D E F Ab Bb): diminished 5th, minor 7th, flat 9th
E7sus4 [ 0 2 0 2 0 0] (D E A B): sus4 triad, minor 7th
E9 or Edom 9 [ 0 2 0 1 0 2] (D E Gb Ab B): major triad, minor 7th plus 9th
E9 or Edom 9 [ 2 2 0 1 0 0] (D E Gb Ab B): major triad, minor 7th plus 9th
Eadd9 or E2 [ 0 2 2 1 0 2] (E Gb Ab B): major triad plus 9th
Eadd9 or E2 [ 0 x 4 1 0 0] (E Gb Ab B): major triad plus 9th
Eadd9 or E2 [ 2 2 2 1 0 0] (E Gb Ab B): major triad plus 9th
Eb or Ebmaj [ x 1 1 3 4 3] (Eb G Bb): major triad
Eb or Ebmaj [ x x 1 3 4 3] (Eb G Bb): major triad
Eb or Ebmaj [ x x 5 3 4 3] (Eb G Bb): major triad
Eb #5 or Ebaug [ 3 2 1 0 0 3] (Eb G B): augmented triad
Eb #5 or Ebaug [ 3 x 1 0 0 3] (Eb G B): augmented triad
Eb/C [ x 3 5 3 4 3] (C Eb G Bb): major triad (altered bass)
Eb/D [ x 6 8 7 8 6] (D Eb G Bb): major triad (altered bass)
Eb/Db [ x 1 1 3 2 3] (Db Eb G Bb): major triad (altered bass)
Eb/Db [ x 6 8 6 8 6] (Db Eb G Bb): major triad (altered bass)
Eb/Db [ x x 1 3 2 3] (Db Eb G Bb): major triad (altered bass)
Eb/E [ x x 5 3 4 0] (Eb E G Bb): major triad (altered bass)
Eb5 or Eb(no 3rd) [x 6 8 8 x 6] (Eb Bb): root and 5th (power chord)
Eb6 [ x 3 5 3 4 3] (C Eb G Bb): major triad plus 6th
Eb7 or Ebdom 7 [ x 1 1 3 2 3] (Db Eb G Bb): major triad, minor 7th
Eb7 or Ebdom 7 [ x 6 8 6 8 6] (Db Eb G Bb): major triad, minor 7th
Eb7 or Ebdom 7 [ x x 1 3 2 3] (Db Eb G Bb): major triad, minor 7th
Ebaug/E [ 3 x 1 0 0 0] (Eb E G B): augmented triad (altered bass)
Ebaug/E [ x x 1 0 0 0] (Eb E G B): augmented triad (altered bass)
Ebdim/B [ 2 x 1 2 0 2] (Eb Gb A B): diminished triad (altered bass)
Ebdim/B [ x 0 1 2 0 2] (Eb Gb A B): diminished triad (altered bass)
Ebdim/B [ x 2 1 2 0 2] (Eb Gb A B): diminished triad (altered bass)
Ebdim/B [ x 2 4 2 4 2] (Eb Gb A B): diminished triad (altered bass)
Ebdim/C [ x x 1 2 1 2] (C Eb Gb A): diminished triad (altered bass)
Ebdim7 [ x x 1 2 1 2] (C Eb Gb A): diminished triad, diminished 7th
Ebm [ x x 4 3 4 2] (Eb Gb Bb): minor triad
Ebm/Db [ x x 1 3 2 2] (Db Eb Gb Bb): minor triad (altered bass)
Ebm7 [ x x 1 3 2 2] (Db Eb Gb Bb): minor triad, minor 7th
Ebmaj7 or Eb#7 [ x 6 8 7 8 6] (D Eb G Bb): major triad, major 7th
Ebsus2/Ab [ x 1 3 1 4 1] (Eb F Ab Bb): sus2 triad (altered bass)
Ebsus4/F [ x 1 3 1 4 1] (Eb F Ab Bb): sus4 triad (altered bass)
Edim/C [ x 3 5 3 5 3] (C E G Bb): diminished triad (altered bass)
Edim/D [ 3 x 0 3 3 0] (D E G Bb): diminished triad (altered bass)
Edim/Db [ x 1 2 0 2 0] (Db E G Bb): diminished triad (altered bass)
Edim/Db [ x x 2 3 2 3] (Db E G Bb): diminished triad (altered bass)
Edim/Eb [ x x 5 3 4 0] (Eb E G Bb): diminished triad (altered bass)
Edim7 [ x 1 2 0 2 0] (Db E G Bb): diminished triad, diminished 7th
Edim7 [ x x 2 3 2 3] (Db E G Bb): diminished triad, diminished 7th
E-MOLOVI AKORDI
Em [ 0 2 2 0 0 0] (E G B): minor triad
Em [ 3 x 2 0 0 0] (E G B): minor triad
Em [ x 2 5 x x 0] (E G B): minor triad
Em/A [ 3 x 2 2 0 0] (E G A B): minor triad (altered bass)
Em/A [ x 0 2 0 0 0] (E G A B): minor triad (altered bass)
Em/A [ x 0 5 4 5 0] (E G A B): minor triad (altered bass)
Em/C [ 0 3 2 0 0 0] (C E G B): minor triad (altered bass)
Em/C [ x 2 2 0 1 0] (C E G B): minor triad (altered bass)
Em/C [ x 3 5 4 5 3] (C E G B): minor triad (altered bass)
Em/D [ 0 2 0 0 0 0] (D E G B): minor triad (altered bass)
Em/D [ 0 2 0 0 3 0] (D E G B): minor triad (altered bass)
Em/D [ 0 2 2 0 3 0] (D E G B): minor triad (altered bass)
Em/D [ 0 2 2 0 3 3] (D E G B): minor triad (altered bass)
Em/D [ x x 0 12 12 12] (D E G B): minor triad (altered bass)
Em/D [ x x 0 9 8 7] (D E G B): minor triad (altered bass)
Em/D [ x x 2 4 3 3] (D E G B): minor triad (altered bass)
Em/D [ 0 x 0 0 0 0] (D E G B): minor triad (altered bass)
Em/D [ x 10 12 12 12 0] (D E G B): minor triad (altered bass)
Em/Db [ 0 2 2 0 2 0] (Db E G B): minor triad (altered bass)
Em/Eb [ 3 x 1 0 0 0] (Eb E G B): minor triad (altered bass)
Em/Eb [ x x 1 0 0 0] (Eb E G B): minor triad (altered bass)
Em/Gb [ 0 2 2 0 0 2] (E Gb G B): minor triad (altered bass)
Em/Gb [ 0 2 4 0 0 0] (E Gb G B): minor triad (altered bass)
Em/Gb [ 0 x 4 0 0 0] (E Gb G B): minor triad (altered bass)
Em/Gb [ 2 2 2 0 0 0] (E Gb G B): minor triad (altered bass)
Em6 [ 0 2 2 0 2 0] (Db E G B): minor triad plus 6th
Em7 [ 0 2 0 0 0 0] (D E G B): minor triad, minor 7th
Em7 [ 0 2 0 0 3 0] (D E G B): minor triad, minor 7th
Em7 [ 0 2 2 0 3 0] (D E G B): minor triad, minor 7th
Em7 [ 0 2 2 0 3 3] (D E G B): minor triad, minor 7th
Em7 [ x x 0 0 0 0] (D E G B): minor triad, minor 7th
Em7 [ x x 0 12 12 12] (D E G B): minor triad, minor 7th
Em7 [ x x 0 9 8 7] (D E G B): minor triad, minor 7th
Em7 [ x x 2 4 3 3] (D E G B): minor triad, minor 7th
Em7 [ 0 x 0 0 0 0] (D E G B): minor triad, minor 7th
Em7 [ x 10 12 12 12 0] (D E G B): minor triad, minor 7th
Em7(b5) or Eo7 [ 3 x 0 3 3 0] (D E G Bb): diminished triad, minor 7th : half-diminished 7th
Em7/add11 or Em7/11 [ 0 0 0 0 0 0] (D E G A B): minor triad, minor 7th, plus 11th
Em7/add11 or Em7/11 [ 0 0 0 0 0 3] (D E G A B): minor triad, minor 7th, plus 11th
Em7/add11 or Em7/11 [ 3 x 0 2 0 0] (D E G A B): minor triad, minor 7th, plus 11th
Em9 [ 0 2 0 0 0 2] (D E Gb G B): minor triad, minor 7th plus 9th
Em9 [ 0 2 0 0 3 2] (D E Gb G B): minor triad, minor 7th plus 9th
Em9 [ 2 2 0 0 0 0] (D E Gb G B): minor triad, minor 7th plus 9th
Emaj7 or E#7 [ 0 2 1 1 0 0] (Eb E Ab B): major triad, major 7th
Emaj7 or E#7 [ 0 x 6 4 4 0] (Eb E Ab B): major triad, major 7th
Emaj7 or E#7 [ x x 1 1 0 0] (Eb E Ab B): major triad, major 7th
Emaj9 or E9(#7) [ 0 2 1 1 0 2] (Eb E Gb Ab B): major triad, major 7th plus 9th
Emaj9 or E9(#7) [ 4 x 4 4 4 0] (Eb E Gb Ab B): major triad, major 7th plus 9th
Emin/maj7 [ 3 x 1 0 0 0] (Eb E G B): minor triad, major 7th
Emin/maj7 [ x x 1 0 0 0] (Eb E G B): minor triad, major 7th
Emin/maj9 [ 0 6 4 0 0 0] (Eb E Gb G B): minor triad, major 7th plus 9th
Esus or Esus4 [ 0 0 2 2 0 0] (E A B): no 3rd but a 4th from a major triad
Esus or Esus4 [ 0 0 2 4 0 0] (E A B): no 3rd but a 4th from a major triad
Esus or Esus4 [ 0 2 2 2 0 0] (E A B): no 3rd but a 4th from a major triad
Esus or Esus4 [ x 0 2 2 0 0] (E A B): no 3rd but a 4th from a major triad
Esus or Esus4 [ x x 2 2 0 0] (E A B): no 3rd but a 4th from a major triad
Esus2 or Eadd9(no3) [7 9 9 x x 0] (E Gb B): no 3rd but a 2nd from a major triad
Esus2 or Eadd9(no3) [x 2 4 4 x 0] (E Gb B): no 3rd but a 2nd from a major triad
Esus2/A [ x 0 4 4 0 0] (E Gb A B): sus2 triad (altered bass)
Esus2/A [ x 2 4 2 5 2] (E Gb A B): sus2 triad (altered bass)
Esus2/Ab [ 0 2 2 1 0 2] (E Gb Ab B): sus2 triad (altered bass)
Esus2/Ab [ 0 x 4 1 0 0] (E Gb Ab B): sus2 triad (altered bass)
Esus2/Ab [ 2 2 2 1 0 0] (E Gb Ab B): sus2 triad (altered bass)
Esus2/Db [ x 4 4 4 x 0] (Db E Gb B): sus2 triad (altered bass)
Esus2/Eb [ x 2 2 4 4 2] (Eb E Gb B): sus2 triad (altered bass)
Esus2/Eb [ x x 4 4 4 0] (Eb E Gb B): sus2 triad (altered bass)
Esus2/G [ 0 2 2 0 0 2] (E Gb G B): sus2 triad (altered bass)
Esus2/G [ 0 2 4 0 0 0] (E Gb G B): sus2 triad (altered bass)
Esus2/G [ 0 x 4 0 0 0] (E Gb G B): sus2 triad (altered bass)
Esus2/G [ 2 2 2 0 0 0] (E Gb G B): sus2 triad (altered bass)
Esus4/Ab [ x 0 2 1 0 0] (E Ab A B): sus4 triad (altered bass)
Esus4/C [ 0 0 7 5 0 0] (C E A B): sus4 triad (altered bass)
Esus4/C [ x 3 2 2 0 0] (C E A B): sus4 triad (altered bass)
Esus4/D [ 0 2 0 2 0 0] (D E A B): sus4 triad (altered bass)
Esus4/D [ x 2 0 2 3 0] (D E A B): sus4 triad (altered bass)
Esus4/Db [ 0 0 2 4 2 0] (Db E A B): sus4 triad (altered bass)
Esus4/Db [ x 0 7 6 0 0] (Db E A B): sus4 triad (altered bass)
Esus4/Eb [ x 2 1 2 0 0] (Eb E A B): sus4 triad (altered bass)
Esus4/F [ 0 0 3 2 0 0] (E F A B): sus4 triad (altered bass)
Esus4/G [ 3 x 2 2 0 0] (E G A B): sus4 triad (altered bass)
Esus4/G [ x 0 2 0 0 0] (E G A B): sus4 triad (altered bass)
Esus4/G [ x 0 5 4 5 0] (E G A B): sus4 triad (altered bass)
Esus4/Gb [ x 0 4 4 0 0] (E Gb A B): sus4 triad (altered bass)
Esus4/Gb [ x 2 4 2 5 2] (E Gb A B): sus4 triad (altered bass)
F-DUROVI AKORDI
F or Fmaj [ 1 3 3 2 1 1] (C F A): major triad
F or Fmaj [ x 0 3 2 1 1] (C F A): major triad
F or Fmaj [ x 3 3 2 1 1] (C F A): major triad
F or Fmaj [ x x 3 2 1 1] (C F A): major triad
F #5 or Faug [ x 0 3 2 2 1] (Db F A): augmented triad
F #5 or Faug [ x 0 x 2 2 1] (Db F A): augmented triad
F/D [ x 5 7 5 6 5] (C D F A): major triad (altered bass)
F/D [ x x 0 2 1 1] (C D F A): major triad (altered bass)
F/D [ x x 0 5 6 5] (C D F A): major triad (altered bass)
F/E [ 0 0 3 2 1 0] (C E F A): major triad (altered bass)
F/E [ 1 3 3 2 1 0] (C E F A): major triad (altered bass)
F/E [ 1 x 2 2 1 0] (C E F A): major triad (altered bass)
F/E [ x x 2 2 1 1] (C E F A): major triad (altered bass)
F/E [ x x 3 2 1 0] (C E F A): major triad (altered bass)
F/Eb [ x x 1 2 1 1] (C Eb F A): major triad (altered bass)
F/Eb [ x x 3 5 4 5] (C Eb F A): major triad (altered bass)
F/G [ 3 x 3 2 1 1] (C F G A): major triad (altered bass)
F/G [ x x 3 2 1 3] (C F G A): major triad (altered bass)
F5 or F(no 3rd) [ 1 3 3 x x 1] (C F): root and 5th (power chord)
F5 or F(no 3rd) [ x 8 10 x x 1] (C F): root and 5th (power chord)
F6 [ x 5 7 5 6 5] (C D F A): major triad plus 6th
F6 [ x x 0 2 1 1] (C D F A): major triad plus 6th
F6 [ x x 0 5 6 5] (C D F A): major triad plus 6th
F6/add9 or F6/9 [ 3 x 0 2 1 1] (C D F G A): major triad plus 6th and 9th
F7 or Fdom 7 [ x x 1 2 1 1] (C Eb F A): major triad, minor 7th
F7 or Fdom 7 [ x x 3 5 4 5] (C Eb F A): major triad, minor 7th
Fadd9 or F2 [ 3 x 3 2 1 1] (C F G A): major triad plus 9th
Fadd9 or F2 [ x x 3 2 1 3] (C F G A): major triad plus 9th
Faug/D [ x x 0 2 2 1] (Db D F A): augmented triad (altered bass)
Faug/G [ 1 0 3 0 2 1] (Db F G A): augmented triad (altered bass)
Fdim/D [ x 2 0 1 0 1] (D F Ab B): diminished triad (altered bass)
Fdim/D [ x x 0 1 0 1] (D F Ab B): diminished triad (altered bass)
Fdim/D [ x x 3 4 3 4] (D F Ab B): diminished triad (altered bass)
Fdim/Db [ x 4 3 4 0 4] (Db F Ab B): diminished triad (altered bass)
Fdim7 [ x 2 0 1 0 1] (D F Ab B): diminished triad, diminished 7th
Fdim7 [ x x 0 1 0 1] (D F Ab B): diminished triad, diminished 7th
Fdim7 [ x x 3 4 3 4] (D F Ab B): diminished triad, diminished 7th
F-MOLOVI AKORDI
Fm [ x 3 3 1 1 1] (C F Ab): minor triad
Fm [ x x 3 1 1 1] (C F Ab): minor triad
Fm/D [ x x 0 1 1 1] (C D F Ab): minor triad (altered bass)
Fm/Db [ x 3 3 1 2 1] (C Db F Ab): minor triad (altered bass)
Fm/Db [ x 4 6 5 6 4] (C Db F Ab): minor triad (altered bass)
Fm/Eb [ x 8 10 8 9 8] (C Eb F Ab): minor triad (altered bass)
Fm/Eb [ x x 1 1 1 1] (C Eb F Ab): minor triad (altered bass)
Fm6 [ x x 0 1 1 1] (C D F Ab): minor triad plus 6th
Fm7 [ x 8 10 8 9 8] (C Eb F Ab): minor triad, minor 7th
Fm7 [ x x 1 1 1 1] (C Eb F Ab): minor triad, minor 7th
Fmaj7 or F#7 [ 0 0 3 2 1 0] (C E F A): major triad, major 7th
Fmaj7 or F#7 [ 1 3 3 2 1 0] (C E F A): major triad, major 7th
Fmaj7 or F#7 [ 1 x 2 2 1 0] (C E F A): major triad, major 7th
Fmaj7 or F#7 [ x x 2 2 1 1] (C E F A): major triad, major 7th
Fmaj7 or F#7 [ x x 3 2 1 0] (C E F A): major triad, major 7th
Fmaj7/#11 [ 0 2 3 2 1 0] (C E F A B): major triad, major 7th, augmented 11th
Fmaj7/#11 [ 1 3 3 2 0 0] (C E F A B): major triad, major 7th, augmented 11th
Fmaj9 or F9(#7) [ 0 0 3 0 1 3] (C E F G A): major triad, major 7th plus 9th
Fsus or Fsus4 [ x x 3 3 1 1] (C F Bb): no 3rd but a 4th from a major triad
Fsus2 or Fadd9(no3) [x 3 3 0 1 1] (C F G): no 3rd but a 2nd from a major triad
Fsus2 or Fadd9(no3) [x x 3 0 1 1] (C F G): no 3rd but a 2nd from a major triad
Fsus2/A [ 3 x 3 2 1 1] (C F G A): sus2 triad (altered bass)
Fsus2/A [ x x 3 2 1 3] (C F G A): sus2 triad (altered bass)
Fsus2/B [ x 3 3 0 0 3] (C F G B): sus2 triad (altered bass)
Fsus2/Bb [ x 3 5 3 6 3] (C F G Bb): sus2 triad (altered bass)
Fsus2/D [ 3 3 0 0 1 1] (C D F G): sus2 triad (altered bass)
Fsus2/E [ x 3 3 0 1 0] (C E F G): sus2 triad (altered bass)
Fsus2/E [ x x 3 0 1 0] (C E F G): sus2 triad (altered bass)
Fsus4/G [ x 3 5 3 6 3] (C F G Bb): sus4 triad (altered bass)
G-DUROVI IN Ges-DUROVI AKORDI
G or Gmaj [ x 10 12 12 12 10] (D G B): major triad
G or Gmaj [ 3 2 0 0 0 3] (D G B): major triad
G or Gmaj [ 3 2 0 0 3 3] (D G B): major triad
G or Gmaj [ 3 5 5 4 3 3] (D G B): major triad
G or Gmaj [ 3 x 0 0 0 3] (D G B): major triad
G or Gmaj [ x 5 5 4 3 3] (D G B): major triad
G or Gmaj [ x x 0 4 3 3] (D G B): major triad
G or Gmaj [ x x 0 7 8 7] (D G B): major triad
G #5 or Gaug [ 3 2 1 0 0 3] (Eb G B): augmented triad
G #5 or Gaug [ 3 x 1 0 0 3] (Eb G B): augmented triad
G/A [ 3 0 0 0 0 3] (D G A B): major triad (altered bass)
G/A [ 3 2 0 2 0 3] (D G A B): major triad (altered bass)
G/C [ 3 3 0 0 0 3] (C D G B): major triad (altered bass)
G/C [ x 3 0 0 0 3] (C D G B): major triad (altered bass)
G/E [ 0 2 0 0 0 0] (D E G B): major triad (altered bass)
G/E [ 0 2 0 0 3 0] (D E G B): major triad (altered bass)
G/E [ 0 2 2 0 3 0] (D E G B): major triad (altered bass)
G/E [ 0 2 2 0 3 3] (D E G B): major triad (altered bass)
G/E [ x x 0 12 12 12] (D E G B): major triad (altered bass)
G/E [ x x 0 9 8 7] (D E G B): major triad (altered bass)
G/E [ x x 2 4 3 3] (D E G B): major triad (altered bass)
G/E [ 0 x 0 0 0 0] (D E G B): major triad (altered bass)
G/E [ x 10 12 12 12 0] (D E G B): major triad (altered bass)
G/F [ 1 x 0 0 0 3] (D F G B): major triad (altered bass)
G/F [ 3 2 0 0 0 1] (D F G B): major triad (altered bass)
G/F [ x x 0 0 0 1] (D F G B): major triad (altered bass)
G/Gb [ 2 2 0 0 0 3] (D Gb G B): major triad (altered bass)
G/Gb [ 2 2 0 0 3 3] (D Gb G B): major triad (altered bass)
G/Gb [ 3 2 0 0 0 2] (D Gb G B): major triad (altered bass)
G/Gb [ x x 4 4 3 3] (D Gb G B): major triad (altered bass)
G5 or G(no 3rd) [ 3 5 5 x x 3] (D G): root and 5th (power chord)
G5 or G(no 3rd) [ 3 x 0 0 3 3] (D G): root and 5th (power chord)
G6 [ 0 2 0 0 0 0] (D E G B): major triad plus 6th
G6 [ 0 2 0 0 3 0] (D E G B): major triad plus 6th
G6 [ 0 2 2 0 3 0] (D E G B): major triad plus 6th
G6 [ 0 2 2 0 3 3] (D E G B): major triad plus 6th
G6 [ x x 0 12 12 12] (D E G B): major triad plus 6th
G6 [ x x 0 9 8 7] (D E G B): major triad plus 6th
G6 [ x x 2 4 3 3] (D E G B): major triad plus 6th
G6 [ 0 x 0 0 0 0] (D E G B): major triad plus 6th
G6 [ x 10 12 12 12 0] (D E G B): major triad plus 6th
G6/add9 or G6/9 [ 0 0 0 0 0 0] (D E G A B): major triad plus 6th and 9th
G6/add9 or G6/9 [ 0 0 0 0 0 3] (D E G A B): major triad plus 6th and 9th
G6/add9 or G6/9 [ 3 x 0 2 0 0] (D E G A B): major triad plus 6th and 9th
G7 or Gdom 7 [ 1 x 0 0 0 3] (D F G B): major triad, minor 7th
G7 or Gdom 7 [ 3 2 0 0 0 1] (D F G B): major triad, minor 7th
G7 or Gdom 7 [ x x 0 0 0 1] (D F G B): major triad, minor 7th
G7/add11 or G7/11 [ x 3 0 0 0 1] (C D F G B): major triad, minor 7th, plus 11th
G7sus4 [ 3 3 0 0 1 1] (C D F G): sus4 triad, minor 7th
G9 or Gdom 9 [ x 0 0 0 0 1] (D F G A B): major triad, minor 7th plus 9th
G9 or Gdom 9 [ x 2 3 2 3 3] (D F G A B): major triad, minor 7th plus 9th
Gadd9 or G2 [ 3 0 0 0 0 3] (D G A B): major triad plus 9th
Gadd9 or G2 [ 3 2 0 2 0 3] (D G A B): major triad plus 9th
Gaug/E [ 3 x 1 0 0 0] (Eb E G B): augmented triad (altered bass)
Gaug/E [ x x 1 0 0 0] (Eb E G B): augmented triad (altered bass)
Gb or Gbmaj [ 2 4 4 3 2 2] (Db Gb Bb): major triad
Gb or Gbmaj [ x 4 4 3 2 2] (Db Gb Bb): major triad
Gb or Gbmaj [ x x 4 3 2 2] (Db Gb Bb): major triad
Gb #5 or Gbaug [ x x 0 3 3 2] (D Gb Bb): augmented triad
Gb/Ab [ x x 4 3 2 4] (Db Gb Ab Bb): major triad (altered bass)
Gb/E [ 2 4 2 3 2 2] (Db E Gb Bb): major triad (altered bass)
Gb/E [ x x 4 3 2 0] (Db E Gb Bb): major triad (altered bass)
Gb/Eb [ x x 1 3 2 2] (Db Eb Gb Bb): major triad (altered bass)
Gb/F [ x x 3 3 2 2] (Db F Gb Bb): major triad (altered bass)
Gb6 [ x x 1 3 2 2] (Db Eb Gb Bb): major triad plus 6th
Gb7 or Gbdom 7 [ 2 4 2 3 2 2] (Db E Gb Bb): major triad, minor 7th
Gb7 or Gbdom 7 [ x x 4 3 2 0] (Db E Gb Bb): major triad, minor 7th
Gb7(#5) [ 2 x 4 3 3 0] (D E Gb Bb): minor 7th, sharp 5th
Gb7/#9 [ x 0 4 3 2 0] (Db E Gb A Bb): major triad, minor 7th augmented 9th
Gb7sus4 [ x 4 4 4 x 0] (Db E Gb B): sus4 triad, minor 7th
Gbadd9 or Gb2 [ x x 4 3 2 4] (Db Gb Ab Bb): major triad plus 9th
Gbaug/E [ 2 x 4 3 3 0] (D E Gb Bb): augmented triad (altered bass)
Gbdim/D [ x 5 7 5 7 2] (C D Gb A): diminished triad (altered bass)
Gbdim/D [ x 0 0 2 1 2] (C D Gb A): diminished triad (altered bass)
Gbdim/D [ x 3 x 2 3 2] (C D Gb A): diminished triad (altered bass)
Gbdim/D [ x 5 7 5 7 5] (C D Gb A): diminished triad (altered bass)
Gbdim/E [ x 0 2 2 1 2] (C E Gb A): diminished triad (altered bass)
Gbdim/E [ x x 2 2 1 2] (C E Gb A): diminished triad (altered bass)
Gbdim/Eb [ x x 1 2 1 2] (C Eb Gb A): diminished triad (altered bass)
Gbdim7 [ x x 1 2 1 2] (C Eb Gb A): diminished triad, diminished 7th
Gbm [ 2 4 4 2 2 2] (Db Gb A): minor triad
Gbm [ x 4 4 2 2 2] (Db Gb A): minor triad
Gbm [ x x 4 2 2 2] (Db Gb A): minor triad
Gbm/D [ x x 0 14 14 14] (Db D Gb A): minor triad (altered bass)
Gbm/D [ x x 0 2 2 2] (Db D Gb A): minor triad (altered bass)
Gbm/E [ 0 0 2 2 2 2] (Db E Gb A): minor triad (altered bass)
Gbm/E [ 0 x 4 2 2 0] (Db E Gb A): minor triad (altered bass)
Gbm/E [ 2 x 2 2 2 0] (Db E Gb A): minor triad (altered bass)
Gbm/E [ x 0 4 2 2 0] (Db E Gb A): minor triad (altered bass)
Gbm/E [ x x 2 2 2 2] (Db E Gb A): minor triad (altered bass)
Gbm7 [ 0 0 2 2 2 2] (Db E Gb A): minor triad, minor 7th
Gbm7 [ 0 x 4 2 2 0] (Db E Gb A): minor triad, minor 7th
Gbm7 [ 2 x 2 2 2 0] (Db E Gb A): minor triad, minor 7th
Gbm7 [ x 0 4 2 2 0] (Db E Gb A): minor triad, minor 7th
Gbm7 [ x x 2 2 2 2] (Db E Gb A): minor triad, minor 7th
Gbm7(b5) or Gbo7 [ x 0 2 2 1 2] (C E Gb A): diminished triad, minor 7th : half-diminished 7th
Gbm7(b5) or Gbo7 [ x x 2 2 1 2] (C E Gb A): diminished triad, minor 7th : half-diminished 7th
Gbm7/b9 [ 0 0 2 0 2 2] (Db E Gb G A): minor triad, minor 7th flat 9th
Gbmaj7 or Gb#7 [ x x 3 3 2 2] (Db F Gb Bb): major triad, major 7th
Gbsus or Gbsus4 [ x 4 4 4 2 2] (Db Gb B): no 3rd but a 4th from a major triad
Gbsus2/Bb [ x x 4 3 2 4] (Db Gb Ab Bb): sus2 triad (altered bass)
Gbsus4/E [ x 4 4 4 x 0] (Db E Gb B): sus4 triad (altered bass)
Gdim/E [ x 1 2 0 2 0] (Db E G Bb): diminished triad (altered bass)
Gdim/E [ x x 2 3 2 3] (Db E G Bb): diminished triad (altered bass)
Gdim/Eb [ x 1 1 3 2 3] (Db Eb G Bb): diminished triad (altered bass)
Gdim/Eb [ x 6 8 6 8 6] (Db Eb G Bb): diminished triad (altered bass)
Gdim/Eb [ x x 1 3 2 3] (Db Eb G Bb): diminished triad (altered bass)
Gdim7 [ x 1 2 0 2 0] (Db E G Bb): diminished triad, diminished 7th
Gdim7 [ x x 2 3 2 3] (Db E G Bb): diminished triad, diminished 7th
G-MOLOVI AKORDI
Gm [ 3 5 5 3 3 3] (D G Bb): minor triad
Gm [ x x 0 3 3 3] (D G Bb): minor triad
Gm/E [ 3 x 0 3 3 0] (D E G Bb): minor triad (altered bass)
Gm/Eb [ x 6 8 7 8 6] (D Eb G Bb): minor triad (altered bass)
Gm/F [ 3 5 3 3 3 3] (D F G Bb): minor triad (altered bass)
Gm/F [ x x 3 3 3 3] (D F G Bb): minor triad (altered bass)
Gm13 [ 0 0 3 3 3 3] (D E F G A Bb): minor triad, minor 7th, plus 9th and 13th
Gm6 [ 3 x 0 3 3 0] (D E G Bb): minor triad plus 6th
Gm7 [ 3 5 3 3 3 3] (D F G Bb): minor triad, minor 7th
Gm7 [ x x 3 3 3 3] (D F G Bb): minor triad, minor 7th
Gm7/add11 or Gm7/11 [ x 3 3 3 3 3] (C D F G Bb): minor triad, minor 7th, plus 11th
Gm9 [ 3 5 3 3 3 5] (D F G A Bb): minor triad, minor 7th plus 9th
Gmaj7 or G#7 [ 2 2 0 0 0 3] (D Gb G B): major triad, major 7th
Gmaj7 or G#7 [ 2 2 0 0 3 3] (D Gb G B): major triad, major 7th
Gmaj7 or G#7 [ 3 2 0 0 0 2] (D Gb G B): major triad, major 7th
Gmaj7 or G#7 [ x x 4 4 3 3] (D Gb G B): major triad, major 7th
Gsus or Gsus4 [ x 10 12 12 13 3] (C D G): no 3rd but a 4th from a major triad
Gsus or Gsus4 [ x 3 0 0 3 3] (C D G): no 3rd but a 4th from a major triad
Gsus or Gsus4 [ x 3 5 5 3 3] (C D G): no 3rd but a 4th from a major triad
Gsus or Gsus4 [ x 5 5 5 3 3] (C D G): no 3rd but a 4th from a major triad
Gsus2 or Gadd9(no3) [5 x 0 0 3 5] (D G A): no 3rd but a 2nd from a major triad
Gsus2 or Gadd9(no3) [3 0 0 0 3 3] (D G A): no 3rd but a 2nd from a major triad
Gsus2 or Gadd9(no3) [x 0 0 0 3 3] (D G A): no 3rd but a 2nd from a major triad
Gsus2 or Gadd9(no3) [x x 0 2 3 3] (D G A): no 3rd but a 2nd from a major triad
Gsus2/B [ 3 0 0 0 0 3] (D G A B): sus2 triad (altered bass)
Gsus2/B [ 3 2 0 2 0 3] (D G A B): sus2 triad (altered bass)
Gsus2/C [ x 5 7 5 8 3] (C D G A): sus2 triad (altered bass)
Gsus2/C [ x x 0 2 1 3] (C D G A): sus2 triad (altered bass)
Gsus2/E [ x 0 2 0 3 0] (D E G A): sus2 triad (altered bass)
Gsus2/E [ x 0 2 0 3 3] (D E G A): sus2 triad (altered bass)
Gsus2/E [ x 0 2 2 3 3] (D E G A): sus2 triad (altered bass)
Gsus2/E [ 5 0 0 0 3 0] (D E G A): sus2 triad (altered bass)
Gsus2/Gb [ 5 x 4 0 3 5] (D Gb G A): sus2 triad (altered bass)
Gsus2/Gb [ 3 x 0 2 3 2] (D Gb G A): sus2 triad (altered bass)
Gsus4/A [ x 5 7 5 8 3] (C D G A): sus4 triad (altered bass)
Gsus4/A [ x x 0 2 1 3] (C D G A): sus4 triad (altered bass)
Gsus4/B [ 3 3 0 0 0 3] (C D G B): sus4 triad (altered bass)
Gsus4/B [ x 3 0 0 0 3] (C D G B): sus4 triad (altered bass)
Gsus4/E [ 3 x 0 0 1 0] (C D E G): sus4 triad (altered bass)
Gsus4/E [ x 3 0 0 1 0] (C D E G): sus4 triad (altered bass)
Gsus4/E [ x 3 2 0 3 0] (C D E G): sus4 triad (altered bass)
Gsus4/E [ x 3 2 0 3 3] (C D E G): sus4 triad (altered bass)
Gsus4/E [ x x 0 0 1 0] (C D E G): sus4 triad (altered bass)
Gsus4/E [ x x 0 5 5 3] (C D E G): sus4 triad (altered bass)
Gsus4/E [ x 10 12 12 13 0] (C D E G): sus4 triad (altered bass)
Gsus4/E [ x 5 5 5 x 0] (C D E G): sus4 triad (altered bass)
Gsus4/F [ 3 3 0 0 1 1] (C D F G): sus4 triad (altered bass)
A-DUROVI IN As-DUROVI AKORDI
A or Amaj [0 0 2 2 2 0] (Db E A) : major triad
A or Amaj [0 4 x 2 5 0] (Db E A) : major triad
A or Amaj [5 7 7 6 5 5] (Db E A): major triad
A or Amaj [x 0 2 2 2 0] (Db E A): major triad
A or Amaj [x 4 7 x x 5] (Db E A): major triad
A #5 or Aaug [x 0 3 2 2 1] (Db F A): augmented triad
A #5 or Aaug [x 0 x 2 2 1] (Db F A): augmented triad
A/Ab [x 0 2 1 2 0] (Db E Ab A): major triad (altered bass)
A/B [0 0 2 4 2 0] (Db E A B): major triad (altered bass)
A/B [x 0 7 6 0 0] (Db E A B): major triad (altered bass)
A/D [x 0 0 2 2 0] (Db D E A): major triad (altered bass)
A/D [x x 0 2 2 0] (Db D E A): major triad (altered bass)
A/D [x x 0 6 5 5] (Db D E A): major triad (altered bass)
A/D [x x 0 9 10 9] (Db D E A): major triad (altered bass)
A/G [3 x 2 2 2 0] (Db E G A): major triad (altered bass)
A/G [x 0 2 0 2 0] (Db E G A): major triad (altered bass)
A/G [x 0 2 2 2 3] (Db E G A): major triad (altered bass)
A/Gb [0 0 2 2 2 2] (Db E Gb A): major triad (altered bass)
A/Gb [0 x 4 2 2 0] (Db E Gb A): major triad (altered bass)
A/Gb [2 x 2 2 2 0] (Db E Gb A): major triad (altered bass)
A/Gb [x 0 4 2 2 0] (Db E Gb A): major triad (altered bass)
A/Gb [x x 2 2 2 2] (Db E Gb A): major triad (altered bass)
A5 or A(no 3rd) [ 5 7 7 x x 5] (E A): root and 5th (power chord)
A5 or A(no 3rd) [ x 0 2 2 x 0] (E A): root and 5th (power chord)
A5 or A(no 3rd) [ 5 7 7 x x 0] (E A): root and 5th (power chord)
A6 [ 0 0 2 2 2 2] (Db E Gb A): major triad plus 6th
A6 [ 0 x 4 2 2 0] (Db E Gb A): major triad plus 6th
A6 [ 2 x 2 2 2 0] (Db E Gb A): major triad plus 6th
A6 [ x 0 4 2 2 0] (Db E Gb A): major triad plus 6th
A6 [ x x 2 2 2 2] (Db E Gb A): major triad plus 6th
A6/7 [ 0 0 2 0 2 2] (Db E Gb G A): major triad plus 6th, minor 7th
A6/7 sus or A6/7 sus4 [ 5 5 4 0 3 0] (D E Gb G A): sus4 triad plus 6th, minor 7th
A6/7 sus or A6/7 sus4 [ x 0 2 0 3 2] (D E Gb G A): sus4 triad plus 6th, minor 7th
A7 or Adom 7 [ 3 x 2 2 2 0] (Db E G A): major triad, minor 7th
A7 or Adom 7 [ x 0 2 0 2 0] (Db E G A): major triad, minor 7th
A7 or Adom 7 [ x 0 2 2 2 3] (Db E G A): major triad, minor 7th
A7(#5) [ 1 0 3 0 2 1] (Db F G A): minor 7th, sharp 5th
A7/add11 or A7/11 [ x 0 0 0 2 0] (Db D E G A): major triad, minor 7th, plus 11th
A7sus4 [ x 0 2 0 3 0] (D E G A): sus4 triad, minor 7th
A7sus4 [ x 0 2 0 3 3] (D E G A): sus4 triad, minor 7th
A7sus4 [ x 0 2 2 3 3] (D E G A): sus4 triad, minor 7th
A7sus4 [ 5 x 0 0 3 0] (D E G A): sus4 triad, minor 7th
A7sus4 [ x 0 0 0 x 0] (D E G A): sus4 triad, minor 7th
Aadd9 or A2 [ 0 0 2 4 2 0] (Db E A B): major triad plus 9th
Aadd9 or A2 [ x 0 7 6 0 0] (Db E A B): major triad plus 9th
Aaug/D [ x x 0 2 2 1] (Db D F A): augmented triad (altered bass)
Aaug/G [ 1 0 3 0 2 1] (Db F G A): augmented triad (altered bass)
Ab or Abmaj [ 4 6 6 5 4 4] (C Eb Ab): major triad
Ab #5 or Abaug [ x 3 2 1 1 0] (C E Ab): augmented triad
Ab/A [ x x 1 2 1 4] (C Eb Ab A): major triad (altered bass)
Ab/F [ x 8 10 8 9 8] (C Eb F Ab): major triad (altered bass)
Ab/F [ x x 1 1 1 1] (C Eb F Ab): major triad (altered bass)
Ab/Gb [ x x 1 1 1 2] (C Eb Gb Ab): major triad (altered bass)
Ab/Gb [ x x 4 5 4 4] (C Eb Gb Ab): major triad (altered bass)
Ab5 or Ab(no 3rd) [4 6 6 x x 4] (Eb Ab): root and 5th (power chord)
Ab6 [ x 8 10 8 9 8] (C Eb F Ab): major triad plus 6th
Ab6 [ x x 1 1 1 1] (C Eb F Ab): major triad plus 6th
Ab7 or Abdom 7 [ x x 1 1 1 2] (C Eb Gb Ab): major triad, minor 7th
Ab7 or Abdom 7 [ x x 4 5 4 4] (C Eb Gb Ab): major triad, minor 7th
Abdim/E [ 0 2 0 1 0 0] (D E Ab B): diminished triad (altered bass)
Abdim/E [ 0 2 2 1 3 0] (D E Ab B): diminished triad (altered bass)
Abdim/E [ x 2 0 1 3 0] (D E Ab B): diminished triad (altered bass)
Abdim/E [ x x 0 1 0 0] (D E Ab B): diminished triad (altered bass)
Abdim/Eb [ x x 0 4 4 4] (D Eb Ab B): diminished triad (altered bass)
Abdim/F [ x 2 0 1 0 1] (D F Ab B): diminished triad (altered bass)
Abdim/F [ x x 0 1 0 1] (D F Ab B): diminished triad (altered bass)
Abdim/F [ x x 3 4 3 4] (D F Ab B): diminished triad (altered bass)
Abdim7 [ x 2 0 1 0 1] (D F Ab B): diminished triad, diminished 7th
Abdim7 [ x x 0 1 0 1] (D F Ab B): diminished triad, diminished 7th
Abdim7 [ x x 3 4 3 4] (D F Ab B): diminished triad, diminished 7th
Abm [ x x 6 4 4 4] (Eb Ab B): minor triad
Abm/D [ x x 0 4 4 4] (D Eb Ab B): minor triad (altered bass)
Abm/E [ 0 2 1 1 0 0] (Eb E Ab B): minor triad (altered bass)
Abm/E [ 0 x 6 4 4 0] (Eb E Ab B): minor triad (altered bass)
Abm/E [ x x 1 1 0 0] (Eb E Ab B): minor triad (altered bass)
Abm/Gb [ x x 4 4 4 4] (Eb Gb Ab B): minor triad (altered bass)
Abm7 [ x x 4 4 4 4] (Eb Gb Ab B): minor triad, minor 7th
Absus or Absus4 [ x x 6 6 4 4] (Db Eb Ab): no 3rd but a 4th from a major triad
Absus2/F [ x 1 3 1 4 1] (Eb F Ab Bb): sus2 triad (altered bass)
Adim/Ab [ x x 1 2 1 4] (C Eb Ab A): diminished triad (altered bass)
Adim/E [ 0 3 x 2 4 0] (C Eb E A): diminished triad (altered bass)
Adim/F [ x x 1 2 1 1] (C Eb F A): diminished triad (altered bass)
Adim/F [ x x 3 5 4 5] (C Eb F A): diminished triad (altered bass)
Adim/G [ x x 1 2 1 3] (C Eb G A): diminished triad (altered bass)
Adim/Gb [ x x 1 2 1 2] (C Eb Gb A): diminished triad (altered bass)
Adim7 [ x x 1 2 1 2] (C Eb Gb A): diminished triad, diminished 7th
A-MOLOVI AKORDI
Am [ x 0 2 2 1 0] (C E A): minor triad
Am [ x 0 7 5 5 5] (C E A): minor triad
Am [ x 3 2 2 1 0] (C E A): minor triad
Am [ 8 12 x x x 0] (C E A): minor triad
Am/B [ 0 0 7 5 0 0] (C E A B): minor triad (altered bass)
Am/B [ x 3 2 2 0 0] (C E A B): minor triad (altered bass)
Am/D [ x x 0 2 1 0] (C D E A): minor triad (altered bass)
Am/D [ x x 0 5 5 5] (C D E A): minor triad (altered bass)
Am/Eb [ 0 3 x 2 4 0] (C Eb E A): minor triad (altered bass)
Am/F [ 0 0 3 2 1 0] (C E F A): minor triad (altered bass)
Am/F [ 1 3 3 2 1 0] (C E F A): minor triad (altered bass)
Am/F [ 1 x 2 2 1 0] (C E F A): minor triad (altered bass)
Am/F [ x x 2 2 1 1] (C E F A): minor triad (altered bass)
Am/F [ x x 3 2 1 0] (C E F A): minor triad (altered bass)
Am/G [ 0 0 2 0 1 3] (C E G A): minor triad (altered bass)
Am/G [ x 0 2 0 1 0] (C E G A): minor triad (altered bass)
Am/G [ x 0 2 2 1 3] (C E G A): minor triad (altered bass)
Am/G [ x 0 5 5 5 8] (C E G A): minor triad (altered bass)
Am/Gb [ x 0 2 2 1 2] (C E Gb A): minor triad (altered bass)
Am/Gb [ x x 2 2 1 2] (C E Gb A): minor triad (altered bass)
Am6 [ x 0 2 2 1 2] (C E Gb A): minor triad plus 6th
Am6 [ x x 2 2 1 2] (C E Gb A): minor triad plus 6th
Am7 [ 0 0 2 0 1 3] (C E G A): minor triad, minor 7th
Am7 [ x 0 2 0 1 0] (C E G A): minor triad, minor 7th
Am7 [ x 0 2 2 1 3] (C E G A): minor triad, minor 7th
Am7 [ x 0 5 5 5 8] (C E G A): minor triad, minor 7th
Am7(b5) or Ao7 [ x x 1 2 1 3] (C Eb G A): diminished triad, minor 7th : half-diminished 7th
Am7/add11 or Am7/11 [ x 5 7 5 8 0] (C D E G A): minor triad, minor 7th, plus 11th
Amaj7 or A#7 [ x 0 2 1 2 0] (Db E Ab A): major triad, major 7th
Amin/maj9 [ x 0 6 5 5 7] (C E Ab A B): minor triad, major 7th plus 9th
Asus or Asus4 [ 0 0 2 2 3 0] (D E A): no 3rd but a 4th from a major triad
Asus or Asus4 [ x 0 2 2 3 0] (D E A): no 3rd but a 4th from a major triad
Asus or Asus4 [ 5 5 7 7 x 0] (D E A): no 3rd but a 4th from a major triad
Asus or Asus4 [ x 0 0 2 3 0] (D E A): no 3rd but a 4th from a major triad
Asus2 or Aadd9(no3) [0 0 2 2 0 0] (E A B): no 3rd but a 2nd from a major triad
Asus2 or Aadd9(no3) [0 0 2 4 0 0] (E A B): no 3rd but a 2nd from a major triad
Asus2 or Aadd9(no3) [0 2 2 2 0 0] (E A B): no 3rd but a 2nd from a major triad
Asus2 or Aadd9(no3) [x 0 2 2 0 0] (E A B): no 3rd but a 2nd from a major triad
Asus2 or Aadd9(no3) [x x 2 2 0 0] (E A B): no 3rd but a 2nd from a major triad
Asus2/Ab [ x 0 2 1 0 0] (E Ab A B): sus2 triad (altered bass)
Asus2/C [ 0 0 7 5 0 0] (C E A B): sus2 triad (altered bass)
Asus2/C [ x 3 2 2 0 0] (C E A B): sus2 triad (altered bass)
Asus2/D [ 0 2 0 2 0 0] (D E A B): sus2 triad (altered bass)
Asus2/D [ x 2 0 2 3 0] (D E A B): sus2 triad (altered bass)
Asus2/Db [ 0 0 2 4 2 0] (Db E A B): sus2 triad (altered bass)
Asus2/Db [ x 0 7 6 0 0] (Db E A B): sus2 triad (altered bass)
Asus2/Eb [ x 2 1 2 0 0] (Eb E A B): sus2 triad (altered bass)
Asus2/F [ 0 0 3 2 0 0] (E F A B): sus2 triad (altered bass)
Asus2/G [ 3 x 2 2 0 0] (E G A B): sus2 triad (altered bass)
Asus2/G [ x 0 2 0 0 0] (E G A B): sus2 triad (altered bass)
Asus2/G [ x 0 5 4 5 0] (E G A B): sus2 triad (altered bass)
Asus2/Gb [ x 0 4 4 0 0] (E Gb A B): sus2 triad (altered bass)
Asus2/Gb [ x 2 4 2 5 2] (E Gb A B): sus2 triad (altered bass)
Asus4/Ab [ 4 x 0 2 3 0] (D E Ab A): sus4 triad (altered bass)
Asus4/B [ 0 2 0 2 0 0] (D E A B): sus4 triad (altered bass)
Asus4/Bb [ 0 1 x 2 3 0] (D E A Bb): sus4 triad (altered bass)
Asus4/C [ x x 0 2 1 0] (C D E A): sus4 triad (altered bass)
Asus4/C [ x x 0 5 5 5] (C D E A): sus4 triad (altered bass)
Asus4/Db [ x 0 0 2 2 0] (Db D E A): sus4 triad (altered bass)
Asus4/Db [ x x 0 2 2 0] (Db D E A): sus4 triad (altered bass)
Asus4/Db [ x x 0 6 5 5] (Db D E A): sus4 triad (altered bass)
Asus4/Db [ x x 0 9 10 9] (Db D E A): sus4 triad (altered bass)
Asus4/F [ x x 7 7 6 0] (D E F A): sus4 triad (altered bass)
Asus4/G [ x 0 2 0 3 0] (D E G A): sus4 triad (altered bass)
Asus4/G [ x 0 2 0 3 3] (D E G A): sus4 triad (altered bass)
Asus4/G [ x 0 2 2 3 3] (D E G A): sus4 triad (altered bass)
Asus4/G [ x 0 0 0 x 0] (D E G A): sus4 triad (altered bass)
Asus4/Gb [ 0 0 0 2 3 2] (D E Gb A): sus4 triad (altered bass)
Asus4/Gb [ 0 0 4 2 3 0] (D E Gb A): sus4 triad (altered bass)
Asus4/Gb [ 2 x 0 2 3 0] (D E Gb A): sus4 triad (altered bass)
Asus4/Gb [ x 0 2 2 3 2] (D E Gb A): sus4 triad (altered bass)
Asus4/Gb [ x x 2 2 3 2] (D E Gb A): sus4 triad (altered bass)
Asus4/Gb [ x 5 4 2 3 0] (D E Gb A): sus4 triad (altered bass)
Asus4/Gb [ x 9 7 7 x 0] (D E Gb A): sus4 triad (altered bass)
H-DUROVI (B) IN B-DUROVI (Bb) AKORDI
B or Bmaj [ x 2 4 4 4 2] (Eb Gb B): major triad
B #5 or Baug [ 3 2 1 0 0 3] (Eb G B): augmented triad
