Eb is Eb, G and Bb.
It sounds plain and completely at rest. The reference every other chord on this page is a modification of.

| Eb | G | Bb |
|---|---|---|
| 1 | 3 | 5 |
Tonic — the chord a progression stops on.
Also written Ebmaj, EbM or Eb major. The same chord either way; which spelling you meet depends on who wrote the chart.
Eb in root position puts Eb in the bass, which is the chord as it is spelled: the note it is named after underneath everything else.
5 of Eb’s 6 common shapes do this: xx1343, x65343, x68886, 11-10-8-8-8-11, 11-13-13-12-11-11.
Start with xx1343 — no barre and down at the nut. None of the shapes for Eb uses an open string, so every one of them is movable; the lowest sits at the 1st fret. 4 of the 6 need a barre. Together they cover the neck from the 1st fret to the 13th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| xx1343 | 1st fret | Eb, root position | G | all fretted |
| x65343 | 3rd fret | Eb, root position | G | all fretted |
| x68886 | 6th fret | Eb, root position | Bb | barred |
| 11-10-8-8-8-11 | 8th fret | