# Chord charts for instruments tuned in fifths



## All_¥our_Bass (Apr 12, 2012)

I didn't know if I should put this in "Standard Guitars" or "ERG" but since tuning in fifths adds extra range and isn't considered a "normal" tuning I put it here.
Mods, feel free to move this if you think the isn't the correct place.

Only have maj,min,sus2,and sus4 at the moment-gotta type up the other ones, I know what most of them are by heart but it takes a bit to "write" them out.
So here's at least something to look at in the meantime

each | | represent the space between two frets

the large blocks mean to "fret these areas via barring"
small blocks are for fretting with a single finger

'Xed' areas means "mute these/don't play these"

These can be used all over the fretboard as long as you have enough strings and frets available.

These are written with the lowest pitch on the bottom of each diagram and the highest pitch on top. (as if you were looking at your fretboard as you were playing, like tab)

```
Major

|&#9608;| |&#9632;| Maj3
|&#9608;| | | P5
|&#9608;| | | R


|&#9608;|&#9608;| P5
|&#9608;|&#9608;| R
|&#9608;| | Maj3


| | | |&#9632;| P5
|x|x|x|x| 
| | |&#9632;| | Maj3
|x|x|x|x| 
|&#9632;| | | | R


|&#9608;| | |&#9632;| R
|&#9608;| |&#9632;| | Maj3
|&#9608;| | | | P5
|&#9608;| | | | R


|&#9608;| | |&#9632;| P5 
|&#9608;| | |&#9632;| R
|&#9608;| |&#9632;| | Maj3
|&#9608;| | | | P5
|&#9608;| | | | R

|&#9608;| | | | Maj3
|&#9608;| | |&#9632;| R
|&#9608;| |&#9632;| | Maj3
|&#9608;| | | | P5
|&#9608;| | | | R

|&#9608;| | | | Maj3
|x|x|x|x|
|x|x|x|x|
|&#9608;| | | | P5
|&#9608;| | | | R

===========================================

Minor

|&#9608;|&#9632;| Min3
|&#9608;| | P5
|&#9608;| | R


|&#9608;| |&#9608;| P5
|&#9608;| |&#9608;| R
|&#9608;| | | Min3


| | | |&#9632;| P5
|x|x|x|x| 
| |&#9632;| | | Min3
|x|x|x|x| 
|&#9632;| | | | R


|&#9608;| | |&#9632;| R
|&#9608;|&#9632;| | | Min3
|&#9608;| | | | P5
|&#9608;| | | | R


|&#9608;| | |&#9632;| P5 
|&#9608;| | |&#9632;| R
|&#9608;|&#9632;| | | Min3
|&#9608;| | | | P5
|&#9608;| | | | R

===========================================

Sus2 / Power chord with added major 9th (5add9)

|&#9608;| maj2/9
|&#9608;| P5
|&#9608;| R


|&#9608;| | |&#9608;| P5
|&#9608;| | |&#9608;| R
|&#9608;| | | | Maj2/9


| | | |&#9632;| P5
|x|x|x|x| 
|&#9632;| | | | Maj2/9
|x|x|x|x| 
|&#9632;| | | | R


|&#9608;| | |&#9632;| R
|&#9608;| | | | Maj2/9
|&#9608;| | | | P5
|&#9608;| | | | R


|&#9608;| | |&#9608;| P5 
|&#9608;| | |&#9608;| R
|&#9608;| | | | Maj2/9
|&#9608;| | | | P5
|&#9608;| | | | R

|&#9608;| | |&#9608;| Maj2/9
|&#9608;| | |&#9608;| P5 
|&#9608;| | |&#9608;| R
|&#9608;| | | | Maj2/9
|&#9608;| | | | P5
|&#9608;| | | | R

===========================================

Sus4 / Power chord with added Perfect 4th (5add4)

| | | |&#9632;| P4
|&#9608;| | | | P5
|&#9608;| | | | R


|&#9608;| | |&#9632;| P4
|&#9608;| | | | P5
|&#9608;| | | | R


| | | |&#9632;| P4
|&#9632;| | | | P5
|x|x|x|x|
|x|x|x|x|
| | |&#9632;| | R


|&#9608;| | | | P5
|&#9608;| | | | R
|&#9608;| | | | P4
| | |&#9632;| | R


| | | |&#9608;| R
| | | |&#9608;| P4
|&#9608;| | | | P5
|&#9608;| | | | R


| | | |&#9608;| P5
| | | |&#9608;| R 
| | | |&#9608;| P4
|x|x|x|x| 
|&#9632;| | | | R


|&#9608;| | |&#9608;| P5 
|&#9608;| | |&#9608;| R
|&#9608;| | |&#9608;| P4
|&#9608;| | | | P5
|&#9608;| | | | R
```


----------



## vansinn (Apr 12, 2012)

Sexy. At first I didn't understand why you showed so few strings/positions, but of course, the advantage of tunings like the 5th is that it's symmetrical, and thus the same patterns applies everywhere.