B #5 or Baug [ 3 x 1 0 0 3] (Eb G B): augmented triad
B/A [ 2 x 1 2 0 2] (Eb Gb A B): major triad (altered bass)
B/A [ x 0 1 2 0 2] (Eb Gb A B): major triad (altered bass)
B/A [ x 2 1 2 0 2] (Eb Gb A B): major triad (altered bass)
B/A [ x 2 4 2 4 2] (Eb Gb A B): major triad (altered bass)
B/Ab [ x x 4 4 4 4] (Eb Gb Ab B): major triad (altered bass)
B/E [ x 2 2 4 4 2] (Eb E Gb B): major triad (altered bass)
B/E [ x x 4 4 4 0] (Eb E Gb B): major triad (altered bass)
B5 or B(no 3rd) [ 7 9 9 x x 2] (Gb B): root and 5th (power chord)
B5 or B(no 3rd) [ x 2 4 4 x 2] (Gb B): root and 5th (power chord)
B6 [ x x 4 4 4 4] (Eb Gb Ab B): major triad plus 6th
B7 or Bdom 7 [ 2 x 1 2 0 2] (Eb Gb A B): major triad, minor 7th
B7 or Bdom 7 [ x 0 1 2 0 2] (Eb Gb A B): major triad, minor 7th
B7 or Bdom 7 [ x 2 1 2 0 2] (Eb Gb A B): major triad, minor 7th
B7 or Bdom 7 [ x 2 4 2 4 2] (Eb Gb A B): major triad, minor 7th
B7/add11 or B7/11 [ 0 0 4 4 4 0] (Eb E Gb A B): major triad, minor 7th, plus 11th
B7/add11 or B7/11 [ 0 2 1 2 0 2] (Eb E Gb A B): major triad, minor 7th, plus 11th
B7sus4 [ x 0 4 4 0 0] (E Gb A B): sus4 triad, minor 7th
B7sus4 [ x 2 4 2 5 2] (E Gb A B): sus4 triad, minor 7th
Baug/E [ 3 x 1 0 0 0] (Eb E G B): augmented triad (altered bass)
Baug/E [ x x 1 0 0 0] (Eb E G B): augmented triad (altered bass)
Bb or Bbmaj [ 1 1 3 3 3 1] (D F Bb): major triad
Bb or Bbmaj [ x 1 3 3 3 1] (D F Bb): major triad
Bb or Bbmaj [ x x 0 3 3 1] (D F Bb): major triad
Bb #5 or Bbaug [ x x 0 3 3 2] (D Gb Bb): augmented triad
Bb b5 [ x x 0 3 x 0] (D E Bb): flat 5th
Bb/A [ 1 1 3 2 3 1] (D F A Bb): major triad (altered bass)
Bb/Ab [ x 1 3 1 3 1] (D F Ab Bb): major triad (altered bass)
Bb/Ab [ x x 3 3 3 4] (D F Ab Bb): major triad (altered bass)
Bb/Db [ x x 0 6 6 6] (Db D F Bb): major triad (altered bass)
Bb/E [ x 1 3 3 3 0] (D E F Bb): major triad (altered bass)
Bb/G [ 3 5 3 3 3 3] (D F G Bb): major triad (altered bass)
Bb/G [ x x 3 3 3 3] (D F G Bb): major triad (altered bass)
Bb5 or Bb(no 3rd) [6 8 8 x x 6] (F Bb): root and 5th (power chord)
Bb5 or Bb(no 3rd) [x 1 3 3 x 6] (F Bb): root and 5th (power chord)
Bb6 [ 3 5 3 3 3 3] (D F G Bb): major triad plus 6th
Bb6 [ x x 3 3 3 3] (D F G Bb): major triad plus 6th
Bb6/add9 or Bb6/9 [ x 3 3 3 3 3] (C D F G Bb): major triad plus 6th and 9th
Bb7 or Bbdom 7 [ x 1 3 1 3 1] (D F Ab Bb): major triad, minor 7th
Bb7 or Bbdom 7 [ x x 3 3 3 4] (D F Ab Bb): major triad, minor 7th
Bb7sus4 [ x 1 3 1 4 1] (Eb F Ab Bb): sus4 triad, minor 7th
Bbadd#11 [ x 1 3 3 3 0] (D E F Bb): major triad, augmented 11th
Bbaug/E [ 2 x 4 3 3 0] (D E Gb Bb): augmented triad (altered bass)
Bbdim/C [ x 3 x 3 2 0] (C Db E Bb): diminished triad (altered bass)
Bbdim/D [ x x 0 3 2 0] (Db D E Bb): diminished triad (altered bass)
Bbdim/G [ x 1 2 0 2 0] (Db E G Bb): diminished triad (altered bass)
Bbdim/G [ x x 2 3 2 3] (Db E G Bb): diminished triad (altered bass)
Bbdim/Gb [ 2 4 2 3 2 2] (Db E Gb Bb): diminished triad (altered bass)
Bbdim/Gb [ x x 4 3 2 0] (Db E Gb Bb): diminished triad (altered bass)
Bbdim7 [ x 1 2 0 2 0] (Db E G Bb): diminished triad, diminished 7th
Bbdim7 [ x x 2 3 2 3] (Db E G Bb): diminished triad, diminished 7th
Bbm [ 1 1 3 3 2 1] (Db F Bb): minor triad
Bbm/Ab [ x 1 3 1 2 1] (Db F Ab Bb): minor triad (altered bass)
Bbm/D [ x x 0 6 6 6] (Db D F Bb): minor triad (altered bass)
Bbm/Gb [ x x 3 3 2 2] (Db F Gb Bb): minor triad (altered bass)
Bbm7 [ x 1 3 1 2 1] (Db F Ab Bb): minor triad, minor 7th
Bbmaj7 or Bb#7 [ 1 1 3 2 3 1] (D F A Bb): major triad, major 7th
Bbmaj9 or Bb9(#7) [ x 3 3 3 3 5] (C D F A Bb): major triad, major 7th plus 9th
Bbsus2 or Bbadd9(no3) [x x 3 3 1 1] (C F Bb): no 3rd but a 2nd from a major triad
Bbsus2/G [ x 3 5 3 6 3] (C F G Bb): sus2 triad (altered bass)
Bbsus4/Ab [ x 1 3 1 4 1] (Eb F Ab Bb): sus4 triad (altered bass)
Bdim/A [ 1 2 3 2 3 1] (D F A B): diminished triad (altered bass)
Bdim/A [ x 2 0 2 0 1] (D F A B): diminished triad (altered bass)
Bdim/A [ x x 0 2 0 1] (D F A B): diminished triad (altered bass)
Bdim/Ab [ x 2 0 1 0 1] (D F Ab B): diminished triad (altered bass)
Bdim/Ab [ x x 0 1 0 1] (D F Ab B): diminished triad (altered bass)
Bdim/Ab [ x x 3 4 3 4] (D F Ab B): diminished triad (altered bass)
Bdim/G [ 1 x 0 0 0 3] (D F G B): diminished triad (altered bass)
Bdim/G [ 3 2 0 0 0 1] (D F G B): diminished triad (altered bass)
Bdim/G [ x x 0 0 0 1] (D F G B): diminished triad (altered bass)
Bdim7 [ x 2 0 1 0 1] (D F Ab B): diminished triad, diminished 7th
Bdim7 [ x x 0 1 0 1] (D F Ab B): diminished triad, diminished 7th
Bdim7 [ x x 3 4 3 4] (D F Ab B): diminished triad, diminished 7th
H-MOLOVI (Bm) AKORDI
Bm [ 2 2 4 4 3 2] (D Gb B): minor triad
Bm [ x 2 4 4 3 2] (D Gb B): minor triad
Bm [ x x 0 4 3 2] (D Gb B): minor triad
Bm/A [ x 0 4 4 3 2] (D Gb A B): minor triad (altered bass)
Bm/A [ x 2 0 2 0 2] (D Gb A B): minor triad (altered bass)
Bm/A [ x 2 0 2 3 2] (D Gb A B): minor triad (altered bass)
Bm/A [ x 2 4 2 3 2] (D Gb A B): minor triad (altered bass)
Bm/A [ x x 0 2 0 2] (D Gb A B): minor triad (altered bass)
Bm/G [ 2 2 0 0 0 3] (D Gb G B): minor triad (altered bass)
Bm/G [ 2 2 0 0 3 3] (D Gb G B): minor triad (altered bass)
Bm/G [ 3 2 0 0 0 2] (D Gb G B): minor triad (altered bass)
Bm/G [ x x 4 4 3 3] (D Gb G B): minor triad (altered bass)
Bm7 [ x 0 4 4 3 2] (D Gb A B): minor triad, minor 7th
Bm7 [ x 2 0 2 0 2] (D Gb A B): minor triad, minor 7th
Bm7 [ x 2 0 2 3 2] (D Gb A B): minor triad, minor 7th
Bm7 [ x 2 4 2 3 2] (D Gb A B): minor triad, minor 7th
Bm7 [ x x 0 2 0 2] (D Gb A B): minor triad, minor 7th
Bm7(b5) or Bo7 [ 1 2 3 2 3 1] (D F A B): diminished triad, minor 7th : half-diminished 7th
Bm7(b5) or Bo7 [ x 2 0 2 0 1] (D F A B): diminished triad, minor 7th : half-diminished 7th
Bm7(b5) or Bo7 [ x x 0 2 0 1] (D F A B): diminished triad, minor 7th : half-diminished 7th
Bm7/add11 or Bm7/11 [ 0 0 2 4 3 2] (D E Gb A B): minor triad, minor 7th, plus 11th
Bm7/add11 or Bm7/11 [ 0 2 0 2 0 2] (D E Gb A B): minor triad, minor 7th, plus 11th
Bmaj7/#11 [ x 2 3 3 4 2] (Eb F Gb Bb B): major triad, major 7th, augmented 11th
Bsus or Bsus4 [ 7 9 9 x x 0] (E Gb B): no 3rd but a 4th from a major triad
Bsus or Bsus4 [ x 2 4 4 x 0] (E Gb B): no 3rd but a 4th from a major triad
Bsus2 or Badd9(no3) [x 4 4 4 x 2] (Db Gb B): no 3rd but a 2nd from a major triad
Bsus2 or Badd9(no3) [x x 4 4 2 2] (Db Gb B): no 3rd but a 2nd from a major triad
Bsus2/E [ x 4 4 4 x 0] (Db E Gb B): sus2 triad (altered bass)
Bsus4/A [ x 0 4 4 0 0] (E Gb A B): sus4 triad (altered bass)
Bsus4/A [ x 2 4 2 5 2] (E Gb A B): sus4 triad (altered bass)
Bsus4/Ab [ 0 2 2 1 0 2] (E Gb Ab B): sus4 triad (altered bass)
Bsus4/Ab [ 0 x 4 1 0 0] (E Gb Ab B): sus4 triad (altered bass)
Bsus4/Ab [ 2 2 2 1 0 0] (E Gb Ab B): sus4 triad (altered bass)
Bsus4/Db [ x 4 4 4 x 0] (Db E Gb B): sus4 triad (altered bass)
Bsus4/Eb [ x 2 2 4 4 2] (Eb E Gb B): sus4 triad (altered bass)
Bsus4/Eb [ x x 4 4 4 0] (Eb E Gb B): sus4 triad (altered bass)
Bsus4/G [ 0 2 2 0 0 2] (E Gb G B): sus4 triad (altered bass)
Bsus4/G [ 0 2 4 0 0 0] (E Gb G B): sus4 triad (altered bass)
Bsus4/G [ 0 x 4 0 0 0] (E Gb G B): sus4 triad (altered bass)
Bsus4/G [ 2 2 2 0 0 0] (E Gb G B): sus4 triad (altered bass)
Opomba - manjkajo še številni moli (Des-mol, Es mol, Ges, As in B mol). A ma kdo to? V taki obliki?
C-DUROVI AKORDI
C or Cmaj [ 0 3 2 0 1 0] (C E G): major triad
C or Cmaj [ 0 3 5 5 5 3] (C E G): major triad
C or Cmaj [ 3 3 2 0 1 0] (C E G): major triad
C or Cmaj [ 3 x 2 0 1 0] (C E G): major triad
C or Cmaj [ x 3 2 0 1 0] (C E G): major triad
C or Cmaj [ x 3 5 5 5 0] (C E G): major triad
C #5 or Caug [ x 3 2 1 1 0] (C E Ab): augmented triad
C b5 [ x x 4 5 x 0] (C E Gb): flat 5th
C/A [ 0 0 2 0 1 3] (C E G A): major triad (altered bass)
C/A [ x 0 2 0 1 0] (C E G A): major triad (altered bass)
C/A [ x 0 2 2 1 3] (C E G A): major triad (altered bass)
C/A [ x 0 5 5 5 8] (C E G A): major triad (altered bass)
C/B [ 0 3 2 0 0 0] (C E G B): major triad (altered bass)
C/B [ x 2 2 0 1 0] (C E G B): major triad (altered bass)
C/B [ x 3 5 4 5 3] (C E G B): major triad (altered bass)
C/Bb [ x 3 5 3 5 3] (C E G Bb): major triad (altered bass)
C/D [ 3 x 0 0 1 0] (C D E G): major triad (altered bass)
C/D [ x 3 0 0 1 0] (C D E G): major triad (altered bass)
C/D [ x 3 2 0 3 0] (C D E G): major triad (altered bass)
C/D [ x 3 2 0 3 3] (C D E G): major triad (altered bass)
C/D [ x x 0 0 1 0] (C D E G): major triad (altered bass)
C/D [ x x 0 5 5 3] (C D E G): major triad (altered bass)
C/D [ x 10 12 12 13 0] (C D E G): major triad (altered bass)
C/D [ x 5 5 5 x 0] (C D E G): major triad (altered bass)
C/F [ x 3 3 0 1 0] (C E F G): major triad (altered bass)
C/F [ x x 3 0 1 0] (C E F G): major triad (altered bass)
C5 or C(no 3rd) [ x 3 5 5 x 3] (C G): root and 5th (power chord)
C6 [ 0 0 2 0 1 3] (C E G A): major triad plus 6th
C6 [ x 0 2 0 1 0] (C E G A): major triad plus 6th
C6 [ x 0 2 2 1 3] (C E G A): major triad plus 6th
C6 [ x 0 5 5 5 8] (C E G A): major triad plus 6th
C6/add9 or C6/9 [ x 5 7 5 8 0] (C D E G A): major triad plus 6th and 9th
C7 or Cdom 7 [ x 3 5 3 5 3] (C E G Bb): major triad, minor 7th
C7sus4 [ x 3 5 3 6 3] (C F G Bb): sus4 triad, minor 7th
C9(b5) [ 0 3 x 3 3 2] (C D E Gb Bb): diminished 5th, minor 7th, plus 9th
Cadd9 or C2 [ 3 x 0 0 1 0] (C D E G): major triad plus 9th
Cadd9 or C2 [ x 3 0 0 1 0] (C D E G): major triad plus 9th
Cadd9 or C2 [ x 3 2 0 3 0] (C D E G): major triad plus 9th
Cadd9 or C2 [ x 3 2 0 3 3] (C D E G): major triad plus 9th
Cadd9 or C2 [ x x 0 0 1 0] (C D E G): major triad plus 9th
Cadd9 or C2 [ x x 0 5 5 3] (C D E G): major triad plus 9th
Cadd9 or C2 [ x 10 12 12 13 0] (C D E G): major triad plus 9th
Cadd9 or C2 [ x 3 2 0 3 0] (C D E G): major triad plus 9th
Cadd9 or C2 [ x 5 5 5 x 0] (C D E G): major triad plus 9th
Cdim/A [ x x 1 2 1 2] (C Eb Gb A): diminished triad (altered bass)
Cdim/Ab [ x x 1 1 1 2] (C Eb Gb Ab): diminished triad (altered bass)
Cdim/Ab [ x x 4 5 4 4] (C Eb Gb Ab): diminished triad (altered bass)
Cdim/D [ x 5 4 5 4 2] (C D Eb Gb): diminished triad (altered bass)
Cdim7 [ x x 1 2 1 2] (C Eb Gb A): diminished triad, diminished 7th
C-MOLOVI AKORDI
Cm [ x 3 5 5 4 3] (C Eb G): minor triad
Cm [ x x 5 5 4 3] (C Eb G): minor triad
Cm/A [ x x 1 2 1 3] (C Eb G A): minor triad (altered bass)
Cm/Bb [ x 3 5 3 4 3] (C Eb G Bb): minor triad (altered bass)
Cm6 [ x x 1 2 1 3] (C Eb G A): minor triad plus 6th
Cm7 [ x 3 5 3 4 3] (C Eb G Bb): minor triad, minor 7th
Cmaj7 or C#7 [ 0 3 2 0 0 0] (C E G B): major triad, major 7th
Cmaj7 or C#7 [ x 2 2 0 1 0] (C E G B): major triad, major 7th
Cmaj7 or C#7 [ x 3 5 4 5 3] (C E G B): major triad, major 7th
Cmaj9 or C9(#7) [ x 3 0 0 0 0] (C D E G B): major triad, major 7th plus 9th
Csus or Csus4 [ x 3 3 0 1 1] (C F G): no 3rd but a 4th from a major triad
Csus or Csus4 [ x x 3 0 1 1] (C F G): no 3rd but a 4th from a major triad
Csus2 or Cadd9(no3) [x 10 12 12 13 3] (C D G): no 3rd but a 2nd from a major triad
Csus2 or Cadd9(no3) [x 5 5 5 x 3] (C D G): no 3rd but a 2nd from a major triad
Csus2 or Cadd9(no3) [x 3 0 0 3 3] (C D G): no 3rd but a 2nd from a major triad
Csus2 or Cadd9(no3) [x 3 5 5 3 3] (C D G): no 3rd but a 2nd from a major triad
Csus2/A [ x 5 7 5 8 3] (C D G A): sus2 triad (altered bass)
Csus2/A [ x x 0 2 1 3] (C D G A): sus2 triad (altered bass)
Csus2/B [ 3 3 0 0 0 3] (C D G B): sus2 triad (altered bass)
Csus2/B [ x 3 0 0 0 3] (C D G B): sus2 triad (altered bass)
Csus2/E [ 3 x 0 0 1 0] (C D E G): sus2 triad (altered bass)
Csus2/E [ x 3 0 0 1 0] (C D E G): sus2 triad (altered bass)
Csus2/E [ x 3 2 0 3 0] (C D E G): sus2 triad (altered bass)
Csus2/E [ x 3 2 0 3 3] (C D E G): sus2 triad (altered bass)
Csus2/E [ x x 0 0 1 0] (C D E G): sus2 triad (altered bass)
Csus2/E [ x x 0 5 5 3] (C D E G): sus2 triad (altered bass)
Csus2/E [ x 10 12 12 13 0] (C D E G): sus2 triad (altered bass)
Csus2/E [ x 5 5 5 x 0] (C D E G): sus2 triad (altered bass)
Csus2/F [ 3 3 0 0 1 1] (C D F G): sus2 triad (altered bass)
Csus4/A [ 3 x 3 2 1 1] (C F G A): sus4 triad (altered bass)
Csus4/A [ x x 3 2 1 3] (C F G A): sus4 triad (altered bass)
Csus4/B [ x 3 3 0 0 3] (C F G B): sus4 triad (altered bass)
Csus4/Bb [ x 3 5 3 6 3] (C F G Bb): sus4 triad (altered bass)
Csus4/D [ 3 3 0 0 1 1] (C D F G): sus4 triad (altered bass)
Csus4/E [ x 3 3 0 1 0] (C E F G): sus4 triad (altered bass)
Csus4/E [ x x 3 0 1 0] (C E F G): sus4 triad (altered bass)
D-DUROVI IN Des-DUROVI AKORDI
D or Dmaj [ x 5 4 2 3 2] (D Gb A): major triad
D or Dmaj [ x 9 7 7 x 2] (D Gb A): major triad
D or Dmaj [ 2 0 0 2 3 2] (D Gb A): major triad
D or Dmaj [ x 0 0 2 3 2] (D Gb A): major triad
D or Dmaj [ x 0 4 2 3 2] (D Gb A): major triad
D or Dmaj [ x x 0 2 3 2] (D Gb A): major triad
D or Dmaj [ x x 0 7 7 5] (D Gb A): major triad
D #5 or Daug [ x x 0 3 3 2] (D Gb Bb): augmented triad
D/B [ x 0 4 4 3 2] (D Gb A B): major triad (altered bass)
D/B [ x 2 0 2 0 2] (D Gb A B): major triad (altered bass)
D/B [ x 2 0 2 3 2] (D Gb A B): major triad (altered bass)
D/B [ x 2 4 2 3 2] (D Gb A B): major triad (altered bass)
D/B [ x x 0 2 0 2] (D Gb A B): major triad (altered bass)
D/C [ x 5 7 5 7 2] (C D Gb A): major triad (altered bass)
D/C [ x 0 0 2 1 2] (C D Gb A): major triad (altered bass)
D/C [ x 3 x 2 3 2] (C D Gb A): major triad (altered bass)
D/C [ x 5 7 5 7 5] (C D Gb A): major triad (altered bass)
D/Db [ x x 0 14 14 14] (Db D Gb A): major triad (altered bass)
D/Db [ x x 0 2 2 2] (Db D Gb A): major triad (altered bass)
D/E [ 0 0 0 2 3 2] (D E Gb A): major triad (altered bass)
D/E [ 0 0 4 2 3 0] (D E Gb A): major triad (altered bass)
D/E [ 2 x 0 2 3 0] (D E Gb A): major triad (altered bass)
D/E [ x 0 2 2 3 2] (D E Gb A): major triad (altered bass)
D/E [ x x 2 2 3 2] (D E Gb A): major triad (altered bass)
D/E [ x 5 4 2 3 0] (D E Gb A): major triad (altered bass)
D/E [ x 9 7 7 x 0] (D E Gb A): major triad (altered bass)
D/G [ 5 x 4 0 3 5] (D Gb G A): major triad (altered bass)
D/G [ 3 x 0 2 3 2] (D Gb G A): major triad (altered bass)
D5 or D(no 3rd) [ 5 5 7 7 x 5] (D A): root and 5th (power chord)
D5 or D(no 3rd) [ x 0 0 2 3 5] (D A): root and 5th (power chord)
D6 [ x 0 4 4 3 2] (D Gb A B): major triad plus 6th
D6 [ x 2 0 2 0 2] (D Gb A B): major triad plus 6th
D6 [ x 2 0 2 3 2] (D Gb A B): major triad plus 6th
D6 [ x 2 4 2 3 2] (D Gb A B): major triad plus 6th
D6 [ x x 0 2 0 2] (D Gb A B): major triad plus 6th
D6/add9 or D6/9 [ 0 0 2 4 3 2] (D E Gb A B): major triad plus 6th and 9th
D6/add9 or D6/9 [ 0 2 0 2 0 2] (D E Gb A B): major triad plus 6th and 9th
D7 or Ddom 7 [ x 5 7 5 7 2] (C D Gb A): major triad, minor 7th
D7 or Ddom 7 [ x 0 0 2 1 2] (C D Gb A): major triad, minor 7th
D7 or Ddom 7 [ x 3 x 2 3 2] (C D Gb A): major triad, minor 7th
D7 or Ddom 7 [ x 5 7 5 7 5] (C D Gb A): major triad, minor 7th
D7sus4 [ x 5 7 5 8 3] (C D G A): sus4 triad, minor 7th
D7sus4 [ x x 0 2 1 3] (C D G A): sus4 triad, minor 7th
D9 or Ddom 9 [ 0 0 0 2 1 2] (C D E Gb A): major triad, minor 7th plus 9th
D9 or Ddom 9 [ 2 x 0 2 1 0] (C D E Gb A): major triad, minor 7th plus 9th
D9 or Ddom 9 [ x 5 7 5 7 0] (C D E Gb A): major triad, minor 7th plus 9th
D9(#5) [ 0 3 x 3 3 2] (C D E Gb Bb): augmented 5th, minor 7th plus 9th
Dadd9 or D2 [ 0 0 0 2 3 2] (D E Gb A): major triad plus 9th
Dadd9 or D2 [ 0 0 4 2 3 0] (D E Gb A): major triad plus 9th
Dadd9 or D2 [ 2 x 0 2 3 0] (D E Gb A): major triad plus 9th
Dadd9 or D2 [ x 0 2 2 3 2] (D E Gb A): major triad plus 9th
Dadd9 or D2 [ x x 2 2 3 2] (D E Gb A): major triad plus 9th
Dadd9 or D2 [ x 5 4 2 3 0] (D E Gb A): major triad plus 9th
Dadd9 or D2 [ x 9 7 7 x 0] (D E Gb A): major triad plus 9th
Daug/E [ 2 x 4 3 3 0] (D E Gb Bb): augmented triad (altered bass)
Db or Dbmaj [ 4 4 6 6 6 4] (Db F Ab): major triad
Db or Dbmaj [ x 4 3 1 2 1] (Db F Ab): major triad
Db or Dbmaj [ x 4 6 6 6 4] (Db F Ab): major triad
