E Flat, A Flat, B Flat, D Flat, & G Flat

The key of Eb has 3 flats (Bb, Eb, and Ab). The is the opposite of E which has 4 sharps (F#, C#, G#, D#). What is sharped in E, is natural in E flat. What is flatted in E flat, are natural in the key of E.

Cadd9

add9 means that we have added a 9 to the chord. The 9 of C is D. 123456789 = cdefgabcd. D is also the 2, and we could call an add9 chord an add2 (sometimes you'll see just a 2, like C2, but this isn't as common). It would be a sus 9 (more likely written sus2) if the 9 replaced the 3rd.

If the chord was Cm9, without the add part, this would mean that there is a flat 7 present in the chord, along with the 9.

We've included the D tone in this C minor chord to make it strum-friendly. If we didn't add this tone, we'd have to find a way to mute the B string if we were strumming. Fretting the C tone on that string can be difficult. It is a great sounding chord when we add the 9.

Some of these guitar are really slash chords. Here are what some of the chords are really called:

The reason we didn't list these as such is that when you see a slash chord written, this generally means that you should use that voicing.

In our case, when we see Ab written, we have a whole bunch of options. We choose to play the voicing we think is most appropriate, and a slash chord (Ab/C) is a possibility.

When selecting which chord type to use (full, fragment), the motor hand technique often dictates this. If you are strumming, muting becomes the most important feature for fragments (not true for full 6 string chords - nonfragments).

When we are fingerpicking or picking, we may or may not mute inactive strings. Since we are picking the exact tones, we don't have to mute, yet can if we choose to do so. Unmute strings can end up ringing (sympathetic vibration), so muting them may be a good idea, but not absolutely necessary due to the type of technique we are using.

The chords in G flat Major are: Gb, Abm, Bbm, Cb, Db, Ebm, and Fo (Fdim).

These are the 'same' chords as the key of F#. Yet, rather than having 6 sharps, we have 6 flats (everything but the F). In this case we could say that we have 2 naturals (B and F- since the Cb ' is' B). This key shares the 'same' tritone as the key of C.

• Get the chords in each key in your hands.
• Play the chord scale for each of these keys. We can play chords as we play scales using any beat count or motor hand technique. I-ii-iii-IV-V-vi-viio-I
• Play progressions. Examples: I-vi-ii-V7-I and I-V-IV-I.
• Write progressions.