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## ixlramp (Apr 12, 2012)

Excellent and very clear diagrams


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## All_¥our_Bass (Apr 12, 2012)

vansinn said:


> the advantage of tunings like the 5th is that it's symmetrical, and thus the same patterns applies everywhere.


My second favorite tuning is all fourths, would love to try all maj3 sometime.


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## Waelstrum (Apr 12, 2012)

^The cool thing about fourths and fifths is that you can use all the chord shapes for one on the other if you play them upside down. One of these days I'm going to tune my six to fifths, but have the strings in inverse order, so I can use the same shapes that I'm used to.


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## Mr. Big Noodles (Apr 13, 2012)

All_¥our_Bass;2958418 said:


> My second favorite tuning is all fourths, would love to try all maj3 sometime.



Major thirds is fun. It makes a lot of stuff more difficult, but if you're doing a lot of chromatic scales, clusters, and tight voicings, it's awesome. I also tried a tuning based on two augmented chords that was pretty intuitive for non-diatonic stuff. I think it was E G# C D F# A#.


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## Osorio (Apr 13, 2012)

Waelstrum said:


> ^The cool thing about fourths and fifths is that you can use all the chord shapes for one on the other if you play them upside down. One of these days I'm going to tune my six to fifths, but have the strings in inverse order, so I can use the same shapes that I'm used to.



You mean like getting a left handed guitar and playing it righty? 
I have extensive experience with the opposite of that, being a left handed player and having, on more than one occasion, had to play some stuff on the spot, without my gear. 
On my most "bored out of my mind" day I learned to play Opeth's "Deliverance" upside down, solos included. I'll say it right now it is not as entertaining as you would think, but makes for a cool visual trick.

---
Now I see that is not exactly what you meant, but I can't really visualize what you are saying. Going to leave my original comment here for kicks. Might be a cool idea for you anyway or someone else. It never did anything for me, but you never know.


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## Grimbold (Apr 13, 2012)

vansinn said:


> Sexy. At first I didn't understand why you showed so few strings/positions, but of course, the advantage of tunings like the 5th is that it's symmetrical, and thus the same patterns applies everywhere.


this
quite excellent


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## ElRay (Apr 13, 2012)

SchecterWhore said:


> Major thirds is fun. It makes a lot of stuff more difficult, but if you're doing a lot of chromatic scales, clusters, and tight voicings, it's awesome.



I love all M3rds. The advantages are huge. It's not the greatest for me, myself and I playing (without a looper), but if you're doing "piano-like" note runs and dense chords, it's great.

That's why I have on my "To-Do" list to map-out some 5ths in the bass, 3rds in the treble tunings. That will likely wait until I have an 8-string on the horizon.

Ray


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## All_¥our_Bass (Apr 13, 2012)

ElRay said:


> I love all M3rds. The advantages are huge. It's not the greatest for me, myself and I playing (without a looper), but if you're doing "piano-like" note runs and dense chords, it's great.


My main reason behind my interest in Maj3rds tuning.



venneer said:


> You mean like getting a *right* handed guitar and playing it *lefty*?


Fixed
I've talked to this guy before and that's what he does.


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## ixlramp (Apr 14, 2012)

I'm also interested in sixths tunings


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## phrygian12 (Apr 15, 2012)

This is pretty cool 



ixlramp said:


> I'm also interested in sixths tunings




Oh yeah? well...I'm interested in unison tuning ha-ha!...wait D: fffffuuuuc-


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## ixlramp (Apr 15, 2012)

I can see potential in m3s M3s tritones fifths sixths, only fourths makes no sense to me.


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## Trespass (Apr 15, 2012)

ixlramp said:


> I can see potential in m3s M3s tritones fifths sixths, only fourths makes no sense to me.



Considering the scale length, body shape, and position the instrument is played in, 4ths makes quite a bit of sense.