Db or Dbmaj [ x x 3 1 2 1] (Db F Ab): major triad
Db or Dbmaj [ x x 6 6 6 4] (Db F Ab): major triad
Db #5 or Dbaug [ x 0 3 2 2 1] (Db F A): augmented triad
Db #5 or Dbaug [ x 0 x 2 2 1] (Db F A): augmented triad
Db b5 [ x x 3 0 2 1] (Db F G): flat 5th
Db/B [ x 4 3 4 0 4] (Db F Ab B): major triad (altered bass)
Db/Bb [ x 1 3 1 2 1] (Db F Ab Bb): major triad (altered bass)
Db/C [ x 3 3 1 2 1] (C Db F Ab): major triad (altered bass)
Db/C [ x 4 6 5 6 4] (C Db F Ab): major triad (altered bass)
Db5 or Db(no 3rd) [x 4 6 6 x 4] (Db Ab): root and 5th (power chord)
Db6 [ x 1 3 1 2 1] (Db F Ab Bb): major triad plus 6th
Db7 or Dbdom 7 [ x 4 3 4 0 4] (Db F Ab B): major triad, minor 7th
Dbaug/D [ x x 0 2 2 1] (Db D F A): augmented triad (altered bass)
Dbaug/G [ 1 0 3 0 2 1] (Db F G A): augmented triad (altered bass)
Dbdim/A [ 3 x 2 2 2 0] (Db E G A): diminished triad (altered bass)
Dbdim/A [ x 0 2 0 2 0] (Db E G A): diminished triad (altered bass)
Dbdim/A [ x 0 2 2 2 3] (Db E G A): diminished triad (altered bass)
Dbdim/B [ 0 2 2 0 2 0] (Db E G B): diminished triad (altered bass)
Dbdim/Bb [ x 1 2 0 2 0] (Db E G Bb): diminished triad (altered bass)
Dbdim/Bb [ x x 2 3 2 3] (Db E G Bb): diminished triad (altered bass)
Dbdim/D [ 3 x 0 0 2 0] (Db D E G): diminished triad (altered bass)
Dbdim/D [ x x 0 0 2 0] (Db D E G): diminished triad (altered bass)
Dbdim7 [ x 1 2 0 2 0] (Db E G Bb): diminished triad, diminished 7th
Dbdim7 [ x x 2 3 2 3] (Db E G Bb): diminished triad, diminished 7th
Dbm [ x 4 6 6 5 4] (Db E Ab): minor triad
Dbm [ x x 2 1 2 0] (Db E Ab): minor triad
Dbm [ x 4 6 6 x 0] (Db E Ab): minor triad
Dbm/A [ x 0 2 1 2 0] (Db E Ab A): minor triad (altered bass)
Dbm/B [ 0 2 2 1 2 0] (Db E Ab B): minor triad (altered bass)
Dbm/B [ x 4 6 4 5 4] (Db E Ab B): minor triad (altered bass)
Dbm7 [ 0 2 2 1 2 0] (Db E Ab B): minor triad, minor 7th
Dbm7 [ x 4 6 4 5 4] (Db E Ab B): minor triad, minor 7th
Dbm7(b5) or Dbo7 [ 0 2 2 0 2 0] (Db E G B): diminished triad, minor 7th : half-diminished 7th
Dbmaj7 or Db#7 [ x 3 3 1 2 1] (C Db F Ab): major triad, major 7th
Dbmaj7 or Db#7 [ x 4 6 5 6 4] (C Db F Ab): major triad, major 7th
Dbsus2 or Dbadd9(no3) [ x x 6 6 4 4] (Db Eb Ab): no 3rd but a 2nd from a major triad
Dbsus4/Bb [ x x 4 3 2 4] (Db Gb Ab Bb): sus4 triad (altered bass)
Ddim/B [ x 2 0 1 0 1] (D F Ab B): diminished triad (altered bass)
Ddim/B [ x x 0 1 0 1] (D F Ab B): diminished triad (altered bass)
Ddim/B [ x x 3 4 3 4] (D F Ab B): diminished triad (altered bass)
Ddim/Bb [ x 1 3 1 3 1] (D F Ab Bb): diminished triad (altered bass)
Ddim/Bb [ x x 3 3 3 4] (D F Ab Bb): diminished triad (altered bass)
Ddim/C [ x x 0 1 1 1] (C D F Ab): diminished triad (altered bass)
Ddim7 [ x 2 0 1 0 1] (D F Ab B): diminished triad, diminished 7th
Ddim7 [ x x 0 1 0 1] (D F Ab B): diminished triad, diminished 7th
Ddim7 [ x x 3 4 3 4] (D F Ab B): diminished triad, diminished 7th
D-MOLOVI AKORDI
Dm [ x 0 0 2 3 1] (D F A): minor triad
Dm/B [ 1 2 3 2 3 1] (D F A B): minor triad (altered bass)
Dm/B [ x 2 0 2 0 1] (D F A B): minor triad (altered bass)
Dm/B [ x x 0 2 0 1] (D F A B): minor triad (altered bass)
Dm/Bb [ 1 1 3 2 3 1] (D F A Bb): minor triad (altered bass)
Dm/C [ x 5 7 5 6 5] (C D F A): minor triad (altered bass)
Dm/C [ x x 0 2 1 1] (C D F A): minor triad (altered bass)
Dm/C [ x x 0 5 6 5] (C D F A): minor triad (altered bass)
Dm/Db [ x x 0 2 2 1] (Db D F A): minor triad (altered bass)
Dm/E [ x x 7 7 6 0] (D E F A): minor triad (altered bass)
Dm6 [ 1 2 3 2 3 1] (D F A B): minor triad plus 6th
Dm6 [ x 2 0 2 0 1] (D F A B): minor triad plus 6th
Dm6 [ x x 0 2 0 1] (D F A B): minor triad plus 6th
Dm7 [ x 5 7 5 6 5] (C D F A): minor triad, minor 7th
Dm7 [ x x 0 2 1 1] (C D F A): minor triad, minor 7th
Dm7 [ x x 0 5 6 5] (C D F A): minor triad, minor 7th
Dm7(b5) or Do7 [ x x 0 1 1 1] (C D F Ab): diminished triad, minor 7th : half-diminished 7th
Dm7/add11 or Dm7/11 [ 3 x 0 2 1 1] (C D F G A): minor triad, minor 7th, plus 11th
Dmaj7 or D#7 [ x x 0 14 14 14] (Db D Gb A): major triad, major 7th
Dmaj7 or D#7 [ x x 0 2 2 2] (Db D Gb A): major triad, major 7th
Dmin/maj7 [ x x 0 2 2 1] (Db D F A): minor triad, major 7th
Dsus or Dsus4 [ 5 x 0 0 3 5] (D G A): no 3rd but a 4th from a major triad
Dsus or Dsus4 [ 3 0 0 0 3 3] (D G A): no 3rd but a 4th from a major triad
Dsus or Dsus4 [ x 0 0 0 3 3] (D G A): no 3rd but a 4th from a major triad
Dsus or Dsus4 [ x x 0 2 3 3] (D G A): no 3rd but a 4th from a major triad
Dsus2 or Dadd9(no3) [5 5 7 7 x 0] (D E A): no 3rd but a 2nd from a major triad
Dsus2 or Dadd9(no3) [x 0 0 2 3 0] (D E A): no 3rd but a 2nd from a major triad
Dsus2 or Dadd9(no3) [0 0 2 2 3 0] (D E A): no 3rd but a 2nd from a major triad
Dsus2 or Dadd9(no3) [x 0 2 2 3 0] (D E A): no 3rd but a 2nd from a major triad
Dsus2 or Dadd9(no3) [x x 0 2 3 0] (D E A): no 3rd but a 2nd from a major triad
Dsus2/Ab [ 4 x 0 2 3 0] (D E Ab A): sus2 triad (altered bass)
Dsus2/B [ 0 2 0 2 0 0] (D E A B): sus2 triad (altered bass)
Dsus2/B [ x 2 0 2 3 0] (D E A B): sus2 triad (altered bass)
Dsus2/Bb [ 0 1 x 2 3 0] (D E A Bb): sus2 triad (altered bass)
Dsus2/C [ x x 0 2 1 0] (C D E A): sus2 triad (altered bass)
Dsus2/C [ x x 0 5 5 5] (C D E A): sus2 triad (altered bass)
Dsus2/Db [ x 0 0 2 2 0] (Db D E A): sus2 triad (altered bass)
Dsus2/Db [ x x 0 2 2 0] (Db D E A): sus2 triad (altered bass)
Dsus2/Db [ x x 0 6 5 5] (Db D E A): sus2 triad (altered bass)
Dsus2/Db [ x x 0 9 10 9] (Db D E A): sus2 triad (altered bass)
Dsus2/F [ x x 7 7 6 0] (D E F A): sus2 triad (altered bass)
Dsus2/G [ x 0 2 0 3 0] (D E G A): sus2 triad (altered bass)
Dsus2/G [ x 0 2 0 3 3] (D E G A): sus2 triad (altered bass)
Dsus2/G [ x 0 2 2 3 3] (D E G A): sus2 triad (altered bass)
Dsus2/G [ 5 x 0 0 3 0] (D E G A): sus2 triad (altered bass)
Dsus2/G [ x 0 0 0 x 0] (D E G A): sus2 triad (altered bass)
Dsus2/Gb [ 0 0 0 2 3 2] (D E Gb A): sus2 triad (altered bass)
Dsus2/Gb [ 0 0 4 2 3 0] (D E Gb A): sus2 triad (altered bass)
Dsus2/Gb [ 2 x 0 2 3 0] (D E Gb A): sus2 triad (altered bass)
Dsus2/Gb [ x 0 2 2 3 2] (D E Gb A): sus2 triad (altered bass)
Dsus2/Gb [ x x 2 2 3 2] (D E Gb A): sus2 triad (altered bass)
Dsus2/Gb [ x 5 4 2 3 0] (D E Gb A): sus2 triad (altered bass)
Dsus2/Gb [ x 9 7 7 x 0] (D E Gb A): sus2 triad (altered bass)
Dsus4/B [ 3 0 0 0 0 3] (D G A B): sus4 triad (altered bass)
Dsus4/B [ 3 2 0 2 0 3] (D G A B): sus4 triad (altered bass)
Dsus4/C [ x 5 7 5 8 3] (C D G A): sus4 triad (altered bass)
Dsus4/C [ x x 0 2 1 3] (C D G A): sus4 triad (altered bass)
Dsus4/E [ x 0 2 0 3 0] (D E G A): sus4 triad (altered bass)
Dsus4/E [ x 0 2 0 3 3] (D E G A): sus4 triad (altered bass)
Dsus4/E [ x 0 2 2 3 3] (D E G A): sus4 triad (altered bass)
Dsus4/E [ 5 x 0 0 3 0] (D E G A): sus4 triad (altered bass)
Dsus4/E [ x 0 0 0 x 0] (D E G A): sus4 triad (altered bass)
Dsus4/Gb [ 5 x 4 0 3 5] (D Gb G A): sus4 triad (altered bass)
Dsus4/Gb [ 3 x 0 2 3 2] (D Gb G A): sus4 triad (altered bass)
E-DUROVI IN Es-DUROVI AKORDI
E or Emaj [ 0 2 2 1 0 0] (E Ab B): major triad
E or Emaj [ x 7 6 4 5 0] (E Ab B): major triad
E #5 or Eaug [ x 3 2 1 1 0] (C E Ab): augmented triad
E/A [ x 0 2 1 0 0] (E Ab A B): major triad (altered bass)
E/D [ 0 2 0 1 0 0] (D E Ab B): major triad (altered bass)
E/D [ 0 2 2 1 3 0] (D E Ab B): major triad (altered bass)
E/D [ x 2 0 1 3 0] (D E Ab B): major triad (altered bass)
E/D [ x x 0 1 0 0] (D E Ab B): major triad (altered bass)
E/Db [ 0 2 2 1 2 0] (Db E Ab B): major triad (altered bass)
E/Db [ x 4 6 4 5 4] (Db E Ab B): major triad (altered bass)
E/Eb [ 0 2 1 1 0 0] (Eb E Ab B): major triad (altered bass)
E/Eb [ 0 x 6 4 4 0] (Eb E Ab B): major triad (altered bass)
E/Eb [ x x 1 1 0 0] (Eb E Ab B): major triad (altered bass)
E/Gb [ 0 2 2 1 0 2] (E Gb Ab B): major triad (altered bass)
E/Gb [ 0 x 4 1 0 0] (E Gb Ab B): major triad (altered bass)
E/Gb [ 2 2 2 1 0 0] (E Gb Ab B): major triad (altered bass)
E11/b9 [ 0 0 3 4 3 4] (D E F Ab A B): major triad, minor 7th, flat 9th, plus 11th
E5 or E(no 3rd) [ 0 2 x x x 0] (E B): root and 5th (power chord)
E5 or E(no 3rd) [ x 7 9 9 x 0] (E B): root and 5th (power chord)
E6 [ 0 2 2 1 2 0] (Db E Ab B): major triad plus 6th
E6 [ x 4 6 4 5 4] (Db E Ab B): major triad plus 6th
E7 or Edom 7 [ 0 2 0 1 0 0] (D E Ab B): major triad, minor 7th
E7 or Edom 7 [ 0 2 2 1 3 0] (D E Ab B): major triad, minor 7th
E7 or Edom 7 [ x 2 0 1 3 0] (D E Ab B): major triad, minor 7th
E7 or Edom 7 [ x x 0 1 0 0] (D E Ab B): major triad, minor 7th
E7/add11 or E7/11 [ x 0 0 1 0 0] (D E Ab A B): major triad, minor 7th, plus 11th
E7/b9(b5) [ 0 1 3 1 3 1] (D E F Ab Bb): diminished 5th, minor 7th, flat 9th
E7sus4 [ 0 2 0 2 0 0] (D E A B): sus4 triad, minor 7th
E9 or Edom 9 [ 0 2 0 1 0 2] (D E Gb Ab B): major triad, minor 7th plus 9th
E9 or Edom 9 [ 2 2 0 1 0 0] (D E Gb Ab B): major triad, minor 7th plus 9th
Eadd9 or E2 [ 0 2 2 1 0 2] (E Gb Ab B): major triad plus 9th
Eadd9 or E2 [ 0 x 4 1 0 0] (E Gb Ab B): major triad plus 9th
Eadd9 or E2 [ 2 2 2 1 0 0] (E Gb Ab B): major triad plus 9th
Eb or Ebmaj [ x 1 1 3 4 3] (Eb G Bb): major triad
Eb or Ebmaj [ x x 1 3 4 3] (Eb G Bb): major triad
Eb or Ebmaj [ x x 5 3 4 3] (Eb G Bb): major triad
Eb #5 or Ebaug [ 3 2 1 0 0 3] (Eb G B): augmented triad
Eb #5 or Ebaug [ 3 x 1 0 0 3] (Eb G B): augmented triad
Eb/C [ x 3 5 3 4 3] (C Eb G Bb): major triad (altered bass)
Eb/D [ x 6 8 7 8 6] (D Eb G Bb): major triad (altered bass)
Eb/Db [ x 1 1 3 2 3] (Db Eb G Bb): major triad (altered bass)
Eb/Db [ x 6 8 6 8 6] (Db Eb G Bb): major triad (altered bass)
Eb/Db [ x x 1 3 2 3] (Db Eb G Bb): major triad (altered bass)
Eb/E [ x x 5 3 4 0] (Eb E G Bb): major triad (altered bass)
Eb5 or Eb(no 3rd) [x 6 8 8 x 6] (Eb Bb): root and 5th (power chord)
Eb6 [ x 3 5 3 4 3] (C Eb G Bb): major triad plus 6th
Eb7 or Ebdom 7 [ x 1 1 3 2 3] (Db Eb G Bb): major triad, minor 7th
Eb7 or Ebdom 7 [ x 6 8 6 8 6] (Db Eb G Bb): major triad, minor 7th
Eb7 or Ebdom 7 [ x x 1 3 2 3] (Db Eb G Bb): major triad, minor 7th
Ebaug/E [ 3 x 1 0 0 0] (Eb E G B): augmented triad (altered bass)
Ebaug/E [ x x 1 0 0 0] (Eb E G B): augmented triad (altered bass)
Ebdim/B [ 2 x 1 2 0 2] (Eb Gb A B): diminished triad (altered bass)
Ebdim/B [ x 0 1 2 0 2] (Eb Gb A B): diminished triad (altered bass)
Ebdim/B [ x 2 1 2 0 2] (Eb Gb A B): diminished triad (altered bass)
Ebdim/B [ x 2 4 2 4 2] (Eb Gb A B): diminished triad (altered bass)
Ebdim/C [ x x 1 2 1 2] (C Eb Gb A): diminished triad (altered bass)
Ebdim7 [ x x 1 2 1 2] (C Eb Gb A): diminished triad, diminished 7th
Ebm [ x x 4 3 4 2] (Eb Gb Bb): minor triad
Ebm/Db [ x x 1 3 2 2] (Db Eb Gb Bb): minor triad (altered bass)
Ebm7 [ x x 1 3 2 2] (Db Eb Gb Bb): minor triad, minor 7th
Ebmaj7 or Eb#7 [ x 6 8 7 8 6] (D Eb G Bb): major triad, major 7th
Ebsus2/Ab [ x 1 3 1 4 1] (Eb F Ab Bb): sus2 triad (altered bass)
Ebsus4/F [ x 1 3 1 4 1] (Eb F Ab Bb): sus4 triad (altered bass)
Edim/C [ x 3 5 3 5 3] (C E G Bb): diminished triad (altered bass)
Edim/D [ 3 x 0 3 3 0] (D E G Bb): diminished triad (altered bass)
Edim/Db [ x 1 2 0 2 0] (Db E G Bb): diminished triad (altered bass)
Edim/Db [ x x 2 3 2 3] (Db E G Bb): diminished triad (altered bass)
Edim/Eb [ x x 5 3 4 0] (Eb E G Bb): diminished triad (altered bass)
Edim7 [ x 1 2 0 2 0] (Db E G Bb): diminished triad, diminished 7th
Edim7 [ x x 2 3 2 3] (Db E G Bb): diminished triad, diminished 7th
E-MOLOVI AKORDI
Em [ 0 2 2 0 0 0] (E G B): minor triad
Em [ 3 x 2 0 0 0] (E G B): minor triad
Em [ x 2 5 x x 0] (E G B): minor triad
Em/A [ 3 x 2 2 0 0] (E G A B): minor triad (altered bass)
Em/A [ x 0 2 0 0 0] (E G A B): minor triad (altered bass)
Em/A [ x 0 5 4 5 0] (E G A B): minor triad (altered bass)
Em/C [ 0 3 2 0 0 0] (C E G B): minor triad (altered bass)
Em/C [ x 2 2 0 1 0] (C E G B): minor triad (altered bass)
Em/C [ x 3 5 4 5 3] (C E G B): minor triad (altered bass)
Em/D [ 0 2 0 0 0 0] (D E G B): minor triad (altered bass)
Em/D [ 0 2 0 0 3 0] (D E G B): minor triad (altered bass)
Em/D [ 0 2 2 0 3 0] (D E G B): minor triad (altered bass)
Em/D [ 0 2 2 0 3 3] (D E G B): minor triad (altered bass)
Em/D [ x x 0 12 12 12] (D E G B): minor triad (altered bass)
Em/D [ x x 0 9 8 7] (D E G B): minor triad (altered bass)
Em/D [ x x 2 4 3 3] (D E G B): minor triad (altered bass)
Em/D [ 0 x 0 0 0 0] (D E G B): minor triad (altered bass)
Em/D [ x 10 12 12 12 0] (D E G B): minor triad (altered bass)
Em/Db [ 0 2 2 0 2 0] (Db E G B): minor triad (altered bass)
Em/Eb [ 3 x 1 0 0 0] (Eb E G B): minor triad (altered bass)
Em/Eb [ x x 1 0 0 0] (Eb E G B): minor triad (altered bass)
Em/Gb [ 0 2 2 0 0 2] (E Gb G B): minor triad (altered bass)
Em/Gb [ 0 2 4 0 0 0] (E Gb G B): minor triad (altered bass)
Em/Gb [ 0 x 4 0 0 0] (E Gb G B): minor triad (altered bass)
Em/Gb [ 2 2 2 0 0 0] (E Gb G B): minor triad (altered bass)
Em6 [ 0 2 2 0 2 0] (Db E G B): minor triad plus 6th
Em7 [ 0 2 0 0 0 0] (D E G B): minor triad, minor 7th
Em7 [ 0 2 0 0 3 0] (D E G B): minor triad, minor 7th
Em7 [ 0 2 2 0 3 0] (D E G B): minor triad, minor 7th
Em7 [ 0 2 2 0 3 3] (D E G B): minor triad, minor 7th
Em7 [ x x 0 0 0 0] (D E G B): minor triad, minor 7th
Em7 [ x x 0 12 12 12] (D E G B): minor triad, minor 7th
Em7 [ x x 0 9 8 7] (D E G B): minor triad, minor 7th
Em7 [ x x 2 4 3 3] (D E G B): minor triad, minor 7th
Em7 [ 0 x 0 0 0 0] (D E G B): minor triad, minor 7th
Em7 [ x 10 12 12 12 0] (D E G B): minor triad, minor 7th
Em7(b5) or Eo7 [ 3 x 0 3 3 0] (D E G Bb): diminished triad, minor 7th : half-diminished 7th
Em7/add11 or Em7/11 [ 0 0 0 0 0 0] (D E G A B): minor triad, minor 7th, plus 11th
Em7/add11 or Em7/11 [ 0 0 0 0 0 3] (D E G A B): minor triad, minor 7th, plus 11th
Em7/add11 or Em7/11 [ 3 x 0 2 0 0] (D E G A B): minor triad, minor 7th, plus 11th
Em9 [ 0 2 0 0 0 2] (D E Gb G B): minor triad, minor 7th plus 9th
Em9 [ 0 2 0 0 3 2] (D E Gb G B): minor triad, minor 7th plus 9th
Em9 [ 2 2 0 0 0 0] (D E Gb G B): minor triad, minor 7th plus 9th
Emaj7 or E#7 [ 0 2 1 1 0 0] (Eb E Ab B): major triad, major 7th
Emaj7 or E#7 [ 0 x 6 4 4 0] (Eb E Ab B): major triad, major 7th
Emaj7 or E#7 [ x x 1 1 0 0] (Eb E Ab B): major triad, major 7th
Emaj9 or E9(#7) [ 0 2 1 1 0 2] (Eb E Gb Ab B): major triad, major 7th plus 9th
Emaj9 or E9(#7) [ 4 x 4 4 4 0] (Eb E Gb Ab B): major triad, major 7th plus 9th
Emin/maj7 [ 3 x 1 0 0 0] (Eb E G B): minor triad, major 7th
Emin/maj7 [ x x 1 0 0 0] (Eb E G B): minor triad, major 7th
Emin/maj9 [ 0 6 4 0 0 0] (Eb E Gb G B): minor triad, major 7th plus 9th
Esus or Esus4 [ 0 0 2 2 0 0] (E A B): no 3rd but a 4th from a major triad
Esus or Esus4 [ 0 0 2 4 0 0] (E A B): no 3rd but a 4th from a major triad
Esus or Esus4 [ 0 2 2 2 0 0] (E A B): no 3rd but a 4th from a major triad
Esus or Esus4 [ x 0 2 2 0 0] (E A B): no 3rd but a 4th from a major triad
Esus or Esus4 [ x x 2 2 0 0] (E A B): no 3rd but a 4th from a major triad
Esus2 or Eadd9(no3) [7 9 9 x x 0] (E Gb B): no 3rd but a 2nd from a major triad
Esus2 or Eadd9(no3) [x 2 4 4 x 0] (E Gb B): no 3rd but a 2nd from a major triad
Esus2/A [ x 0 4 4 0 0] (E Gb A B): sus2 triad (altered bass)
Esus2/A [ x 2 4 2 5 2] (E Gb A B): sus2 triad (altered bass)
Esus2/Ab [ 0 2 2 1 0 2] (E Gb Ab B): sus2 triad (altered bass)
Esus2/Ab [ 0 x 4 1 0 0] (E Gb Ab B): sus2 triad (altered bass)
Esus2/Ab [ 2 2 2 1 0 0] (E Gb Ab B): sus2 triad (altered bass)
Esus2/Db [ x 4 4 4 x 0] (Db E Gb B): sus2 triad (altered bass)
Esus2/Eb [ x 2 2 4 4 2] (Eb E Gb B): sus2 triad (altered bass)
Esus2/Eb [ x x 4 4 4 0] (Eb E Gb B): sus2 triad (altered bass)
Esus2/G [ 0 2 2 0 0 2] (E Gb G B): sus2 triad (altered bass)
Esus2/G [ 0 2 4 0 0 0] (E Gb G B): sus2 triad (altered bass)
Esus2/G [ 0 x 4 0 0 0] (E Gb G B): sus2 triad (altered bass)
Esus2/G [ 2 2 2 0 0 0] (E Gb G B): sus2 triad (altered bass)
Esus4/Ab [ x 0 2 1 0 0] (E Ab A B): sus4 triad (altered bass)
