Guitar Chord Names: The Complete Reference List

Guitar chord names follow a simple, consistent system. Every chord has two parts: the root note and the chord type symbol. Once you understand what each symbol means, you can look at any chord name and immediately know which notes it contains and how it will sound.

How Chord Names Are Built

The root note always comes first. It’s the letter name: C, D, E, F, G, A, or B. That letter tells you the lowest note (or the name-giving note) of the chord.

The symbol after the root tells you which intervals are in the chord. No symbol means major. Add an “m” and it’s minor. Add a “7” and it’s a dominant seventh. The symbol is the chord’s identifier—it describes the specific combination of intervals.

For example:

• C = C major (C–E–G)
• Cm = C minor (C–Eb–G)
• C7 = C dominant 7th (C–E–G–Bb)
• Cmaj7 = C major 7th (C–E–G–B)

The root note never changes—only the intervals do. That’s what the symbol controls.

Common Chord Type Symbols Explained

Major Chords (No Symbol)

Just the letter name: C, G, D, A, E, F, B. These chords contain a root, major third (4 semitones), and perfect fifth (7 semitones). They sound bright, happy, and resolved. Major chords are the most common chord type in music.

Minor Chords (m)

Add “m” to the root: Cm, Gm, Dm, Am, Em. These contain a root, minor third (3 semitones), and perfect fifth. They sound darker and more introspective than major. On guitar, minor chords are as fundamental as major chords—you can’t play songs without both.

Dominant 7th Chords (7)

Written as just a number: C7, G7, D7. These contain a major third, perfect fifth, and a minor seventh (10 semitones from the root). Dominant 7ths create tension and push toward resolution. They’re essential in blues, rock, and jazz.

The difference between C7 and Cmaj7 is one semitone: C7 has Bb (the flat 7), while Cmaj7 has B natural (the major 7).

Major 7th Chords (maj7)

Written as “maj7”: Cmaj7, Gmaj7, Dmaj7. These are major chords plus a major seventh (11 semitones from the root). They sound sophisticated and smooth, especially in jazz and R&B. They’re less aggressive than dominant 7ths.

Minor 7th Chords (m7)

Written as “m7”: Cm7, Gm7, Em7. These are minor chords plus a minor seventh (10 semitones from the root). Very common in funk, soul, and jazz. They sound moody but less tense than dominant 7ths.

Suspended, Diminished, and Augmented Chords

Suspended Chords (sus)

Suspended chords replace the third with either a second or a fourth. “sus2” replaces the third with a second (2 semitones). “sus4” replaces the third with a fourth (5 semitones). Csus2 = C–D–G. Csus4 = C–F–G.

Suspended chords sound unresolved, like they’re waiting to move to major or minor. They’re common in rock and pop because of that tension-and-release effect.

Diminished Chords (dim)

Diminished chords flatten the fifth (reducing it by one semitone from a perfect fifth). Cdim = C–Eb–Gb. They sound unsettling and unstable, often used for tension before resolving to another chord.

Augmented Chords (aug)

Augmented chords sharpen the fifth (raising it by one semitone). Caug = C–E–G#. They sound mysterious and floating, less common than major, minor, or dominant 7ths but useful for creating tension in jazz and progressive rock.

Extended Chords: 9ths, 11ths, and 13ths

Extended chords layer additional notes on top of seventh chords. These are common in jazz, funk, and R&B.

9th Chords

A 9th chord adds a ninth (which is a second played an octave higher). C9 = C–E–G–Bb–D. Cm9 = Cm–Bb–D. Cmaj9 = Cmaj7–D.

11th Chords

An 11th adds an eleventh (a fourth played an octave higher). These are less common on guitar because they can get muddy, but Cm11 and Cmaj11 appear in jazz contexts.

13th Chords

A 13th adds a thirteenth (a sixth played an octave higher). C13 = C–E–G–Bb–D–A. Cmaj13 adds the major 7th instead of the dominant 7th. These rich, colorful chords are popular in jazz, soul, and funk.

Reference the chord dictionary for the exact notes in any chord you encounter, including extended chords and rare voicings.

Slash Chords and Inversions

A slash chord notation tells you which note is on the bottom. For example, C/G means a C major chord with G as the lowest note (the bass note).

This matters because it changes the voicing and sound quality. C major with C on the bottom sounds solid and resolved. C major with G on the bottom (C/G) sounds more open and flowing. The chord is still C major—only the arrangement changes.

Learn about chord inversions to understand how moving the root to a different position affects the chord’s feel and voice leading in progressions.

Quick Reference: Chord Symbol Breakdown

The beauty of chord notation is that you can decode almost any symbol by understanding the components:

• First letter = root note
• m = minor (if present)
• Number (7, 9, 11, 13) = the highest extension
• maj = major 7th (not dominant 7th)
• sus = suspended 2 or 4
• dim = diminished
• aug = augmented
• slash + note = bass note
• b or # = flat or sharp the note after it

For example, Cm7b5 = C minor with a minor seventh and a flatted fifth. Gmaj9#11 = G major with a major ninth and a sharp eleventh. Use the chord namer tool if you’re unsure what a symbol means.

Frequently Asked Questions

Is there a difference between C7 and Cdom7?

No, they’re the same thing. C7 is the shorthand. Cdom7 is the full name (dominant 7th). Musicians almost always write C7, but you might see Cdom7 in classical or educational contexts for clarity.

Why is it called a “seventh” if it’s the 7th semitone?

Intervals are counted by scale degree, not semitones. C–E–G–B spans 7 scale degrees (C is 1st, E is 3rd, G is 5th, B is 7th), even though it’s 11 semitones total. This is why we call it a 7th, not an 11th.

What does the “maj” in “maj7” mean?

Maj7 means you’re adding a major 7th (11 semitones). A dominant 7th uses a minor 7th (10 semitones). The maj prefix clarifies which type of 7th you’re getting. This distinction is important in jazz and sophisticated harmony.

Can I play a chord a different way and still call it by the same name?

Yes. Every voicing of Cmaj7—whether you play C–E–G–B or B–C–E–G or any other arrangement—is still Cmaj7. The chord name describes the notes inside, not their order on the fretboard. This is why understanding voicings and the chord chart is important—many different finger positions create the same chord.

Are chord names the same on every instrument?

Yes. A Cmaj7 on guitar is Cmaj7 on piano, saxophone, or any other instrument. Chord notation is universal across music theory and instruments. The only difference is how you physically play the chord on each instrument.