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## ixlramp (Apr 16, 2012)

Yes certainly, but for me personally i see the options to either side, M3 and tritone, to be more interesting. Perhaps it comes from a lifetime of hearing fourths based chords and finding alternatives refreshing


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## All_¥our_Bass (May 15, 2012)

*UPDATE!!!!:*

I added some more 'advanced' chords (7, 11, 13, added tones, diminished, augmented) and updated some of the previous areas.

```
Major

|&#9608;| |&#9632;| Maj3
|&#9608;| | | P5
|&#9608;| | | R


|&#9608;|&#9608;| P5
|&#9608;|&#9608;| R
|&#9608;| | Maj3


| | | |&#9632;| P5
|x|x|x|x| 
| | |&#9632;| | Maj3
|x|x|x|x| 
|&#9632;| | | | R


|&#9632;| Maj3
|x|
|x|
|&#9632;| 5
|&#9632;| R


|&#9608;| | |&#9632;| R
|&#9608;| |&#9632;| | Maj3
|&#9608;| | | | P5
|&#9608;| | | | R


|&#9608;| | |&#9632;| P5 
|&#9608;| | |&#9632;| R
|&#9608;| |&#9632;| | Maj3
|&#9608;| | | | P5
|&#9608;| | | | R

|&#9608;| | | | Maj3
|&#9608;| | |&#9632;| R
|&#9608;| |&#9632;| | Maj3
|&#9608;| | | | P5
|&#9608;| | | | R


Major dyad (Maj no5)
|&#9608;| | | | Maj3
|&#9608;| | |&#9632;| R


|&#9632;| | | | Maj3
| | | |&#9632;| R


| | |&#9632;| Maj3
|x|x|x|
|&#9632;| | | R

| | | |&#9632;| R
| | |&#9632;| | Maj3
|x|x|x|x|
|&#9632;| | | | R

===========================================

Minor

|&#9608;|&#9632;| Min3
|&#9608;| | P5
|&#9608;| | R


|&#9608;| |&#9608;| P5
|&#9608;| |&#9608;| R
|&#9608;| | | Min3


| | | |&#9632;| P5
|x|x|x|x| 
| |&#9632;| | | Min3
|x|x|x|x| 
|&#9632;| | | | R


|&#9632;| | Maj3
|x|x|
|x|x|
|&#9608;|&#9632;| 5
|&#9608;|&#9632;| R


|&#9608;| | |&#9632;| R
|&#9608;|&#9632;| | | Min3
|&#9608;| | | | P5
|&#9608;| | | | R


|&#9608;| | |&#9632;| P5 
|&#9608;| | |&#9632;| R
|&#9608;|&#9632;| | | Min3
|&#9608;| | | | P5
|&#9608;| | | | R


Minor dyad (Min no5)
|&#9608;| | | | | Min3
|&#9608;| | | |&#9632;| R


|&#9632;| | | | | Min3
| | | | |&#9632;| R


| |&#9632;| Min3
|x|x|
|&#9632;| | R


| | | |&#9632;| R
| |&#9632;| | | Min3
|x|x|x|x|
|&#9632;| | | | R

===========================================

Sus2 / Power chord with added major 9th (5add9)

|&#9608;| maj2/9
|&#9608;| P5
|&#9608;| R


|&#9608;| | |&#9608;| P5
|&#9608;| | |&#9608;| R
|&#9608;| | | | Maj2/9


| | | |&#9632;| P5
|x|x|x|x| 
|&#9632;| | | | Maj2/9
|x|x|x|x| 
|&#9632;| | | | R


|&#9608;| | |&#9632;| R
|&#9608;| | | | Maj2/9
|&#9608;| | | | P5
|&#9608;| | | | R


|&#9608;| | |&#9608;| P5 
|&#9608;| | |&#9608;| R
|&#9608;| | | | Maj2/9
|&#9608;| | | | P5
|&#9608;| | | | R


|&#9608;| | |&#9608;| Maj2/9
|&#9608;| | |&#9608;| P5 
|&#9608;| | |&#9608;| R
|&#9608;| | | | Maj2/9
|&#9608;| | | | P5
|&#9608;| | | | R


Sus2+ , Sus2#5
|&#9608;| | maj2/9
|&#9608;|&#9632;| #5
|&#9608;| | R


Sus2 add b6
|&#9608;| | | maj2/9
|&#9608;|&#9632;| | b6
|&#9608;| | | R
| | |&#9632;| P5

===========================================

Sus4 / Power chord with added Perfect 4th (5add4)

| | | |&#9632;| P4
|&#9608;| | | | P5
|&#9608;| | | | R


|&#9608;| | |&#9632;| P4
|&#9608;| | | | P5
|&#9608;| | | | R


| | | |&#9632;| P4
|&#9632;| | | | P5
|x|x|x|x|
|x|x|x|x|
| | |&#9632;| | R


|&#9608;| | | | P5
|&#9608;| | | | R
|&#9608;| | | | P4
| | |&#9632;| | R


| | | |&#9608;| R
| | | |&#9608;| P4
|&#9608;| | | | P5
|&#9608;| | | | R


| | | |&#9608;| P5
| | | |&#9608;| R 
| | | |&#9608;| P4
|x|x|x|x| 
|&#9632;| | | | R


|&#9608;| | |&#9608;| P5 
|&#9608;| | |&#9608;| R
|&#9608;| | |&#9608;| P4
|&#9608;| | | | P5
|&#9608;| | | | R

===========================================

Maj7
|&#9608;| |&#9608;| Maj7
|&#9608;| |&#9608;| Maj3
|&#9608;| | | P5
|&#9608;| | | R


Maj7 no 3
|&#9608;| | | | Maj7
|&#9608;| | |&#9632;| P5
|&#9608;| | |&#9632;| R


Maj7 no 5
|&#9608;| | | | Maj7
|&#9608;| | | | Maj3
|&#9608;| | |&#9632;| R


Maj9 no 3
|&#9608;| |&#9632;| Maj7
|&#9608;| | | Maj9
|&#9608;| | | P5
|&#9608;| | | R


Maj add 9
| | | | | |&#9632;| Maj9