Esus4/C [ 0 0 7 5 0 0] (C E A B): sus4 triad (altered bass)
Esus4/C [ x 3 2 2 0 0] (C E A B): sus4 triad (altered bass)
Esus4/D [ 0 2 0 2 0 0] (D E A B): sus4 triad (altered bass)
Esus4/D [ x 2 0 2 3 0] (D E A B): sus4 triad (altered bass)
Esus4/Db [ 0 0 2 4 2 0] (Db E A B): sus4 triad (altered bass)
Esus4/Db [ x 0 7 6 0 0] (Db E A B): sus4 triad (altered bass)
Esus4/Eb [ x 2 1 2 0 0] (Eb E A B): sus4 triad (altered bass)
Esus4/F [ 0 0 3 2 0 0] (E F A B): sus4 triad (altered bass)
Esus4/G [ 3 x 2 2 0 0] (E G A B): sus4 triad (altered bass)
Esus4/G [ x 0 2 0 0 0] (E G A B): sus4 triad (altered bass)
Esus4/G [ x 0 5 4 5 0] (E G A B): sus4 triad (altered bass)
Esus4/Gb [ x 0 4 4 0 0] (E Gb A B): sus4 triad (altered bass)
Esus4/Gb [ x 2 4 2 5 2] (E Gb A B): sus4 triad (altered bass)
F-DUROVI AKORDI
F or Fmaj [ 1 3 3 2 1 1] (C F A): major triad
F or Fmaj [ x 0 3 2 1 1] (C F A): major triad
F or Fmaj [ x 3 3 2 1 1] (C F A): major triad
F or Fmaj [ x x 3 2 1 1] (C F A): major triad
F #5 or Faug [ x 0 3 2 2 1] (Db F A): augmented triad
F #5 or Faug [ x 0 x 2 2 1] (Db F A): augmented triad
F/D [ x 5 7 5 6 5] (C D F A): major triad (altered bass)
F/D [ x x 0 2 1 1] (C D F A): major triad (altered bass)
F/D [ x x 0 5 6 5] (C D F A): major triad (altered bass)
F/E [ 0 0 3 2 1 0] (C E F A): major triad (altered bass)
F/E [ 1 3 3 2 1 0] (C E F A): major triad (altered bass)
F/E [ 1 x 2 2 1 0] (C E F A): major triad (altered bass)
F/E [ x x 2 2 1 1] (C E F A): major triad (altered bass)
F/E [ x x 3 2 1 0] (C E F A): major triad (altered bass)
F/Eb [ x x 1 2 1 1] (C Eb F A): major triad (altered bass)
F/Eb [ x x 3 5 4 5] (C Eb F A): major triad (altered bass)
F/G [ 3 x 3 2 1 1] (C F G A): major triad (altered bass)
F/G [ x x 3 2 1 3] (C F G A): major triad (altered bass)
F5 or F(no 3rd) [ 1 3 3 x x 1] (C F): root and 5th (power chord)
F5 or F(no 3rd) [ x 8 10 x x 1] (C F): root and 5th (power chord)
F6 [ x 5 7 5 6 5] (C D F A): major triad plus 6th
F6 [ x x 0 2 1 1] (C D F A): major triad plus 6th
F6 [ x x 0 5 6 5] (C D F A): major triad plus 6th
F6/add9 or F6/9 [ 3 x 0 2 1 1] (C D F G A): major triad plus 6th and 9th
F7 or Fdom 7 [ x x 1 2 1 1] (C Eb F A): major triad, minor 7th
F7 or Fdom 7 [ x x 3 5 4 5] (C Eb F A): major triad, minor 7th
Fadd9 or F2 [ 3 x 3 2 1 1] (C F G A): major triad plus 9th
Fadd9 or F2 [ x x 3 2 1 3] (C F G A): major triad plus 9th
Faug/D [ x x 0 2 2 1] (Db D F A): augmented triad (altered bass)
Faug/G [ 1 0 3 0 2 1] (Db F G A): augmented triad (altered bass)
Fdim/D [ x 2 0 1 0 1] (D F Ab B): diminished triad (altered bass)
Fdim/D [ x x 0 1 0 1] (D F Ab B): diminished triad (altered bass)
Fdim/D [ x x 3 4 3 4] (D F Ab B): diminished triad (altered bass)
Fdim/Db [ x 4 3 4 0 4] (Db F Ab B): diminished triad (altered bass)
Fdim7 [ x 2 0 1 0 1] (D F Ab B): diminished triad, diminished 7th
Fdim7 [ x x 0 1 0 1] (D F Ab B): diminished triad, diminished 7th
Fdim7 [ x x 3 4 3 4] (D F Ab B): diminished triad, diminished 7th
F-MOLOVI AKORDI
Fm [ x 3 3 1 1 1] (C F Ab): minor triad
Fm [ x x 3 1 1 1] (C F Ab): minor triad
Fm/D [ x x 0 1 1 1] (C D F Ab): minor triad (altered bass)
Fm/Db [ x 3 3 1 2 1] (C Db F Ab): minor triad (altered bass)
Fm/Db [ x 4 6 5 6 4] (C Db F Ab): minor triad (altered bass)
Fm/Eb [ x 8 10 8 9 8] (C Eb F Ab): minor triad (altered bass)
Fm/Eb [ x x 1 1 1 1] (C Eb F Ab): minor triad (altered bass)
Fm6 [ x x 0 1 1 1] (C D F Ab): minor triad plus 6th
Fm7 [ x 8 10 8 9 8] (C Eb F Ab): minor triad, minor 7th
Fm7 [ x x 1 1 1 1] (C Eb F Ab): minor triad, minor 7th
Fmaj7 or F#7 [ 0 0 3 2 1 0] (C E F A): major triad, major 7th
Fmaj7 or F#7 [ 1 3 3 2 1 0] (C E F A): major triad, major 7th
Fmaj7 or F#7 [ 1 x 2 2 1 0] (C E F A): major triad, major 7th
Fmaj7 or F#7 [ x x 2 2 1 1] (C E F A): major triad, major 7th
Fmaj7 or F#7 [ x x 3 2 1 0] (C E F A): major triad, major 7th
Fmaj7/#11 [ 0 2 3 2 1 0] (C E F A B): major triad, major 7th, augmented 11th
Fmaj7/#11 [ 1 3 3 2 0 0] (C E F A B): major triad, major 7th, augmented 11th
Fmaj9 or F9(#7) [ 0 0 3 0 1 3] (C E F G A): major triad, major 7th plus 9th
Fsus or Fsus4 [ x x 3 3 1 1] (C F Bb): no 3rd but a 4th from a major triad
Fsus2 or Fadd9(no3) [x 3 3 0 1 1] (C F G): no 3rd but a 2nd from a major triad
Fsus2 or Fadd9(no3) [x x 3 0 1 1] (C F G): no 3rd but a 2nd from a major triad
Fsus2/A [ 3 x 3 2 1 1] (C F G A): sus2 triad (altered bass)
Fsus2/A [ x x 3 2 1 3] (C F G A): sus2 triad (altered bass)
Fsus2/B [ x 3 3 0 0 3] (C F G B): sus2 triad (altered bass)
Fsus2/Bb [ x 3 5 3 6 3] (C F G Bb): sus2 triad (altered bass)
Fsus2/D [ 3 3 0 0 1 1] (C D F G): sus2 triad (altered bass)
Fsus2/E [ x 3 3 0 1 0] (C E F G): sus2 triad (altered bass)
Fsus2/E [ x x 3 0 1 0] (C E F G): sus2 triad (altered bass)
Fsus4/G [ x 3 5 3 6 3] (C F G Bb): sus4 triad (altered bass)
G-DUROVI IN Ges-DUROVI AKORDI
G or Gmaj [ x 10 12 12 12 10] (D G B): major triad
G or Gmaj [ 3 2 0 0 0 3] (D G B): major triad
G or Gmaj [ 3 2 0 0 3 3] (D G B): major triad
G or Gmaj [ 3 5 5 4 3 3] (D G B): major triad
G or Gmaj [ 3 x 0 0 0 3] (D G B): major triad
G or Gmaj [ x 5 5 4 3 3] (D G B): major triad
G or Gmaj [ x x 0 4 3 3] (D G B): major triad
G or Gmaj [ x x 0 7 8 7] (D G B): major triad
G #5 or Gaug [ 3 2 1 0 0 3] (Eb G B): augmented triad
G #5 or Gaug [ 3 x 1 0 0 3] (Eb G B): augmented triad
G/A [ 3 0 0 0 0 3] (D G A B): major triad (altered bass)
G/A [ 3 2 0 2 0 3] (D G A B): major triad (altered bass)
G/C [ 3 3 0 0 0 3] (C D G B): major triad (altered bass)
G/C [ x 3 0 0 0 3] (C D G B): major triad (altered bass)
G/E [ 0 2 0 0 0 0] (D E G B): major triad (altered bass)
G/E [ 0 2 0 0 3 0] (D E G B): major triad (altered bass)
G/E [ 0 2 2 0 3 0] (D E G B): major triad (altered bass)
G/E [ 0 2 2 0 3 3] (D E G B): major triad (altered bass)
G/E [ x x 0 12 12 12] (D E G B): major triad (altered bass)
G/E [ x x 0 9 8 7] (D E G B): major triad (altered bass)
G/E [ x x 2 4 3 3] (D E G B): major triad (altered bass)
G/E [ 0 x 0 0 0 0] (D E G B): major triad (altered bass)
G/E [ x 10 12 12 12 0] (D E G B): major triad (altered bass)
G/F [ 1 x 0 0 0 3] (D F G B): major triad (altered bass)
G/F [ 3 2 0 0 0 1] (D F G B): major triad (altered bass)
G/F [ x x 0 0 0 1] (D F G B): major triad (altered bass)
G/Gb [ 2 2 0 0 0 3] (D Gb G B): major triad (altered bass)
G/Gb [ 2 2 0 0 3 3] (D Gb G B): major triad (altered bass)
G/Gb [ 3 2 0 0 0 2] (D Gb G B): major triad (altered bass)
G/Gb [ x x 4 4 3 3] (D Gb G B): major triad (altered bass)
G5 or G(no 3rd) [ 3 5 5 x x 3] (D G): root and 5th (power chord)
G5 or G(no 3rd) [ 3 x 0 0 3 3] (D G): root and 5th (power chord)
G6 [ 0 2 0 0 0 0] (D E G B): major triad plus 6th
G6 [ 0 2 0 0 3 0] (D E G B): major triad plus 6th
G6 [ 0 2 2 0 3 0] (D E G B): major triad plus 6th
G6 [ 0 2 2 0 3 3] (D E G B): major triad plus 6th
G6 [ x x 0 12 12 12] (D E G B): major triad plus 6th
G6 [ x x 0 9 8 7] (D E G B): major triad plus 6th
G6 [ x x 2 4 3 3] (D E G B): major triad plus 6th
G6 [ 0 x 0 0 0 0] (D E G B): major triad plus 6th
G6 [ x 10 12 12 12 0] (D E G B): major triad plus 6th
G6/add9 or G6/9 [ 0 0 0 0 0 0] (D E G A B): major triad plus 6th and 9th
G6/add9 or G6/9 [ 0 0 0 0 0 3] (D E G A B): major triad plus 6th and 9th
G6/add9 or G6/9 [ 3 x 0 2 0 0] (D E G A B): major triad plus 6th and 9th
G7 or Gdom 7 [ 1 x 0 0 0 3] (D F G B): major triad, minor 7th
G7 or Gdom 7 [ 3 2 0 0 0 1] (D F G B): major triad, minor 7th
G7 or Gdom 7 [ x x 0 0 0 1] (D F G B): major triad, minor 7th
G7/add11 or G7/11 [ x 3 0 0 0 1] (C D F G B): major triad, minor 7th, plus 11th
G7sus4 [ 3 3 0 0 1 1] (C D F G): sus4 triad, minor 7th
G9 or Gdom 9 [ x 0 0 0 0 1] (D F G A B): major triad, minor 7th plus 9th
G9 or Gdom 9 [ x 2 3 2 3 3] (D F G A B): major triad, minor 7th plus 9th
Gadd9 or G2 [ 3 0 0 0 0 3] (D G A B): major triad plus 9th
Gadd9 or G2 [ 3 2 0 2 0 3] (D G A B): major triad plus 9th
Gaug/E [ 3 x 1 0 0 0] (Eb E G B): augmented triad (altered bass)
Gaug/E [ x x 1 0 0 0] (Eb E G B): augmented triad (altered bass)
Gb or Gbmaj [ 2 4 4 3 2 2] (Db Gb Bb): major triad
Gb or Gbmaj [ x 4 4 3 2 2] (Db Gb Bb): major triad
Gb or Gbmaj [ x x 4 3 2 2] (Db Gb Bb): major triad
Gb #5 or Gbaug [ x x 0 3 3 2] (D Gb Bb): augmented triad
Gb/Ab [ x x 4 3 2 4] (Db Gb Ab Bb): major triad (altered bass)
Gb/E [ 2 4 2 3 2 2] (Db E Gb Bb): major triad (altered bass)
Gb/E [ x x 4 3 2 0] (Db E Gb Bb): major triad (altered bass)
Gb/Eb [ x x 1 3 2 2] (Db Eb Gb Bb): major triad (altered bass)
Gb/F [ x x 3 3 2 2] (Db F Gb Bb): major triad (altered bass)
Gb6 [ x x 1 3 2 2] (Db Eb Gb Bb): major triad plus 6th
Gb7 or Gbdom 7 [ 2 4 2 3 2 2] (Db E Gb Bb): major triad, minor 7th
Gb7 or Gbdom 7 [ x x 4 3 2 0] (Db E Gb Bb): major triad, minor 7th
Gb7(#5) [ 2 x 4 3 3 0] (D E Gb Bb): minor 7th, sharp 5th
Gb7/#9 [ x 0 4 3 2 0] (Db E Gb A Bb): major triad, minor 7th augmented 9th
Gb7sus4 [ x 4 4 4 x 0] (Db E Gb B): sus4 triad, minor 7th
Gbadd9 or Gb2 [ x x 4 3 2 4] (Db Gb Ab Bb): major triad plus 9th
Gbaug/E [ 2 x 4 3 3 0] (D E Gb Bb): augmented triad (altered bass)
Gbdim/D [ x 5 7 5 7 2] (C D Gb A): diminished triad (altered bass)
Gbdim/D [ x 0 0 2 1 2] (C D Gb A): diminished triad (altered bass)
Gbdim/D [ x 3 x 2 3 2] (C D Gb A): diminished triad (altered bass)
Gbdim/D [ x 5 7 5 7 5] (C D Gb A): diminished triad (altered bass)
Gbdim/E [ x 0 2 2 1 2] (C E Gb A): diminished triad (altered bass)
Gbdim/E [ x x 2 2 1 2] (C E Gb A): diminished triad (altered bass)
Gbdim/Eb [ x x 1 2 1 2] (C Eb Gb A): diminished triad (altered bass)
Gbdim7 [ x x 1 2 1 2] (C Eb Gb A): diminished triad, diminished 7th
Gbm [ 2 4 4 2 2 2] (Db Gb A): minor triad
Gbm [ x 4 4 2 2 2] (Db Gb A): minor triad
Gbm [ x x 4 2 2 2] (Db Gb A): minor triad
Gbm/D [ x x 0 14 14 14] (Db D Gb A): minor triad (altered bass)
Gbm/D [ x x 0 2 2 2] (Db D Gb A): minor triad (altered bass)
Gbm/E [ 0 0 2 2 2 2] (Db E Gb A): minor triad (altered bass)
Gbm/E [ 0 x 4 2 2 0] (Db E Gb A): minor triad (altered bass)
Gbm/E [ 2 x 2 2 2 0] (Db E Gb A): minor triad (altered bass)
Gbm/E [ x 0 4 2 2 0] (Db E Gb A): minor triad (altered bass)
Gbm/E [ x x 2 2 2 2] (Db E Gb A): minor triad (altered bass)
Gbm7 [ 0 0 2 2 2 2] (Db E Gb A): minor triad, minor 7th
Gbm7 [ 0 x 4 2 2 0] (Db E Gb A): minor triad, minor 7th
Gbm7 [ 2 x 2 2 2 0] (Db E Gb A): minor triad, minor 7th
Gbm7 [ x 0 4 2 2 0] (Db E Gb A): minor triad, minor 7th
Gbm7 [ x x 2 2 2 2] (Db E Gb A): minor triad, minor 7th
Gbm7(b5) or Gbo7 [ x 0 2 2 1 2] (C E Gb A): diminished triad, minor 7th : half-diminished 7th
Gbm7(b5) or Gbo7 [ x x 2 2 1 2] (C E Gb A): diminished triad, minor 7th : half-diminished 7th
Gbm7/b9 [ 0 0 2 0 2 2] (Db E Gb G A): minor triad, minor 7th flat 9th
Gbmaj7 or Gb#7 [ x x 3 3 2 2] (Db F Gb Bb): major triad, major 7th
Gbsus or Gbsus4 [ x 4 4 4 2 2] (Db Gb B): no 3rd but a 4th from a major triad
Gbsus2/Bb [ x x 4 3 2 4] (Db Gb Ab Bb): sus2 triad (altered bass)
Gbsus4/E [ x 4 4 4 x 0] (Db E Gb B): sus4 triad (altered bass)
Gdim/E [ x 1 2 0 2 0] (Db E G Bb): diminished triad (altered bass)
Gdim/E [ x x 2 3 2 3] (Db E G Bb): diminished triad (altered bass)
Gdim/Eb [ x 1 1 3 2 3] (Db Eb G Bb): diminished triad (altered bass)
Gdim/Eb [ x 6 8 6 8 6] (Db Eb G Bb): diminished triad (altered bass)
Gdim/Eb [ x x 1 3 2 3] (Db Eb G Bb): diminished triad (altered bass)
Gdim7 [ x 1 2 0 2 0] (Db E G Bb): diminished triad, diminished 7th
Gdim7 [ x x 2 3 2 3] (Db E G Bb): diminished triad, diminished 7th
G-MOLOVI AKORDI
Gm [ 3 5 5 3 3 3] (D G Bb): minor triad
Gm [ x x 0 3 3 3] (D G Bb): minor triad
Gm/E [ 3 x 0 3 3 0] (D E G Bb): minor triad (altered bass)
Gm/Eb [ x 6 8 7 8 6] (D Eb G Bb): minor triad (altered bass)
Gm/F [ 3 5 3 3 3 3] (D F G Bb): minor triad (altered bass)
Gm/F [ x x 3 3 3 3] (D F G Bb): minor triad (altered bass)
Gm13 [ 0 0 3 3 3 3] (D E F G A Bb): minor triad, minor 7th, plus 9th and 13th
Gm6 [ 3 x 0 3 3 0] (D E G Bb): minor triad plus 6th
Gm7 [ 3 5 3 3 3 3] (D F G Bb): minor triad, minor 7th
Gm7 [ x x 3 3 3 3] (D F G Bb): minor triad, minor 7th
Gm7/add11 or Gm7/11 [ x 3 3 3 3 3] (C D F G Bb): minor triad, minor 7th, plus 11th
Gm9 [ 3 5 3 3 3 5] (D F G A Bb): minor triad, minor 7th plus 9th
Gmaj7 or G#7 [ 2 2 0 0 0 3] (D Gb G B): major triad, major 7th
Gmaj7 or G#7 [ 2 2 0 0 3 3] (D Gb G B): major triad, major 7th
Gmaj7 or G#7 [ 3 2 0 0 0 2] (D Gb G B): major triad, major 7th
Gmaj7 or G#7 [ x x 4 4 3 3] (D Gb G B): major triad, major 7th
Gsus or Gsus4 [ x 10 12 12 13 3] (C D G): no 3rd but a 4th from a major triad
Gsus or Gsus4 [ x 3 0 0 3 3] (C D G): no 3rd but a 4th from a major triad
Gsus or Gsus4 [ x 3 5 5 3 3] (C D G): no 3rd but a 4th from a major triad
Gsus or Gsus4 [ x 5 5 5 3 3] (C D G): no 3rd but a 4th from a major triad
Gsus2 or Gadd9(no3) [5 x 0 0 3 5] (D G A): no 3rd but a 2nd from a major triad
Gsus2 or Gadd9(no3) [3 0 0 0 3 3] (D G A): no 3rd but a 2nd from a major triad
Gsus2 or Gadd9(no3) [x 0 0 0 3 3] (D G A): no 3rd but a 2nd from a major triad
Gsus2 or Gadd9(no3) [x x 0 2 3 3] (D G A): no 3rd but a 2nd from a major triad
Gsus2/B [ 3 0 0 0 0 3] (D G A B): sus2 triad (altered bass)
Gsus2/B [ 3 2 0 2 0 3] (D G A B): sus2 triad (altered bass)
Gsus2/C [ x 5 7 5 8 3] (C D G A): sus2 triad (altered bass)
Gsus2/C [ x x 0 2 1 3] (C D G A): sus2 triad (altered bass)
Gsus2/E [ x 0 2 0 3 0] (D E G A): sus2 triad (altered bass)
Gsus2/E [ x 0 2 0 3 3] (D E G A): sus2 triad (altered bass)
Gsus2/E [ x 0 2 2 3 3] (D E G A): sus2 triad (altered bass)
Gsus2/E [ 5 0 0 0 3 0] (D E G A): sus2 triad (altered bass)
Gsus2/Gb [ 5 x 4 0 3 5] (D Gb G A): sus2 triad (altered bass)
Gsus2/Gb [ 3 x 0 2 3 2] (D Gb G A): sus2 triad (altered bass)
Gsus4/A [ x 5 7 5 8 3] (C D G A): sus4 triad (altered bass)
Gsus4/A [ x x 0 2 1 3] (C D G A): sus4 triad (altered bass)
Gsus4/B [ 3 3 0 0 0 3] (C D G B): sus4 triad (altered bass)
Gsus4/B [ x 3 0 0 0 3] (C D G B): sus4 triad (altered bass)
Gsus4/E [ 3 x 0 0 1 0] (C D E G): sus4 triad (altered bass)
Gsus4/E [ x 3 0 0 1 0] (C D E G): sus4 triad (altered bass)
Gsus4/E [ x 3 2 0 3 0] (C D E G): sus4 triad (altered bass)
Gsus4/E [ x 3 2 0 3 3] (C D E G): sus4 triad (altered bass)
Gsus4/E [ x x 0 0 1 0] (C D E G): sus4 triad (altered bass)
Gsus4/E [ x x 0 5 5 3] (C D E G): sus4 triad (altered bass)
Gsus4/E [ x 10 12 12 13 0] (C D E G): sus4 triad (altered bass)
Gsus4/E [ x 5 5 5 x 0] (C D E G): sus4 triad (altered bass)
Gsus4/F [ 3 3 0 0 1 1] (C D F G): sus4 triad (altered bass)
A-DUROVI IN As-DUROVI AKORDI
A or Amaj [0 0 2 2 2 0] (Db E A) : major triad
A or Amaj [0 4 x 2 5 0] (Db E A) : major triad
A or Amaj [5 7 7 6 5 5] (Db E A): major triad
A or Amaj [x 0 2 2 2 0] (Db E A): major triad
A or Amaj [x 4 7 x x 5] (Db E A): major triad
A #5 or Aaug [x 0 3 2 2 1] (Db F A): augmented triad
A #5 or Aaug [x 0 x 2 2 1] (Db F A): augmented triad
A/Ab [x 0 2 1 2 0] (Db E Ab A): major triad (altered bass)
A/B [0 0 2 4 2 0] (Db E A B): major triad (altered bass)
A/B [x 0 7 6 0 0] (Db E A B): major triad (altered bass)
A/D [x 0 0 2 2 0] (Db D E A): major triad (altered bass)
A/D [x x 0 2 2 0] (Db D E A): major triad (altered bass)
A/D [x x 0 6 5 5] (Db D E A): major triad (altered bass)
A/D [x x 0 9 10 9] (Db D E A): major triad (altered bass)
A/G [3 x 2 2 2 0] (Db E G A): major triad (altered bass)
A/G [x 0 2 0 2 0] (Db E G A): major triad (altered bass)
A/G [x 0 2 2 2 3] (Db E G A): major triad (altered bass)
A/Gb [0 0 2 2 2 2] (Db E Gb A): major triad (altered bass)
A/Gb [0 x 4 2 2 0] (Db E Gb A): major triad (altered bass)
A/Gb [2 x 2 2 2 0] (Db E Gb A): major triad (altered bass)
A/Gb [x 0 4 2 2 0] (Db E Gb A): major triad (altered bass)
A/Gb [x x 2 2 2 2] (Db E Gb A): major triad (altered bass)
A5 or A(no 3rd) [ 5 7 7 x x 5] (E A): root and 5th (power chord)
A5 or A(no 3rd) [ x 0 2 2 x 0] (E A): root and 5th (power chord)
