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You already have Ab major: 466544
and G# minor: 466444
Then you can play your 1st inversions:
The C-shaped chord 476454, which is E major (E/G#)
and 446654, C# minor (C#m/G#)
For dom 7 chords in 3rd inversion I do something that’s probably not correct or orthodox, which is 45633x, which is Bb7/Ab.
Then you mentioned dim chords. For dim7 it would be G#dim7 - 45646x - which would also be inversions of Bdim7, Ddim7 and Fdim7 (just by counting)
For the half-diminished or half-diminished 7th chord (dim triad with a standard 7th (G#ø7), I play 45677x, coz it’s so easy, although it lacks the 3rd. The half-diminished isn’t three stacked minor thirds - it’s two minor thirds and a major 3rd, so I guess you could also add Fø7, which looks like A#m6 (46646x), and Dø7, which is 43353x. But those are pretty weird. I don’t think you can play A#ø7 with a G# in the bass.
And finally Ab(aug) - 43211x - which is also C aug and E aug.
I was mainly going to use it for finding nice chords to go with melodies when trying to play what I hear in my head
If it wasn't so difficult to upload pictures on here then I'd upload it but I havent the time at present.
(Not necessarily a smartass comment - my mind works in shapes, not notation.)
eg I’ve played a melody and am looking for a chord containing Ab , I already have the melody but am looking for say an interesting chord to go over it . It needn’t even be diatonic As long as it contains the note and sounds good , I could even play it on guitar or on a synth .
https://jguitar.com/harmonizer/scale2chord
From a practical point of view, being able to cycle through your triads would be a helpful skill in this case (A C E G B D F A etc) but each note could potentially and theoretically be added in to any other chord. The trick is knowing what it's going to sound like when you add it in.
This is one of the main reasons I made a real effort to switch from note names to intervals when thinking about notes. Rather than looking at a note and thinking G#, I'll try to think "major third" or "flat 7th" depending on the context.
That way, rather than going through each and every note, learning which chords it goes in and how it fits, you only have to learn one set of intervals and how to locate them in relation to whatever root note you're currently visualising. Saves a lot of brain ache in the long run.
F# is in
F# major
F# min
D Major
EbMin
Bb
Bb min
Esus4/9
D add 9
F#m7
etc etc
so I can take my melody containing F# & think oh I’ll try F# major over it , hmm a bit vanilla let’s be a bit saucy & try an Esus4/9 ,hmm no Let’s try a D major . But some sort of dictionary
I can build triads and 7ths and understand inversions . But for the sake of songwriting
some sort of Dictionary of what chords a specific note appears in would be invaluable for matching harmony chords to the melody in one’s head . I think I will make a basic chart
I have something similar with just basic major & minor on it so could probably build on that using my favourite types of chords Sus2 & Sus4 etc .
If I just keep it to Maj / Min / 7ths / sus2 / sus 4 etc .
Let's take A as our note. You already know that it is the tonic of A, and you can play ANY A chord (A major, minor, 7th, diminished, sus 4, etc.)
You also know that it is the flat 2 of G# (which is not used all that often), and the 2nd of G - so G sus2, G add2, G minor add2, plus all those same things with a 7th or major 7th added, in which case we term them 9ths.
You know that it is the minor 3rd of F#, so all the F# minor chords, plus the chords which use both the major and minor 3rds at the same time, most commonly the one we call "F# sharp 9".
You know that it is the major 3rd of F ,,,, and so on up to the major 7th.
It is not practical to try to remember all that list - of which I've written out less than half, and for only one note out of the scale! But it is perfectly practical to spin through the options in your head saying "Let's see, I want to play an A here, so I can use it as the tonic, or a 3rd, or a 5th ... or what if I use it as a 7th? And so on. You don't even have to know what the chords are called - your fingers already know how to shape the chords, just play the chords you know which use (e.g.) the A on the 5th fret 6th string and when you find one you like, stop there. Only then, after you have chosen your chord, do you need to figure out what it is.
Thinking aloud, perhaps we have a melody on the top string E G F# A, in the key of Em. The obvious harmonic choices are Em G F#m Am. If we stick to the notes in the key of Em, the charts above are useful to narrow down alternative chords.
The G melody note could be the m7 of A, or the 5th of C. (I don't fancy any of the others)
The F# melody note could be the maj7 of G of maj3 of D.
The A could be the 7th of B.
So using this concept the chord progression could be:
Em Am7 Gmaj7 B7 (heavy on the 7ths)
Em Am7 D B7
Em C Gmaj7 B7
Em C D B7
or you could re-substitute any of the root note chords if you like.
I do like this idea - although the relationship between root, chord and melody is something that happens subconsciously when composing anyway, it's nice to formalise it a bit.
By the way, the column for Dominant 7 is wrong from A onwards.
That said, I don’t think any kind of chart or fretboard diagram will substitute for applied, focused experimenting and practice. It will become “second nature“ over time.
Even if you tend to play by shapes, e.g. know where the 5th is at all points and see how augmenting it feels. That’s the tricky part is keeping that feeling going by knowing where to go on the board.
Most major keys default to their flat version. B♭, E♭, A♭, D♭. Not A#, D#, G#, C#. The only exception is F# / G♭, where both will do. There’s literally six of one, half a dozen of the other
Majors are flats, though F# is OK
Minors are sharps, but avoid A#m (and E♭m is ok)
With sus2 or sus4 chords, it doesn’t matter, as the 3rd is absent so you don’t know if it’s major or minor until it’s resolved. But for consistency I’d probably go with the major option throughout.
Melody means tune. Harmony means chords.
Sometimes the harmony can contain the melody. Like in Giant Steps. Other times the Harmony is a backdrop over which the melody is sung / played. Like the verses in Hotel California.