|&#9608;| |&#9632;| | | | Maj3
|&#9608;| | | | | | P5
|&#9608;| | | | | | R


Maj6 (Maj add 6)
|&#9608;| | | Maj6
|&#9608;| |&#9632;| Maj3
|&#9608;| | | P5
|&#9608;| | | R


Maj6 (Maj add 6)
|&#9608;| | | Maj3
|&#9608;| | | Maj6
|&#9608;|x|x| (barre but don't play)
|&#9608;| | | P5
|&#9608;| | | R


Maj7 #11
|&#9608;| |&#9608;| #11
|&#9608;| |&#9608;| Maj7
|&#9608;| |&#9608;| Maj3
|&#9608;| | | P5
|&#9608;| | | R


Maj7 #11 no 3
|&#9608;| | | | #11
|&#9608;| | | | Maj7
|&#9608;| | |&#9632;| P5
|&#9608;| | |&#9632;| R


Maj13 no 11
|&#9608;| Maj7
|&#9608;| Maj3
|&#9608;| Maj13
|&#9608;| Maj9
|&#9608;| P5
|&#9608;| R

===========================================

Min7
|&#9608;|&#9608;| Min7
|&#9608;|&#9608;| Min3
|&#9608;| | P5
|&#9608;| | R


|&#9608;| |&#9632;| P5
|&#9608;| |&#9632;| R
|&#9608;| | | Maj3
|&#9608;| |&#9632;| Min7


Min6 (Min add6)
|&#9608;| | Maj6
|&#9608;|&#9632;| Min3
|&#9608;| | P5
|&#9608;| | R


Min add 9
| | | | | |&#9632;| Maj9
|&#9608;|&#9632;| | | | | Min3
|&#9608;| | | | | | P5
|&#9608;| | | | | | R


| | | |&#9608;| Maj9
| | | |&#9608;| P5
| | | |&#9608;| R
|&#9608;|&#9632;| | | Min3
|&#9608;| | | | P5
|&#9608;| | | | R


Min add b9
| | | | |&#9632;| b9
|&#9608;|&#9632;| | | | Min3
|&#9608;| | | | | P5
|&#9608;| | | | | R


|&#9608;| | | Min3
|&#9608;|x|x| (barre but don't play)
|&#9608;| | | b9
|&#9608;|&#9632;| | P5
|&#9608;|&#9632;| | R


Min add b9,b6
| | | | |&#9632;| b6
| | | | |&#9632;| b9
|&#9608;|&#9632;| | | | Min3
|&#9608;| | | | | P5
|&#9608;| | | | | R


|&#9608;| | | Min3
|&#9608;| | | b6
|&#9608;| | | b9
|&#9608;|&#9632;| | P5
|&#9608;|&#9632;| | R


|&#9608;| | | Min3
|&#9608;|x|x| (barre but don't play)
|&#9608;| | | b9
|&#9608;|&#9632;| | P5
|&#9608;|&#9632;| | R


Min11
|&#9608;|&#9608;| P11
|&#9608;|&#9608;| Min7
|&#9608;|&#9608;| Min3
|&#9608;| | P5
|&#9608;| | R


Min11 no 3
|&#9608;| | | | | 11
|&#9608;| | | | | Min7
|&#9608;| | | |&#9632;| P5
|&#9608;| | | |&#9632;| R


Min 13 no 11
|&#9608;| | Min7
|&#9608;| | Min3
|&#9608;| | Min13
|&#9608;| | Min9
|&#9608;|&#9632;| P5
|&#9608;|&#9632;| R

===========================================

Dominant
|&#9608;|&#9632;| | Min7
|&#9608;| |&#9632;| Maj3
|&#9608;| | | P5
|&#9608;| | | R


|&#9608;| |&#9632;| | Maj3
|&#9608;| | |&#9632;| Min7
|&#9608;| | | | R
|&#9608;| |&#9632;| | P5


|&#9608;|&#9632;| P5
|&#9608;|&#9632;| R
|&#9608;| | Maj3
|&#9608;|&#9632;| Min7


Dominant no 5
|&#9608;| |&#9632;| | Maj3
|&#9608;| | |&#9632;| Min7
|&#9608;| | | | R


|&#9608;| | |&#9632;| R
|&#9608;| |&#9632;| | Maj3
|&#9608;| | |&#9632;| Min7
|&#9608;| | | | R


| |&#9632;| R
|&#9632;| | Maj3
| |&#9632;| Min7

===========================================

Power Chord (5)
|&#9608;| 5
|&#9608;| R


|&#9632;| | | R
| | |&#9632;| 5


|&#9608;| | | 5
|&#9608;| | | R
| | |&#9632;| 5


|&#9608;| | | R
| | |&#9632;| 5
| | |&#9632;| R


|&#9608;| | | 5
|&#9608;| | | R
| | |&#9632;| 5
| | |&#9632;| R

===========================================

Augmented
| | |&#9632;| 3
| |&#9632;| | 5
|&#9632;| | | R


| | |&#9632;| 5
| |&#9632;| | R
|&#9632;| | | 3


| | |&#9632;| R
| |&#9632;| | 3
|&#9632;| | | 5


| | | |&#9632;| R
| | |&#9632;| | 3
| |&#9632;| | | 5
|&#9632;| | | | R


7+ , 7 #5 , Dominant #5 , Dominant b13)
| |&#9632;| | | min7
| | |&#9632;| | 3
| |&#9632;| | | 5
|&#9632;| | | | R

Aug Maj7 , Maj7+
| | |&#9608;| | Min7
| | |&#9608;| | 3
| |&#9632;| | | 5
|&#9632;| | | | R

===========================================

Diminished (dim)
| | |&#9632;| Min3
|&#9632;| | | d5
| |&#9632;| | R


Diminished 7 (dim7)
| |&#9632;| | d7
| | |&#9632;| Min3
|&#9632;| | | d5
| |&#9632;| | R


Diminished 7 no 3 (dim7 no3)
| |&#9632;| | Min3
| | |&#9632;| d5
|&#9632;| | | R


Diminished 7 no 3 (dim7 no3)
| | |&#9632;| d7
|&#9632;| | | R
| |&#9632;| | d5
| | |&#9632;| R

===========================================

Quartal Chord
|&#9608;| | | | | min7
|&#9608;| |&#9632;| | | P4
|&#9608;| | | |&#9632;| R
```


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## Explorer (May 16, 2012)

For what it's worth, here's what I did when I was playing 8-string in full fifths.

I would set up the tuning in any of the free chord/scale generators available online, and then put in the different chord types by intervals. 

I'd then look for clusters which would be good bar chords. 

I'd also pay attention to what chords had open strings available, combined with decent upper strings. 

You normally only need one really low note when in full fifths on 8-string, especially since the lowest notes on the instruments are generally Ab0 or Bb0. 

I also still do this with my full-fifths instruments with four or six courses.


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## Waelstrum (May 16, 2012)

> Augmented
> | | |&#9632;| 3
> | |&#9632;| | 5
> |&#9632;| | | R
> ...



This part made me lol.


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## All_¥our_Bass (May 22, 2012)

Oops! I left out a diminished 7 voicing.

```
dim 7 no 3
| | | | |&#9632;| b5
| | |&#9632;| | | d7
|&#9632;| | | | | R
```


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## Sir Taffey (Dec 26, 2013)

Osorio said:


> You mean like getting a left handed guitar and playing it righty?
> I have extensive experience with the opposite of that, being a left handed player and having, on more than one occasion, had to play some stuff on the spot, without my gear.
> On my most "bored out of my mind" day I learned to play Opeth's "Deliverance" upside down, solos included. I'll say it right now it is not as entertaining as you would think, but makes for a cool visual trick.
> 
> ...



Left handed player as well. I am so going to try and learn Deliverance upside down


----------