A5 or A(no 3rd) [ 5 7 7 x x 0] (E A): root and 5th (power chord)
A6 [ 0 0 2 2 2 2] (Db E Gb A): major triad plus 6th
A6 [ 0 x 4 2 2 0] (Db E Gb A): major triad plus 6th
A6 [ 2 x 2 2 2 0] (Db E Gb A): major triad plus 6th
A6 [ x 0 4 2 2 0] (Db E Gb A): major triad plus 6th
A6 [ x x 2 2 2 2] (Db E Gb A): major triad plus 6th
A6/7 [ 0 0 2 0 2 2] (Db E Gb G A): major triad plus 6th, minor 7th
A6/7 sus or A6/7 sus4 [ 5 5 4 0 3 0] (D E Gb G A): sus4 triad plus 6th, minor 7th
A6/7 sus or A6/7 sus4 [ x 0 2 0 3 2] (D E Gb G A): sus4 triad plus 6th, minor 7th
A7 or Adom 7 [ 3 x 2 2 2 0] (Db E G A): major triad, minor 7th
A7 or Adom 7 [ x 0 2 0 2 0] (Db E G A): major triad, minor 7th
A7 or Adom 7 [ x 0 2 2 2 3] (Db E G A): major triad, minor 7th
A7(#5) [ 1 0 3 0 2 1] (Db F G A): minor 7th, sharp 5th
A7/add11 or A7/11 [ x 0 0 0 2 0] (Db D E G A): major triad, minor 7th, plus 11th
A7sus4 [ x 0 2 0 3 0] (D E G A): sus4 triad, minor 7th
A7sus4 [ x 0 2 0 3 3] (D E G A): sus4 triad, minor 7th
A7sus4 [ x 0 2 2 3 3] (D E G A): sus4 triad, minor 7th
A7sus4 [ 5 x 0 0 3 0] (D E G A): sus4 triad, minor 7th
A7sus4 [ x 0 0 0 x 0] (D E G A): sus4 triad, minor 7th
Aadd9 or A2 [ 0 0 2 4 2 0] (Db E A B): major triad plus 9th
Aadd9 or A2 [ x 0 7 6 0 0] (Db E A B): major triad plus 9th
Aaug/D [ x x 0 2 2 1] (Db D F A): augmented triad (altered bass)
Aaug/G [ 1 0 3 0 2 1] (Db F G A): augmented triad (altered bass)
Ab or Abmaj [ 4 6 6 5 4 4] (C Eb Ab): major triad
Ab #5 or Abaug [ x 3 2 1 1 0] (C E Ab): augmented triad
Ab/A [ x x 1 2 1 4] (C Eb Ab A): major triad (altered bass)
Ab/F [ x 8 10 8 9 8] (C Eb F Ab): major triad (altered bass)
Ab/F [ x x 1 1 1 1] (C Eb F Ab): major triad (altered bass)
Ab/Gb [ x x 1 1 1 2] (C Eb Gb Ab): major triad (altered bass)
Ab/Gb [ x x 4 5 4 4] (C Eb Gb Ab): major triad (altered bass)
Ab5 or Ab(no 3rd) [4 6 6 x x 4] (Eb Ab): root and 5th (power chord)
Ab6 [ x 8 10 8 9 8] (C Eb F Ab): major triad plus 6th
Ab6 [ x x 1 1 1 1] (C Eb F Ab): major triad plus 6th
Ab7 or Abdom 7 [ x x 1 1 1 2] (C Eb Gb Ab): major triad, minor 7th
Ab7 or Abdom 7 [ x x 4 5 4 4] (C Eb Gb Ab): major triad, minor 7th
Abdim/E [ 0 2 0 1 0 0] (D E Ab B): diminished triad (altered bass)
Abdim/E [ 0 2 2 1 3 0] (D E Ab B): diminished triad (altered bass)
Abdim/E [ x 2 0 1 3 0] (D E Ab B): diminished triad (altered bass)
Abdim/E [ x x 0 1 0 0] (D E Ab B): diminished triad (altered bass)
Abdim/Eb [ x x 0 4 4 4] (D Eb Ab B): diminished triad (altered bass)
Abdim/F [ x 2 0 1 0 1] (D F Ab B): diminished triad (altered bass)
Abdim/F [ x x 0 1 0 1] (D F Ab B): diminished triad (altered bass)
Abdim/F [ x x 3 4 3 4] (D F Ab B): diminished triad (altered bass)
Abdim7 [ x 2 0 1 0 1] (D F Ab B): diminished triad, diminished 7th
Abdim7 [ x x 0 1 0 1] (D F Ab B): diminished triad, diminished 7th
Abdim7 [ x x 3 4 3 4] (D F Ab B): diminished triad, diminished 7th
Abm [ x x 6 4 4 4] (Eb Ab B): minor triad
Abm/D [ x x 0 4 4 4] (D Eb Ab B): minor triad (altered bass)
Abm/E [ 0 2 1 1 0 0] (Eb E Ab B): minor triad (altered bass)
Abm/E [ 0 x 6 4 4 0] (Eb E Ab B): minor triad (altered bass)
Abm/E [ x x 1 1 0 0] (Eb E Ab B): minor triad (altered bass)
Abm/Gb [ x x 4 4 4 4] (Eb Gb Ab B): minor triad (altered bass)
Abm7 [ x x 4 4 4 4] (Eb Gb Ab B): minor triad, minor 7th
Absus or Absus4 [ x x 6 6 4 4] (Db Eb Ab): no 3rd but a 4th from a major triad
Absus2/F [ x 1 3 1 4 1] (Eb F Ab Bb): sus2 triad (altered bass)
Adim/Ab [ x x 1 2 1 4] (C Eb Ab A): diminished triad (altered bass)
Adim/E [ 0 3 x 2 4 0] (C Eb E A): diminished triad (altered bass)
Adim/F [ x x 1 2 1 1] (C Eb F A): diminished triad (altered bass)
Adim/F [ x x 3 5 4 5] (C Eb F A): diminished triad (altered bass)
Adim/G [ x x 1 2 1 3] (C Eb G A): diminished triad (altered bass)
Adim/Gb [ x x 1 2 1 2] (C Eb Gb A): diminished triad (altered bass)
Adim7 [ x x 1 2 1 2] (C Eb Gb A): diminished triad, diminished 7th
A-MOLOVI AKORDI
Am [ x 0 2 2 1 0] (C E A): minor triad
Am [ x 0 7 5 5 5] (C E A): minor triad
Am [ x 3 2 2 1 0] (C E A): minor triad
Am [ 8 12 x x x 0] (C E A): minor triad
Am/B [ 0 0 7 5 0 0] (C E A B): minor triad (altered bass)
Am/B [ x 3 2 2 0 0] (C E A B): minor triad (altered bass)
Am/D [ x x 0 2 1 0] (C D E A): minor triad (altered bass)
Am/D [ x x 0 5 5 5] (C D E A): minor triad (altered bass)
Am/Eb [ 0 3 x 2 4 0] (C Eb E A): minor triad (altered bass)
Am/F [ 0 0 3 2 1 0] (C E F A): minor triad (altered bass)
Am/F [ 1 3 3 2 1 0] (C E F A): minor triad (altered bass)
Am/F [ 1 x 2 2 1 0] (C E F A): minor triad (altered bass)
Am/F [ x x 2 2 1 1] (C E F A): minor triad (altered bass)
Am/F [ x x 3 2 1 0] (C E F A): minor triad (altered bass)
Am/G [ 0 0 2 0 1 3] (C E G A): minor triad (altered bass)
Am/G [ x 0 2 0 1 0] (C E G A): minor triad (altered bass)
Am/G [ x 0 2 2 1 3] (C E G A): minor triad (altered bass)
Am/G [ x 0 5 5 5 8] (C E G A): minor triad (altered bass)
Am/Gb [ x 0 2 2 1 2] (C E Gb A): minor triad (altered bass)
Am/Gb [ x x 2 2 1 2] (C E Gb A): minor triad (altered bass)
Am6 [ x 0 2 2 1 2] (C E Gb A): minor triad plus 6th
Am6 [ x x 2 2 1 2] (C E Gb A): minor triad plus 6th
Am7 [ 0 0 2 0 1 3] (C E G A): minor triad, minor 7th
Am7 [ x 0 2 0 1 0] (C E G A): minor triad, minor 7th
Am7 [ x 0 2 2 1 3] (C E G A): minor triad, minor 7th
Am7 [ x 0 5 5 5 8] (C E G A): minor triad, minor 7th
Am7(b5) or Ao7 [ x x 1 2 1 3] (C Eb G A): diminished triad, minor 7th : half-diminished 7th
Am7/add11 or Am7/11 [ x 5 7 5 8 0] (C D E G A): minor triad, minor 7th, plus 11th
Amaj7 or A#7 [ x 0 2 1 2 0] (Db E Ab A): major triad, major 7th
Amin/maj9 [ x 0 6 5 5 7] (C E Ab A B): minor triad, major 7th plus 9th
Asus or Asus4 [ 0 0 2 2 3 0] (D E A): no 3rd but a 4th from a major triad
Asus or Asus4 [ x 0 2 2 3 0] (D E A): no 3rd but a 4th from a major triad
Asus or Asus4 [ 5 5 7 7 x 0] (D E A): no 3rd but a 4th from a major triad
Asus or Asus4 [ x 0 0 2 3 0] (D E A): no 3rd but a 4th from a major triad
Asus2 or Aadd9(no3) [0 0 2 2 0 0] (E A B): no 3rd but a 2nd from a major triad
Asus2 or Aadd9(no3) [0 0 2 4 0 0] (E A B): no 3rd but a 2nd from a major triad
Asus2 or Aadd9(no3) [0 2 2 2 0 0] (E A B): no 3rd but a 2nd from a major triad
Asus2 or Aadd9(no3) [x 0 2 2 0 0] (E A B): no 3rd but a 2nd from a major triad
Asus2 or Aadd9(no3) [x x 2 2 0 0] (E A B): no 3rd but a 2nd from a major triad
Asus2/Ab [ x 0 2 1 0 0] (E Ab A B): sus2 triad (altered bass)
Asus2/C [ 0 0 7 5 0 0] (C E A B): sus2 triad (altered bass)
Asus2/C [ x 3 2 2 0 0] (C E A B): sus2 triad (altered bass)
Asus2/D [ 0 2 0 2 0 0] (D E A B): sus2 triad (altered bass)
Asus2/D [ x 2 0 2 3 0] (D E A B): sus2 triad (altered bass)
Asus2/Db [ 0 0 2 4 2 0] (Db E A B): sus2 triad (altered bass)
Asus2/Db [ x 0 7 6 0 0] (Db E A B): sus2 triad (altered bass)
Asus2/Eb [ x 2 1 2 0 0] (Eb E A B): sus2 triad (altered bass)
Asus2/F [ 0 0 3 2 0 0] (E F A B): sus2 triad (altered bass)
Asus2/G [ 3 x 2 2 0 0] (E G A B): sus2 triad (altered bass)
Asus2/G [ x 0 2 0 0 0] (E G A B): sus2 triad (altered bass)
Asus2/G [ x 0 5 4 5 0] (E G A B): sus2 triad (altered bass)
Asus2/Gb [ x 0 4 4 0 0] (E Gb A B): sus2 triad (altered bass)
Asus2/Gb [ x 2 4 2 5 2] (E Gb A B): sus2 triad (altered bass)
Asus4/Ab [ 4 x 0 2 3 0] (D E Ab A): sus4 triad (altered bass)
Asus4/B [ 0 2 0 2 0 0] (D E A B): sus4 triad (altered bass)
Asus4/Bb [ 0 1 x 2 3 0] (D E A Bb): sus4 triad (altered bass)
Asus4/C [ x x 0 2 1 0] (C D E A): sus4 triad (altered bass)
Asus4/C [ x x 0 5 5 5] (C D E A): sus4 triad (altered bass)
Asus4/Db [ x 0 0 2 2 0] (Db D E A): sus4 triad (altered bass)
Asus4/Db [ x x 0 2 2 0] (Db D E A): sus4 triad (altered bass)
Asus4/Db [ x x 0 6 5 5] (Db D E A): sus4 triad (altered bass)
Asus4/Db [ x x 0 9 10 9] (Db D E A): sus4 triad (altered bass)
Asus4/F [ x x 7 7 6 0] (D E F A): sus4 triad (altered bass)
Asus4/G [ x 0 2 0 3 0] (D E G A): sus4 triad (altered bass)
Asus4/G [ x 0 2 0 3 3] (D E G A): sus4 triad (altered bass)
Asus4/G [ x 0 2 2 3 3] (D E G A): sus4 triad (altered bass)
Asus4/G [ x 0 0 0 x 0] (D E G A): sus4 triad (altered bass)
Asus4/Gb [ 0 0 0 2 3 2] (D E Gb A): sus4 triad (altered bass)
Asus4/Gb [ 0 0 4 2 3 0] (D E Gb A): sus4 triad (altered bass)
Asus4/Gb [ 2 x 0 2 3 0] (D E Gb A): sus4 triad (altered bass)
Asus4/Gb [ x 0 2 2 3 2] (D E Gb A): sus4 triad (altered bass)
Asus4/Gb [ x x 2 2 3 2] (D E Gb A): sus4 triad (altered bass)
Asus4/Gb [ x 5 4 2 3 0] (D E Gb A): sus4 triad (altered bass)
Asus4/Gb [ x 9 7 7 x 0] (D E Gb A): sus4 triad (altered bass)
H-DUROVI (B) IN B-DUROVI (Bb) AKORDI
B or Bmaj [ x 2 4 4 4 2] (Eb Gb B): major triad
B #5 or Baug [ 3 2 1 0 0 3] (Eb G B): augmented triad
B #5 or Baug [ 3 x 1 0 0 3] (Eb G B): augmented triad
B/A [ 2 x 1 2 0 2] (Eb Gb A B): major triad (altered bass)
B/A [ x 0 1 2 0 2] (Eb Gb A B): major triad (altered bass)
B/A [ x 2 1 2 0 2] (Eb Gb A B): major triad (altered bass)
B/A [ x 2 4 2 4 2] (Eb Gb A B): major triad (altered bass)
B/Ab [ x x 4 4 4 4] (Eb Gb Ab B): major triad (altered bass)
B/E [ x 2 2 4 4 2] (Eb E Gb B): major triad (altered bass)
B/E [ x x 4 4 4 0] (Eb E Gb B): major triad (altered bass)
B5 or B(no 3rd) [ 7 9 9 x x 2] (Gb B): root and 5th (power chord)
B5 or B(no 3rd) [ x 2 4 4 x 2] (Gb B): root and 5th (power chord)
B6 [ x x 4 4 4 4] (Eb Gb Ab B): major triad plus 6th
B7 or Bdom 7 [ 2 x 1 2 0 2] (Eb Gb A B): major triad, minor 7th
B7 or Bdom 7 [ x 0 1 2 0 2] (Eb Gb A B): major triad, minor 7th
B7 or Bdom 7 [ x 2 1 2 0 2] (Eb Gb A B): major triad, minor 7th
B7 or Bdom 7 [ x 2 4 2 4 2] (Eb Gb A B): major triad, minor 7th
B7/add11 or B7/11 [ 0 0 4 4 4 0] (Eb E Gb A B): major triad, minor 7th, plus 11th
B7/add11 or B7/11 [ 0 2 1 2 0 2] (Eb E Gb A B): major triad, minor 7th, plus 11th
B7sus4 [ x 0 4 4 0 0] (E Gb A B): sus4 triad, minor 7th
B7sus4 [ x 2 4 2 5 2] (E Gb A B): sus4 triad, minor 7th
Baug/E [ 3 x 1 0 0 0] (Eb E G B): augmented triad (altered bass)
Baug/E [ x x 1 0 0 0] (Eb E G B): augmented triad (altered bass)
Bb or Bbmaj [ 1 1 3 3 3 1] (D F Bb): major triad
Bb or Bbmaj [ x 1 3 3 3 1] (D F Bb): major triad
Bb or Bbmaj [ x x 0 3 3 1] (D F Bb): major triad
Bb #5 or Bbaug [ x x 0 3 3 2] (D Gb Bb): augmented triad
Bb b5 [ x x 0 3 x 0] (D E Bb): flat 5th
Bb/A [ 1 1 3 2 3 1] (D F A Bb): major triad (altered bass)
Bb/Ab [ x 1 3 1 3 1] (D F Ab Bb): major triad (altered bass)
Bb/Ab [ x x 3 3 3 4] (D F Ab Bb): major triad (altered bass)
Bb/Db [ x x 0 6 6 6] (Db D F Bb): major triad (altered bass)
Bb/E [ x 1 3 3 3 0] (D E F Bb): major triad (altered bass)
Bb/G [ 3 5 3 3 3 3] (D F G Bb): major triad (altered bass)
Bb/G [ x x 3 3 3 3] (D F G Bb): major triad (altered bass)
Bb5 or Bb(no 3rd) [6 8 8 x x 6] (F Bb): root and 5th (power chord)
Bb5 or Bb(no 3rd) [x 1 3 3 x 6] (F Bb): root and 5th (power chord)
Bb6 [ 3 5 3 3 3 3] (D F G Bb): major triad plus 6th
Bb6 [ x x 3 3 3 3] (D F G Bb): major triad plus 6th
Bb6/add9 or Bb6/9 [ x 3 3 3 3 3] (C D F G Bb): major triad plus 6th and 9th
Bb7 or Bbdom 7 [ x 1 3 1 3 1] (D F Ab Bb): major triad, minor 7th
Bb7 or Bbdom 7 [ x x 3 3 3 4] (D F Ab Bb): major triad, minor 7th
Bb7sus4 [ x 1 3 1 4 1] (Eb F Ab Bb): sus4 triad, minor 7th
Bbadd#11 [ x 1 3 3 3 0] (D E F Bb): major triad, augmented 11th
Bbaug/E [ 2 x 4 3 3 0] (D E Gb Bb): augmented triad (altered bass)
Bbdim/C [ x 3 x 3 2 0] (C Db E Bb): diminished triad (altered bass)
Bbdim/D [ x x 0 3 2 0] (Db D E Bb): diminished triad (altered bass)
Bbdim/G [ x 1 2 0 2 0] (Db E G Bb): diminished triad (altered bass)
Bbdim/G [ x x 2 3 2 3] (Db E G Bb): diminished triad (altered bass)
Bbdim/Gb [ 2 4 2 3 2 2] (Db E Gb Bb): diminished triad (altered bass)
Bbdim/Gb [ x x 4 3 2 0] (Db E Gb Bb): diminished triad (altered bass)
Bbdim7 [ x 1 2 0 2 0] (Db E G Bb): diminished triad, diminished 7th
Bbdim7 [ x x 2 3 2 3] (Db E G Bb): diminished triad, diminished 7th
Bbm [ 1 1 3 3 2 1] (Db F Bb): minor triad
Bbm/Ab [ x 1 3 1 2 1] (Db F Ab Bb): minor triad (altered bass)
Bbm/D [ x x 0 6 6 6] (Db D F Bb): minor triad (altered bass)
Bbm/Gb [ x x 3 3 2 2] (Db F Gb Bb): minor triad (altered bass)
Bbm7 [ x 1 3 1 2 1] (Db F Ab Bb): minor triad, minor 7th
Bbmaj7 or Bb#7 [ 1 1 3 2 3 1] (D F A Bb): major triad, major 7th
Bbmaj9 or Bb9(#7) [ x 3 3 3 3 5] (C D F A Bb): major triad, major 7th plus 9th
Bbsus2 or Bbadd9(no3) [x x 3 3 1 1] (C F Bb): no 3rd but a 2nd from a major triad
Bbsus2/G [ x 3 5 3 6 3] (C F G Bb): sus2 triad (altered bass)
Bbsus4/Ab [ x 1 3 1 4 1] (Eb F Ab Bb): sus4 triad (altered bass)
Bdim/A [ 1 2 3 2 3 1] (D F A B): diminished triad (altered bass)
Bdim/A [ x 2 0 2 0 1] (D F A B): diminished triad (altered bass)
Bdim/A [ x x 0 2 0 1] (D F A B): diminished triad (altered bass)
Bdim/Ab [ x 2 0 1 0 1] (D F Ab B): diminished triad (altered bass)
Bdim/Ab [ x x 0 1 0 1] (D F Ab B): diminished triad (altered bass)
Bdim/Ab [ x x 3 4 3 4] (D F Ab B): diminished triad (altered bass)
Bdim/G [ 1 x 0 0 0 3] (D F G B): diminished triad (altered bass)
Bdim/G [ 3 2 0 0 0 1] (D F G B): diminished triad (altered bass)
Bdim/G [ x x 0 0 0 1] (D F G B): diminished triad (altered bass)
Bdim7 [ x 2 0 1 0 1] (D F Ab B): diminished triad, diminished 7th
Bdim7 [ x x 0 1 0 1] (D F Ab B): diminished triad, diminished 7th
Bdim7 [ x x 3 4 3 4] (D F Ab B): diminished triad, diminished 7th
H-MOLOVI (Bm) AKORDI
Bm [ 2 2 4 4 3 2] (D Gb B): minor triad
Bm [ x 2 4 4 3 2] (D Gb B): minor triad
Bm [ x x 0 4 3 2] (D Gb B): minor triad
Bm/A [ x 0 4 4 3 2] (D Gb A B): minor triad (altered bass)
Bm/A [ x 2 0 2 0 2] (D Gb A B): minor triad (altered bass)
Bm/A [ x 2 0 2 3 2] (D Gb A B): minor triad (altered bass)
Bm/A [ x 2 4 2 3 2] (D Gb A B): minor triad (altered bass)
Bm/A [ x x 0 2 0 2] (D Gb A B): minor triad (altered bass)
Bm/G [ 2 2 0 0 0 3] (D Gb G B): minor triad (altered bass)
Bm/G [ 2 2 0 0 3 3] (D Gb G B): minor triad (altered bass)
Bm/G [ 3 2 0 0 0 2] (D Gb G B): minor triad (altered bass)
Bm/G [ x x 4 4 3 3] (D Gb G B): minor triad (altered bass)
Bm7 [ x 0 4 4 3 2] (D Gb A B): minor triad, minor 7th
Bm7 [ x 2 0 2 0 2] (D Gb A B): minor triad, minor 7th
Bm7 [ x 2 0 2 3 2] (D Gb A B): minor triad, minor 7th
Bm7 [ x 2 4 2 3 2] (D Gb A B): minor triad, minor 7th
Bm7 [ x x 0 2 0 2] (D Gb A B): minor triad, minor 7th
Bm7(b5) or Bo7 [ 1 2 3 2 3 1] (D F A B): diminished triad, minor 7th : half-diminished 7th
Bm7(b5) or Bo7 [ x 2 0 2 0 1] (D F A B): diminished triad, minor 7th : half-diminished 7th
Bm7(b5) or Bo7 [ x x 0 2 0 1] (D F A B): diminished triad, minor 7th : half-diminished 7th
Bm7/add11 or Bm7/11 [ 0 0 2 4 3 2] (D E Gb A B): minor triad, minor 7th, plus 11th
Bm7/add11 or Bm7/11 [ 0 2 0 2 0 2] (D E Gb A B): minor triad, minor 7th, plus 11th
Bmaj7/#11 [ x 2 3 3 4 2] (Eb F Gb Bb B): major triad, major 7th, augmented 11th
Bsus or Bsus4 [ 7 9 9 x x 0] (E Gb B): no 3rd but a 4th from a major triad
Bsus or Bsus4 [ x 2 4 4 x 0] (E Gb B): no 3rd but a 4th from a major triad
Bsus2 or Badd9(no3) [x 4 4 4 x 2] (Db Gb B): no 3rd but a 2nd from a major triad
Bsus2 or Badd9(no3) [x x 4 4 2 2] (Db Gb B): no 3rd but a 2nd from a major triad
Bsus2/E [ x 4 4 4 x 0] (Db E Gb B): sus2 triad (altered bass)
Bsus4/A [ x 0 4 4 0 0] (E Gb A B): sus4 triad (altered bass)
Bsus4/A [ x 2 4 2 5 2] (E Gb A B): sus4 triad (altered bass)
Bsus4/Ab [ 0 2 2 1 0 2] (E Gb Ab B): sus4 triad (altered bass)
Bsus4/Ab [ 0 x 4 1 0 0] (E Gb Ab B): sus4 triad (altered bass)
Bsus4/Ab [ 2 2 2 1 0 0] (E Gb Ab B): sus4 triad (altered bass)
Bsus4/Db [ x 4 4 4 x 0] (Db E Gb B): sus4 triad (altered bass)
Bsus4/Eb [ x 2 2 4 4 2] (Eb E Gb B): sus4 triad (altered bass)
Bsus4/Eb [ x x 4 4 4 0] (Eb E Gb B): sus4 triad (altered bass)
Bsus4/G [ 0 2 2 0 0 2] (E Gb G B): sus4 triad (altered bass)
Bsus4/G [ 0 2 4 0 0 0] (E Gb G B): sus4 triad (altered bass)
Bsus4/G [ 0 x 4 0 0 0] (E Gb G B): sus4 triad (altered bass)
Bsus4/G [ 2 2 2 0 0 0] (E Gb G B): sus4 triad (altered bass)
Vse je za neki dobr!
Zgodovina sprememb…
- spremenilo: gzibret ()
vrtnyka ::
Nabava kitare:
kdo lahko kupi kitaro?
Kitaro ima lahko kdorkoli. Tale sestavek je sicer bolj namenjen začetnikom, ne škodi pa tudi tistim, ki igrajo že dlje, pa še niso sami nabavljali kitare.
Kakšna kitara je primerna za mene ??
Najprej se je potrebno odločiti, kakšno kitaro bi radi imeli. Če bi se radi naučili igrati v glasbeni šoli potem vam priporočam klasično. Če boste igrali v bendu potem je električna kitara prava za vas. Če bi radi samo nabijali akorde kupite akustično.
Za tiste, ki ne vedo – akustična ni isto kot klasična. Glavna razlika je v tem, da ima klasična plastične, tj. najlonske strune, akustična kovinske. Poleg tega ima praviloma klasična širši vrat, trup le-te se začne pri 12. polju, akustične pri 14., akustične imajo več prečk, večji trup, drugačne natezalce ...
Koliko me bo kitara stala ?
Klasično kitaro lahko dobite za nizko ceno, okrog 12.000 SIT. Za nedeljsko igranje so v redu. Če hočete kanček več, to je 25.000–50.000 SIT, se dobi že zelo solidno, tako akustično, električno in takisto klasično kitaro.
Če imate globok žep, greste za klasiko k inštrumentarju in naročite koncertno, akustično se dobi podobno, za električno pa dobite najcenejši original fender za 180 prešernov.
Lahko pa tudi nabavite rabljeno. Za to je priporočeno imeti kakšen kanček izkušenj.
Opazite, da kitara ni ravno taka kakrsno ste imeli v mislih potem, ko jo že kupite ?
Vidite kitaro, vam je všeč, jo dobite v roke. Najprej preverite:
-vrat – za klasiko mora biti širok, za akustiko in elektriko niti ne. Naj bo raven – poglejte ga postrani, od kobilice do sedla in obratno. Če je vse v redu, pritisnite struno na 12. položaju. Držite. Nad 5. poljem mora ta trenutek biti med struno in prečkami za debelino papirja prostora. če je več, je vrat zvit, če manj, tudi zvit, samo v obratno smer. Pojdite po vsaki struni prečko za prečko in poslušajte. Strune ne smejo brenčati. Vrat je za komfortno igranje najpomembnejši,
- trup – večji kot je, glasnejša naj bi bila kitara. Spredaj mora biti raven, tj. plošča ne sme biti zvita. Če gre od kobilice proti luknji navzdol in je na drugi strani (od kobilice proti koncu trupa) izbočena, pomeni, da je trup šibek in so ga strune nategnile. Kar je še zelo pomembno, če se le da in če vam je kaj do zvoka, naj bo masiven. Vezana plošča zveni zelo ceneno. To, da je trup masiven, pa še ne pomeni, da mora biti plata debela pol centimetra. Tanjša kot je, lepši je zvok,
- nekatere električne kitare imajo na ducate magnetov.
Zelo lepo je, če ima kitara vijak za usločenost vratu.
Na koncu vseh koncev poslušajte. Zvok mora biti všeč vam, občutek tudi.
Dodatki??
Potrebovali boste še ovitek, priporočam uglaševalec, kar ne pomeni, da se vam ni treba naučiti uglaševati na posluh, za električno ojačevalec , kable, pas, za vse pa je skoraj nujen še podstavek.
Predkonec: pazite!
Ko jo boste končno nabavil, pazite:
-Nikoli ne nategujte kovinskih strun na klasično kitaro. Kobilico bo potegnilo k sebi s tako nezaslišano silo, da se bo pod njo naredila luknja,
-Kitaro odlagajte obratno, kot bi jo radi. To pomeni, da jo priložite k steni tako, da so strune obrnjene proti steni. to je zato, da se vrat zvija nazaj. razen če ste tak (ne)srečnik, da je vaš vrat preveč zvit v napačno smer,
-Pazite na sonce. Preveč sonca les presuši in se zvije,
-Ne močite kitare.
Uglašitev kitare:
Kitara je lahko uglašena na različne načine, vendar je najpogostejša uglasitev EADGHE. Cilj določene uglasitve je, da se lahko prijema akorde in igra lestvice s čim manj premiki roke po vratu kitare. V klasični igri je pogosta še uglasitev DADGHA, posamezne zvrsti pa uporabljajo tudi drugačne uglasitve.
Najtanjša struna je predstavljena na vrhu, najdebelejša pa na dnu diagrama. Diagram gledamo tako, kot da bi vrat kitare gledali z vrha, pri čemer je trup na desni strani. Vidimo, da so strune v intervalih kvarte, le med g in h je zmanjšana kvarta.
e ------------------- 1. struna
h ------------------- 2.
g ------------------- 3.
d ------------------- 4.
a ------------------- 5.
e ------------------- 6.
Kitaristi po navadi uglašujejo kitaro takole: s pomočjo drugega instrumenta (na primer glasbenih vilic) določijo ton a na prvi struni ali pa uglasijo peto struno- a. Potem uglasijo ostale strune glede na prejšnjo, upoštevajoč ustrezne intervale. Peto polje na drugi struni da ton e, četrto na tretji ton h, peto na četrti ton g, peto na peti ton d in peto na šesti ton a. Uglasitev se potem preveri še na oktavah in akordih.
e ------1.---- /
h ------2.----5 polje ton E
g ------3.----4 polje ton H ( ali B )
d ------4.----5 polje ton G
a ------5.----5 polje ton D
e ------6.----5 polje ton A
Zelo razširjena pa je tudi uporaba elektronskih tunerjev, ki kažejo ali je struna uglašena previsoko ali prenizko.
Glasbeni simoboli pri instrumentu kitara;
Glasbo pri kitari najdemo v notah na notnem črtovju. Kot vemo ima notno črtovje pet črt in štiri prazne prostorčke med črtami. Na začetku črtovja je vsem dobro znani violinski ključ ali
basovski ključ. Tako lahko vsako črto in prostor poimenujemo s črkami:
- črte: (E - G - B - D - F)
- prazni prostorčki (F - A - C - E
Note:
Note prikazujejo dolžino tona, ki ga zaigramo. Pri kitari je ogromno not zato vam bomo predstavili le nekaj:
- CELINKA (4 udarci)
- POLOVINKA (2 udarca)
- čETRTINKA (1 udarec)
Akordi:
Tudi akordov je zelo veliko, zato bomo predstavil le najosnovnejše, ki so: C, D, E, F, G, A, B oz. H
Note na prvi strani:
E, F, G
Note na drugi strani
B, C, D
Note na tretji struni
G, A
Note na četrti struni
D, E, F
Note na peti struni
A, B, C
Note na šesti struni
E, F, G
Akordi:
Akorde izbiramo s prsti leve roke na vratu kitare. In namreč; želimo zaigrat akord C
Kako: S prsti pritisnemo struno ob steno vrata kitare (med prečkami), in s trzalico zaigramo čez strune, vendar ne čez vse! Strune, jih ne zaigramo
so označene, kar pomeni, da so odprte (odprtih strun se ne dotikamo).
Strumanje:
Pomeni igranje s trzalico. Za začetek oz. za vajo je priporočeno, da strumamo z gor-dol varjanto, kar pomeni, da s trzalico udarjamo po strunah gor in dol.
Obstajajo tudi alternativne možnosti, ki pa jih kot začetnik še ni pomembno znati.
Pravilna drža kitare:
Veliko je načinov kako držati kitaro, da nam je udobneje. Tipična drža pa narekuje, da:
- nam kitara sloni na desnem stegnu, z levo roko izbiramo akorde..., desno roko pa uporabljamo za spodnji del kitare (PRI SEDENJU)
Prsti:
Prsti leve roke oštevilčimo z številkami od 1 do 4:
- kazalec (1)
- sredinec (2)
- prstanec (3)
- mezinec (4)
Trzalica:
Pri igranju uporabljamo trzalico, s katero pri strumanju dobimo lepši zvok, kot bi ga sicer brez trzalice. Trzalico držimo močno (ne premočno),
s palcem in kazalcem.
Vir: tukaj in tukaj
kdo lahko kupi kitaro?
Kitaro ima lahko kdorkoli. Tale sestavek je sicer bolj namenjen začetnikom, ne škodi pa tudi tistim, ki igrajo že dlje, pa še niso sami nabavljali kitare.
Kakšna kitara je primerna za mene ??
Najprej se je potrebno odločiti, kakšno kitaro bi radi imeli. Če bi se radi naučili igrati v glasbeni šoli potem vam priporočam klasično. Če boste igrali v bendu potem je električna kitara prava za vas. Če bi radi samo nabijali akorde kupite akustično.
Za tiste, ki ne vedo – akustična ni isto kot klasična. Glavna razlika je v tem, da ima klasična plastične, tj. najlonske strune, akustična kovinske. Poleg tega ima praviloma klasična širši vrat, trup le-te se začne pri 12. polju, akustične pri 14., akustične imajo več prečk, večji trup, drugačne natezalce ...
Koliko me bo kitara stala ?
Klasično kitaro lahko dobite za nizko ceno, okrog 12.000 SIT. Za nedeljsko igranje so v redu. Če hočete kanček več, to je 25.000–50.000 SIT, se dobi že zelo solidno, tako akustično, električno in takisto klasično kitaro.
Če imate globok žep, greste za klasiko k inštrumentarju in naročite koncertno, akustično se dobi podobno, za električno pa dobite najcenejši original fender za 180 prešernov.
Lahko pa tudi nabavite rabljeno. Za to je priporočeno imeti kakšen kanček izkušenj.
Opazite, da kitara ni ravno taka kakrsno ste imeli v mislih potem, ko jo že kupite ?
Vidite kitaro, vam je všeč, jo dobite v roke. Najprej preverite:
-vrat – za klasiko mora biti širok, za akustiko in elektriko niti ne. Naj bo raven – poglejte ga postrani, od kobilice do sedla in obratno. Če je vse v redu, pritisnite struno na 12. položaju. Držite. Nad 5. poljem mora ta trenutek biti med struno in prečkami za debelino papirja prostora. če je več, je vrat zvit, če manj, tudi zvit, samo v obratno smer. Pojdite po vsaki struni prečko za prečko in poslušajte. Strune ne smejo brenčati. Vrat je za komfortno igranje najpomembnejši,
- trup – večji kot je, glasnejša naj bi bila kitara. Spredaj mora biti raven, tj. plošča ne sme biti zvita. Če gre od kobilice proti luknji navzdol in je na drugi strani (od kobilice proti koncu trupa) izbočena, pomeni, da je trup šibek in so ga strune nategnile. Kar je še zelo pomembno, če se le da in če vam je kaj do zvoka, naj bo masiven. Vezana plošča zveni zelo ceneno. To, da je trup masiven, pa še ne pomeni, da mora biti plata debela pol centimetra. Tanjša kot je, lepši je zvok,
- nekatere električne kitare imajo na ducate magnetov.
Zelo lepo je, če ima kitara vijak za usločenost vratu.
Na koncu vseh koncev poslušajte. Zvok mora biti všeč vam, občutek tudi.
Dodatki??
Potrebovali boste še ovitek, priporočam uglaševalec, kar ne pomeni, da se vam ni treba naučiti uglaševati na posluh, za električno ojačevalec , kable, pas, za vse pa je skoraj nujen še podstavek.
Predkonec: pazite!
Ko jo boste končno nabavil, pazite:
-Nikoli ne nategujte kovinskih strun na klasično kitaro. Kobilico bo potegnilo k sebi s tako nezaslišano silo, da se bo pod njo naredila luknja,
-Kitaro odlagajte obratno, kot bi jo radi. To pomeni, da jo priložite k steni tako, da so strune obrnjene proti steni. to je zato, da se vrat zvija nazaj. razen če ste tak (ne)srečnik, da je vaš vrat preveč zvit v napačno smer,
-Pazite na sonce. Preveč sonca les presuši in se zvije,
-Ne močite kitare.
Uglašitev kitare:
Kitara je lahko uglašena na različne načine, vendar je najpogostejša uglasitev EADGHE. Cilj določene uglasitve je, da se lahko prijema akorde in igra lestvice s čim manj premiki roke po vratu kitare. V klasični igri je pogosta še uglasitev DADGHA, posamezne zvrsti pa uporabljajo tudi drugačne uglasitve.
Najtanjša struna je predstavljena na vrhu, najdebelejša pa na dnu diagrama. Diagram gledamo tako, kot da bi vrat kitare gledali z vrha, pri čemer je trup na desni strani. Vidimo, da so strune v intervalih kvarte, le med g in h je zmanjšana kvarta.
e ------------------- 1. struna
h ------------------- 2.
g ------------------- 3.
d ------------------- 4.
a ------------------- 5.
e ------------------- 6.
Kitaristi po navadi uglašujejo kitaro takole: s pomočjo drugega instrumenta (na primer glasbenih vilic) določijo ton a na prvi struni ali pa uglasijo peto struno- a. Potem uglasijo ostale strune glede na prejšnjo, upoštevajoč ustrezne intervale. Peto polje na drugi struni da ton e, četrto na tretji ton h, peto na četrti ton g, peto na peti ton d in peto na šesti ton a. Uglasitev se potem preveri še na oktavah in akordih.
e ------1.---- /
h ------2.----5 polje ton E
g ------3.----4 polje ton H ( ali B )
d ------4.----5 polje ton G
a ------5.----5 polje ton D
e ------6.----5 polje ton A
Zelo razširjena pa je tudi uporaba elektronskih tunerjev, ki kažejo ali je struna uglašena previsoko ali prenizko.
Glasbeni simoboli pri instrumentu kitara;
Glasbo pri kitari najdemo v notah na notnem črtovju. Kot vemo ima notno črtovje pet črt in štiri prazne prostorčke med črtami. Na začetku črtovja je vsem dobro znani violinski ključ ali
basovski ključ. Tako lahko vsako črto in prostor poimenujemo s črkami:
- črte: (E - G - B - D - F)
- prazni prostorčki (F - A - C - E
Note:
Note prikazujejo dolžino tona, ki ga zaigramo. Pri kitari je ogromno not zato vam bomo predstavili le nekaj:
- CELINKA (4 udarci)
- POLOVINKA (2 udarca)
- čETRTINKA (1 udarec)
Akordi:
Tudi akordov je zelo veliko, zato bomo predstavil le najosnovnejše, ki so: C, D, E, F, G, A, B oz. H
Note na prvi strani:
E, F, G
Note na drugi strani
B, C, D
Note na tretji struni
G, A
Note na četrti struni
D, E, F
Note na peti struni
A, B, C
Note na šesti struni
E, F, G
Akordi:
Akorde izbiramo s prsti leve roke na vratu kitare. In namreč; želimo zaigrat akord C
Kako: S prsti pritisnemo struno ob steno vrata kitare (med prečkami), in s trzalico zaigramo čez strune, vendar ne čez vse! Strune, jih ne zaigramo
so označene, kar pomeni, da so odprte (odprtih strun se ne dotikamo).
Strumanje:
Pomeni igranje s trzalico. Za začetek oz. za vajo je priporočeno, da strumamo z gor-dol varjanto, kar pomeni, da s trzalico udarjamo po strunah gor in dol.
Obstajajo tudi alternativne možnosti, ki pa jih kot začetnik še ni pomembno znati.
Pravilna drža kitare:
Veliko je načinov kako držati kitaro, da nam je udobneje. Tipična drža pa narekuje, da:
- nam kitara sloni na desnem stegnu, z levo roko izbiramo akorde..., desno roko pa uporabljamo za spodnji del kitare (PRI SEDENJU)
Prsti:
Prsti leve roke oštevilčimo z številkami od 1 do 4:
- kazalec (1)
- sredinec (2)
- prstanec (3)
- mezinec (4)
Trzalica:
Pri igranju uporabljamo trzalico, s katero pri strumanju dobimo lepši zvok, kot bi ga sicer brez trzalice. Trzalico držimo močno (ne premočno),
s palcem in kazalcem.
Vir: tukaj in tukaj
vrtnyka ma resota rada
gzibret ::
Evo, da dodam prvi komad. Idealen za začetek, ker ga lahko špilate zelo počas, pa nobeden ne bo protestiral. Še skladalo se bo z vsebino pesmi V bistvu, bolj počasni kot (bo)ste, bolj bo(ste) "vžgali"
ZLO POČAS - Adi Smolar
E...........................E
Pivo sem naroču v oštariji si ob treh.
E.......................................E
"Dans se bom napil!" sem sklenu! Bil sem čist na tleh.
A..........................E
Bla je ura pol deset ponoč, ko sem ga spil, ker
H..................E
jaz pijem zlo počas!
Me zmerjal je en huligan. Takoj sem šel v napad!
Z levo sem zamahnu, z desno prijel za vrat!
Celo uro sem ga držal, a le enkrat vžgal, ker
jaz tepem zlo počas.
Ženske nimam, kterokol dobim, me kmal pusti.
Več kot teden dni pri men nobena ne vzdrži.
Z mano zadovoljne so podnev, ponoč pa ne, ker:
jaz božam zlo poĉas!
Dab zaslužu dnar, harmonko sem igrat začel,
kmalu me za veselico eden je najel.
Blo je dost ljudi, a čist nobeden plesal ni, ker:
jaz špilam zlo počas
Kadarkol pogreb zagledam, me srce boli.
Krsta venci, sprevod, godba ... Vse to zlo hiti!
Si ne morem kaj, da neb zadrl se, kakor zdaj
na glas: PEJTE BOL POČAS
H-dur ima 5 višajev, F#, C#, G#, D#, A#;
H-durov tercakord: H - D# - F# - H
Če ne morete prijeti tega, pa dajte prijeti malo enostavneje:
V bistvu, bolj počasni kot (bo)ste, bolj bo(ste) "vžgali" ZLO POČAS - Adi Smolar
E...........................E
Pivo sem naroču v oštariji si ob treh.
E.......................................E
"Dans se bom napil!" sem sklenu! Bil sem čist na tleh.
A..........................E
Bla je ura pol deset ponoč, ko sem ga spil, ker
H..................E
jaz pijem zlo počas!
Me zmerjal je en huligan. Takoj sem šel v napad!
Z levo sem zamahnu, z desno prijel za vrat!
Celo uro sem ga držal, a le enkrat vžgal, ker
jaz tepem zlo počas.
Ženske nimam, kterokol dobim, me kmal pusti.
Več kot teden dni pri men nobena ne vzdrži.
Z mano zadovoljne so podnev, ponoč pa ne, ker:
jaz božam zlo poĉas!
Dab zaslužu dnar, harmonko sem igrat začel,
kmalu me za veselico eden je najel.
Blo je dost ljudi, a čist nobeden plesal ni, ker:
jaz špilam zlo počas
Kadarkol pogreb zagledam, me srce boli.
Krsta venci, sprevod, godba ... Vse to zlo hiti!
Si ne morem kaj, da neb zadrl se, kakor zdaj
na glas: PEJTE BOL POČAS
H-dur ima 5 višajev, F#, C#, G#, D#, A#;
H-durov tercakord: H - D# - F# - H
Če ne morete prijeti tega, pa dajte prijeti malo enostavneje:
Vse je za neki dobr!
Zgodovina sprememb…
- zavarovalo slike: gzibret ()
mild seven ::
Sem začetnik na kitari. Večkrat slišim in se sprašujem kaj pravzaprav pomeni "distortion"?
maximalno dober dan
gzibret ::
Hmmm, nisem glih specialist za tele električne kitare, ampak z distortion-om narediš zvok bolj rezek. Metalski komadi imajo bolj ali manj vsi veliko distortiona, akustična kitara pa tega nima.
Če hočeš "žagat", rabiš met velik distortiona (in električno kitaro).
Če hočeš "žagat", rabiš met velik distortiona (in električno kitaro).
Vse je za neki dobr!
Zgodovina sprememb…
- spremenilo: gzibret ()
DOOM_er ::
mene pa zanima če so kkšne res dobre vaje za ne čisto začetnike
(kitaro sicer špilam že pou leta)
(kitaro sicer špilam že pou leta) Robots will steal your job. But that's OK
gzibret ::
Poglej na Incredible Guitar. Tam imaš lekcije.
http://www.ultimate-guitar.com/lessons/
Se pa da kupit celo čudo zadev. Poglej na google guitar lessons
Jaz se nisem glih učil po lekcijah. No ja, kupil sem si eno knjigo s CD-jem, kjer so bile razložene res osnove od osnov. Za naprej pa nisem rabil dosti več, kot seznam akordov. Morda zaradi tega ne, ker sem hodil v glasbeno.
Sem si pa kupil učbenik "glasbeni stavek" za srednjo glasbeno. Kar fajna zadevica, pove, kako skladati, kako kombinirati akorde, kako skakatiiz ene na drugo lestvico. Zraven je še čuda vaj z rešitvami. Bom kaj napisal, ko malo preštudiram.
http://www.ultimate-guitar.com/lessons/
Se pa da kupit celo čudo zadev. Poglej na google guitar lessons
Jaz se nisem glih učil po lekcijah. No ja, kupil sem si eno knjigo s CD-jem, kjer so bile razložene res osnove od osnov. Za naprej pa nisem rabil dosti več, kot seznam akordov. Morda zaradi tega ne, ker sem hodil v glasbeno.
Sem si pa kupil učbenik "glasbeni stavek" za srednjo glasbeno. Kar fajna zadevica, pove, kako skladati, kako kombinirati akorde, kako skakatiiz ene na drugo lestvico. Zraven je še čuda vaj z rešitvami. Bom kaj napisal, ko malo preštudiram.
Vse je za neki dobr!
RFC ::
Klapa, samo ideja, tudi sam sem mislil, da se bom lahko naučil igrati kitaro kar tako a po enem letu je bil rezultat tak, da sem sicer brenkal nekaj, a če hočeš dobro igrati potrebuješ enega učitelja. Ura kitare enkrat na teden me pride cca 2k, kar je v primerjavi s poprejšnjo frustracijo sprejemljivo...
Nočem pametvat, ampak vam povem da se splača...
D.
Nočem pametvat, ampak vam povem da se splača...
D.
DOOM_er ::
jah jst mam soseda k isto musko sluša kt jst pa še kitaro špila že 12 let tm okol in me uči za 3 pire na tedn po 3+ ure
Robots will steal your job. But that's OK
Poldy ::
Kakor vzameš, jaz bi rekel da je najbolje da te uči nekdo, ki ima na tem področju že prakso.
Ko te bo kolega učil igranje s trzalico, močno dvomim da bo opazil ali roko premikaš v zapestju ali komolcu... "profi" bo pa že vedel na kaj mora biti pozoren.
Ko te bo kolega učil igranje s trzalico, močno dvomim da bo opazil ali roko premikaš v zapestju ali komolcu... "profi" bo pa že vedel na kaj mora biti pozoren.
slatko ::
Vsekakor se kitaro lahko naučiš špilat sam, vendar je potrebno veliko truda in vaje pa pristop mora bit pravi! Rezultat pa seveda pride precej hitreje če ti zadeve pokaže nekdo ki zares obvlada...
Še en zanimiv link, precej teorije, postopki, akordi, ...
http://johncomino.tripod.com/
Drgač pa če koga zanima, tut jest inštruiram kitaro, sicer bolj za hobi, za kak pir ...
Še en zanimiv link, precej teorije, postopki, akordi, ...
http://johncomino.tripod.com/
Drgač pa če koga zanima, tut jest inštruiram kitaro, sicer bolj za hobi, za kak pir
... mat3jc3k ::
no... najprej kapo dol pobudniku te teme.
Ocitno se vedno obstajamo ljudje s smislom za prave stvari
no se nekaj od mene
BOBNI: www.karantanija.si/bobni/forum
Kitarski forum: www.zidaric.net
Glasbeni forum: www.glasbenik.net
Have fun and happy playing
edit - naredil linke klikabilne.
Ocitno se vedno obstajamo ljudje s smislom za prave stvari
no se nekaj od mene
BOBNI: www.karantanija.si/bobni/forum
Kitarski forum: www.zidaric.net
Glasbeni forum: www.glasbenik.net
Have fun and happy playing
edit - naredil linke klikabilne.
Zgodovina sprememb…
- spremenilo: gzibret ()
slatko ::
No, ko ste tuki lih sami kitaristi...jest iščem enga rutineranga ritem kitarista in pa enga basista, ki imata svojo opremo...
Bend bi bil klasične sestave (ritem, solo, bas, bobni, vokal)...
Od začetka bi recimo špilal AC/DC, The Rolling Stones, Aerosmith, Guns N Roses..., kasneje tudi avtorske komade...ideje so, cajt je
Imam pa drgač zvočno izoliran prostor, perfektno poštiman štrom (24 vtičnic, avtomatske varovalke)...
No, če se tuki najde kdo ki bi špilal kej tazga ga prosim naj me kontaktira!
040/848-482
renato.salamun@spletnatrgovina.com
Zasebna sporočila
Na zgornjem mailu sem dosegljiv tudi preko Messengerja...
Bend bi bil klasične sestave (ritem, solo, bas, bobni, vokal)...
Od začetka bi recimo špilal AC/DC, The Rolling Stones, Aerosmith, Guns N Roses..., kasneje tudi avtorske komade...ideje so, cajt je
Imam pa drgač zvočno izoliran prostor, perfektno poštiman štrom (24 vtičnic, avtomatske varovalke)...
No, če se tuki najde kdo ki bi špilal kej tazga ga prosim naj me kontaktira!
040/848-482
renato.salamun@spletnatrgovina.com
Zasebna sporočila
Na zgornjem mailu sem dosegljiv tudi preko Messengerja...
Looney ::
Mene pa nekaj zanima: moja mat se je odločila, da mi kupi kitaro (yeah, I know...wtf) mene pa to nič ne moti... bi zdaj med počitnicami malo eksperimentirala, samo rada bi vedela, če se jo je težko naučit. Ne mislim igrat samo akordov... rada bi se naučila igrati skladbe po notah... drugače že osem let igram violino in mi je večinoma jasno vse v zvezi z glasbo in branjem not, samo mnenje me zanima, pa še to: kako so strune na kitari uglašene?
"#define QUESTION ((bb) || !(bb)) - Shakespeare."
Looney ::
Mislim na kateri višini! V smislu: violina ima strune G, D, A, E, kitara pa....
"#define QUESTION ((bb) || !(bb)) - Shakespeare."
gzibret ::
Poglej na katerokoli slikico, pripopano v tejle temi Hitro ti bo jasno
Hitro ti bo jasno Vse je za neki dobr!
Looney ::
A.. hvala... nisem vedela, fa je tam napisano... torej ima v bistvu iste strune, kot violina, samo, v obratnem vrstnem redu...in še dve dodatni... torej so v bistvu med strunami razlike v kvartah, ne pa v kvintah... ok. mal bol jasno je že...
"#define QUESTION ((bb) || !(bb)) - Shakespeare."
Imperfect ::
Se opravičujem če se je kje že tole pojavlo ampak mam občutek da se ni.
Torej zanima me če obstaja kakšen program, ki ti pove katero frekvenco ali morda celo kateri ton (najbližje kateremu tonu) igraš (seveda v mikrofon). Če to obstaja in je dosegljivo bi zelo rad imel :)
Da ne bo moj post povsem nekoristen... :) http://chordfind.com/
Torej zanima me če obstaja kakšen program, ki ti pove katero frekvenco ali morda celo kateri ton (najbližje kateremu tonu) igraš (seveda v mikrofon). Če to obstaja in je dosegljivo bi zelo rad imel :)
Da ne bo moj post povsem nekoristen... :) http://chordfind.com/
Zgodovina sprememb…
- spremenilo: gzibret ()
Poldy ::
Linke za takšen programček sem jaz že dal nekje zgoraj...
Looney:
Za strune ni nujno da so vedno uglašene na EBGDAE, lahko je zadnja tudi D, se lepo sliši. Variant je ogromno.
Če si že prej igrala violino, si verjetno igrala precej klasike, zato seveda kupi, oz. naroči klasično kitaro. Potem se moraš odločiti še, ali boš igrala s prsti ali trzalico - v tvojem primeru ti svetujem prste, s trzalico boš obtičala na akordih ali pa na max. dvoglasnih skladbah.
Looney:
Za strune ni nujno da so vedno uglašene na EBGDAE, lahko je zadnja tudi D, se lepo sliši. Variant je ogromno.
Če si že prej igrala violino, si verjetno igrala precej klasike, zato seveda kupi, oz. naroči klasično kitaro. Potem se moraš odločiti še, ali boš igrala s prsti ali trzalico - v tvojem primeru ti svetujem prste, s trzalico boš obtičala na akordih ali pa na max. dvoglasnih skladbah.
Poldy ::
Še 2 tuja foruma...
Za vse tiste ki prisegate na klasiko:
http://www.delcamp.net/forum/en/
Pa za tiste ki vam je elektrika bolj pri srcu:
http://guitar.zentao.com/forum/
edit - naredil linke "clickable".
Za vse tiste ki prisegate na klasiko:
http://www.delcamp.net/forum/en/
Pa za tiste ki vam je elektrika bolj pri srcu:
http://guitar.zentao.com/forum/
edit - naredil linke "clickable".
Zgodovina sprememb…
- spremenilo: gzibret ()
Looney ::
Ja, samo problem je v tem, da si zaradi violine ne morem privoščiti dolgih nohtov!
Kako pa to, da so tako različno uglašene? Kako se potem sploh navadiš igrat? Oz. kje je sploh fora različnega uglaševanja?
Kako pa to, da so tako različno uglašene? Kako se potem sploh navadiš igrat? Oz. kje je sploh fora različnega uglaševanja?
"#define QUESTION ((bb) || !(bb)) - Shakespeare."
Poldy ::
Dolge nohte potrebuješ 4 na desni roki. A te to na violini moti?
Malo hitro sem pisal, uglasitve kitare so različne, vendar vsaka uglasitev za določene skladbe, ne moreš ene skladbe igrati na vseh uglasitvah :)
Različne uglasitve... lahko bi rekel da s tem poenostaviš igranje na električni ali akustični kitari npr. power akordi... na klasični kitari pa določene skladbe sploh ni mogoče igrati na klasični uglasitvi, ker ne moreš imeti prstov na tako raličnih koncih.
Malo hitro sem pisal, uglasitve kitare so različne, vendar vsaka uglasitev za določene skladbe, ne moreš ene skladbe igrati na vseh uglasitvah :)
Različne uglasitve... lahko bi rekel da s tem poenostaviš igranje na električni ali akustični kitari npr. power akordi... na klasični kitari pa določene skladbe sploh ni mogoče igrati na klasični uglasitvi, ker ne moreš imeti prstov na tako raličnih koncih.
Zgodovina sprememb…
- spremenil: Poldy ()
Looney ::
Mja... v bistvu res moti!
Ne vem, če bi se jaz res lotila kitare... itak v glasbeno ne bom šla, da bi se pa neki zdej mučila doma sama... če bi me imel kdo naučit že, tako pa... resnično dobivam pomisleke... se bom raje bolj violini posvetila, pa bo ravno tako dobro!
Ne vem, če bi se jaz res lotila kitare... itak v glasbeno ne bom šla, da bi se pa neki zdej mučila doma sama... če bi me imel kdo naučit že, tako pa... resnično dobivam pomisleke... se bom raje bolj violini posvetila, pa bo ravno tako dobro!
"#define QUESTION ((bb) || !(bb)) - Shakespeare."
slatko ::
Če te zanima kitara ti lahko kdaj kaj pokažem, ne računam nič, samo za kak per mi boš dala
sid_dabster ::
@Looney:
Kar se tice dolgih nohtov, je tko. Eventuelno jih rabis na klasicni kitari, sicer pa ne. Pa tudi na klasicni niso nujni - ponavadi se razlika pozna sele takrat, ko tehnike ze tako obvladas, da zacnes delati predvsem na zvoku. Glede na to, da si potencialna zacetnica, mislim, da se sploh ne gre ubadati z mislijo na dolge nohte. Z nohti je ena sama pizdarija, ker se lomijo, moras si jih lakirat, obrezovat, brusit in ne vem kaj se vsega boga. To suxx. Jaz igram kitaro z nohti, postrizenimi do konca, sicer mi gre vse skupaj na zivce. Kitaro igram ze 12 let in se niti enkrat se mi ni pokazala potreba, da bi si pustil nohte. Itak igram skoraj izkljucno elektricno kitaro - s trzalico - in boli me briga za nohte!
Jaz ti svetujem, da se vseeno posvetis igranju kitare - s kratkimi nohti It's fun!
Komot se je naucis sama, se bolje je pa uporabiti kaksne instruction videos. Meni je najbolj vsec tisti od Michael Romeo-a (kitarist od Symphony X - moj naljljubsi). Tip pokaze res hude fore, ki bi jih clovek sam zelo tezko skuzil
.
Kar se tice dolgih nohtov, je tko. Eventuelno jih rabis na klasicni kitari, sicer pa ne. Pa tudi na klasicni niso nujni - ponavadi se razlika pozna sele takrat, ko tehnike ze tako obvladas, da zacnes delati predvsem na zvoku. Glede na to, da si potencialna zacetnica, mislim, da se sploh ne gre ubadati z mislijo na dolge nohte. Z nohti je ena sama pizdarija, ker se lomijo, moras si jih lakirat, obrezovat, brusit in ne vem kaj se vsega boga. To suxx. Jaz igram kitaro z nohti, postrizenimi do konca, sicer mi gre vse skupaj na zivce. Kitaro igram ze 12 let in se niti enkrat se mi ni pokazala potreba, da bi si pustil nohte. Itak igram skoraj izkljucno elektricno kitaro - s trzalico - in boli me briga za nohte!
Jaz ti svetujem, da se vseeno posvetis igranju kitare - s kratkimi nohti
It's fun!Komot se je naucis sama, se bolje je pa uporabiti kaksne instruction videos. Meni je najbolj vsec tisti od Michael Romeo-a (kitarist od Symphony X - moj naljljubsi). Tip pokaze res hude fore, ki bi jih clovek sam zelo tezko skuzil
. Fallen beyond all grace deeper and deeper
The sound of her own blood dripping
Like sacred tears from a bleeding rose...( Embraced, Within)
The sound of her own blood dripping
Like sacred tears from a bleeding rose...( Embraced, Within)
sid_dabster ::
@Imperfect:
Tak programcek lahko, ce si kaj programerja, zelo enostavno napises tudi sam. Enostavno uporabis FFT na signalu, ocenis, kje se v grobem ton nahaja (z Goertzlom ali FFT-jem), pote pa v spektru poisces lego tona in odstopanje od reference. Nekaj na to foro je tudi naredil en dedi v seminarski nalogi na friju. Za audio I/O na win32 platformi pa najdes marsikaj tudi tu.
Tak programcek lahko, ce si kaj programerja, zelo enostavno napises tudi sam. Enostavno uporabis FFT na signalu, ocenis, kje se v grobem ton nahaja (z Goertzlom ali FFT-jem), pote pa v spektru poisces lego tona in odstopanje od reference. Nekaj na to foro je tudi naredil en dedi v seminarski nalogi na friju. Za audio I/O na win32 platformi pa najdes marsikaj tudi tu.
Fallen beyond all grace deeper and deeper
The sound of her own blood dripping
Like sacred tears from a bleeding rose...( Embraced, Within)
The sound of her own blood dripping
Like sacred tears from a bleeding rose...( Embraced, Within)
Looney ::
Sem si kupila eno kitaro... bolj igrača kot inštrument (), ampak itak ne mislm kaj dosti z njo počet.. bolj tako, za zabavo. Skratka... v enem dnevu sem se naučila zaigrat vse popevke, ki so mi prišle na pamet. Sem bila zelo presenečena, saj sem pričakovala, da bo težje, vendar je dokaj podobno violini, tako, da nimam nobenih težav z igranjem po posluhu. Ampak akordov se pa ne bi lotila...
), ampak itak ne mislm kaj dosti z njo počet.. bolj tako, za zabavo. Skratka... v enem dnevu sem se naučila zaigrat vse popevke, ki so mi prišle na pamet. Sem bila zelo presenečena, saj sem pričakovala, da bo težje, vendar je dokaj podobno violini, tako, da nimam nobenih težav z igranjem po posluhu. Ampak akordov se pa ne bi lotila... "#define QUESTION ((bb) || !(bb)) - Shakespeare."
muzičar ::
Okej vse lepo igral vsi jaki kitaristi nobeden pa ni pomislil da bi ji povedal še kako mora prav držati vrat in kako prav udrihati po strunah.
Looney poglej si malo po netu kako se pravilno drži vrat -> palec ne sme gledat čez vrat, mora biti stegnjen in naslonjen rahlo obrnjen proti levi. Če se boš lotila akordov (ti zelo toplo priporočam, ker ko jih znaš lahko delaš prelepe kombinacije -> ne samo udrihanje ampak potem sčasoma se začneš lepo sprehajati po strunah akorda, ga menjaš in....) moraš vedeti da ne voziš motorja torej ne udrihaš po strunah z desno roko kot da bi vozila motor ampak za vajo primi z levo roko zapestje desne in premikaj desno roko (v zapestju) gor pa dol tako da bo če gledamo od vrha dol bila skos v liniji - se ne bo zavijala, premikaš samo zapestje gor in dol nič drugega. Zapomni si da če te kaj boli roka pri igranju to pomeni da igraš narobe. Resno si poglej malo slike pravilnih drž (tudi desna roka mora biti pravilno naslonjena na kitaro -> v komolcu), ker če se boš zdaj naučila narobe igrat boš rabila zelo dobrega inštruktorja in veliko časa da se boš naučila pravilno. Noja to je nekako vse zaenkrat iz moje strani. A kdo ve, če rabiš kak izpit za inštruktorja inštrumentov?
Looney poglej si malo po netu kako se pravilno drži vrat -> palec ne sme gledat čez vrat, mora biti stegnjen in naslonjen rahlo obrnjen proti levi. Če se boš lotila akordov (ti zelo toplo priporočam, ker ko jih znaš lahko delaš prelepe kombinacije -> ne samo udrihanje ampak potem sčasoma se začneš lepo sprehajati po strunah akorda, ga menjaš in....) moraš vedeti da ne voziš motorja torej ne udrihaš po strunah z desno roko kot da bi vozila motor ampak za vajo primi z levo roko zapestje desne in premikaj desno roko (v zapestju) gor pa dol tako da bo če gledamo od vrha dol bila skos v liniji - se ne bo zavijala, premikaš samo zapestje gor in dol nič drugega. Zapomni si da če te kaj boli roka pri igranju to pomeni da igraš narobe. Resno si poglej malo slike pravilnih drž (tudi desna roka mora biti pravilno naslonjena na kitaro -> v komolcu), ker če se boš zdaj naučila narobe igrat boš rabila zelo dobrega inštruktorja in veliko časa da se boš naučila pravilno. Noja to je nekako vse zaenkrat iz moje strani. A kdo ve, če rabiš kak izpit za inštruktorja inštrumentov?
DOOM_er ::
na začetku itak roka boli ko igraš, to usakega sam se itak pol po 2-3 mescih uneseš in gre pol čist lahko
Robots will steal your job. But that's OK
muzičar ::
Hmm.... mene ni. Sem imel 2 tedna inštrukcije glih tok da me je naučil pravilne drže in verjemi mi nič me ni bolelo (razen prsti oz. blazinice kar je pa naravno, se pa utrdijo kasneje).
DOOM_er ::
jst k sm začel igrt me je bolel ker je bil zame dokaj nenaraven položaj, pol sm se pa navadu
Robots will steal your job. But that's OK
Looney ::
@muzičar: Po osmih letih igranja violine, resnično ne rabim nobene posebne vaje za sproščenost v desni roki, poleg tega sem prepričana, da tudi z levo roko nimam problemov... violina ima precej tanjši vrat, zato je tam veliko težje držati palec tako, da ti ne gleda čez vrat... in, če mi tam to ne povzroča težav, mi lahko na besedo verjameš, da to obvladam. Nič me ne bolijo roke, niti nič drugega. Blazinice na prstih imam pa itak dovolj utrjene od strun. Akorde bi me pa pač moral nekdo naučiti, ampak dvomim, da se mi bo dalo in še bolj dvomim, da bom imela čas. Sem obupno zaposlena med šolskim letom in letos bo še slabše, tako, da se ne bom mogla posvetit še dodatnemu učenju kitare... drugače bi bilo, če bi bilo to moje prvo soočenje z glasbilom, vendar je v mojem primeru še vedno na prvem mestu violina... mi je čisto prirasla k srcu in se ji ne mislim odpovedati!
Akorde bi me pa pač moral nekdo naučiti, ampak dvomim, da se mi bo dalo in še bolj dvomim, da bom imela čas. Sem obupno zaposlena med šolskim letom in letos bo še slabše, tako, da se ne bom mogla posvetit še dodatnemu učenju kitare... drugače bi bilo, če bi bilo to moje prvo soočenje z glasbilom, vendar je v mojem primeru še vedno na prvem mestu violina... mi je čisto prirasla k srcu in se ji ne mislim odpovedati! "#define QUESTION ((bb) || !(bb)) - Shakespeare."
Hiddenus ::
Jaz mam eno vprašanje glede teorije. Ne samo kitare, ampak nasploh glasbene. Pa če mi zna kdo odgovorit ko se spozna na to..
Kje je finta modusov? Ionski, dorski pa to..
Naprimer če izhajamo iz C-dura.. Imamo:
C D E F G A H C - C ionska
D E F G A H C D - D dorska
itd..
No zakaj je to uporabno če samo začneš iz drugega tona? Ko delaš kako melodijo recimo itak nikoli negreš povrsti ampak pač uporabljaš tone iz lestvice..
Kje je finta modusov? Ionski, dorski pa to..
Naprimer če izhajamo iz C-dura.. Imamo:
C D E F G A H C - C ionska
D E F G A H C D - D dorska
itd..
No zakaj je to uporabno če samo začneš iz drugega tona? Ko delaš kako melodijo recimo itak nikoli negreš povrsti ampak pač uporabljaš tone iz lestvice..
Hiddenus ::
Ja to že..
Samo recimo da maš neki kitarski solo iz C dura (ionske).. Kako veš da je iz C dura in ne iz A mola (aeolska)?
Samo recimo da maš neki kitarski solo iz C dura (ionske).. Kako veš da je iz C dura in ne iz A mola (aeolska)?
bMozart ::
Kako veš? Po posluhu?
Imperfect: pomoje ti iščeš naslednji program: In-Tune Multi-Instrument Tuner. Veliko sreče pri iskanju
Drugače pa za vse ki se bi radi naučili igrati kitare, rabite samo en program: eMedia Guitar Method (beginer se mi zdi za tiste ki že nekaj znate pa intermediate)
Problem je pa v tem da večina folka nima živcev(čas se dobi če si ga vzameš) da se bi naučila igrat kitaro, tko da prej ko slej obupa, saj njihovi možgani dobesedno zablokirajo. V nasprotnim primeru ti pa IQ zraste za okoli (+/-)15%
Dost sm povedu, če bom več bote pa že bolši kitaristi od mene
Imperfect: pomoje ti iščeš naslednji program: In-Tune Multi-Instrument Tuner. Veliko sreče pri iskanju
Drugače pa za vse ki se bi radi naučili igrati kitare, rabite samo en program: eMedia Guitar Method (beginer se mi zdi za tiste ki že nekaj znate pa intermediate)
Problem je pa v tem da večina folka nima živcev(čas se dobi če si ga vzameš) da se bi naučila igrat kitaro, tko da prej ko slej obupa, saj njihovi možgani dobesedno zablokirajo. V nasprotnim primeru ti pa IQ zraste za okoli (+/-)15%
Dost sm povedu, če bom več bote pa že bolši kitaristi od mene
I NEED The Point of View Gun effectible on girls too! And then...
SaXsIm ::
Razlika je edino v značaju. Če pa ti vmes uporabiš recimo tona G in A, ni nujno da sta iz C dura ali a mola, lahko sta iz bilokatere lestvice, ki vsebuje ta dva tona (lahko sta tudi razvezana, zvišana/znižana). Da pa ti pri enem solu zveš iz katerega tonskega načina sta, moraš gledati podlago (npr. ritem kitaro, bas kitaro). Tako slišiš značaj skladbe in iz tega sklepaš, če so toni iz dura/mola. Ko si pa prej primerjal z koralnimi modusi; saj se niso v "originalu" vsi začeli na istem tonu, poleg tega je "fora" lestvic različen značaj, saj bi drugače lahko vse igrali v kromatični lestvici in bi imeli tako zajet ves nabor tonov. Razumeš?
SaXsIm
Hiddenus ::
No načeloma že vem kdaj je mol kdaj pa dur.. Iz posluha ravno..
Samo zakaj a mol zveni žalostno C dur pa veselo :P Bol teoretično me zanima pač..
Samo zakaj a mol zveni žalostno C dur pa veselo :P Bol teoretično me zanima pač..
Vredno ogleda ...
| Tema | Ogledi | Zadnje sporočilo | |
|---|---|---|---|
| Tema | Ogledi | Zadnje sporočilo | |
| » | Kitara - narodnozabavna glasbaOddelek: Sedem umetnosti | 13619 (6690) | chrush |
| » | Uglaševanje kitareOddelek: Loža | 5140 (4755) | c3p0 |
| » | Začetnik....kitara :DOddelek: Sedem umetnosti | 10309 (10146) | gzibret |
| » | GlasbenikiOddelek: Sedem umetnosti | 3675 (3079) | gzibret |
| » | noteOddelek: Sedem umetnosti | 7208 (7141) | drevo |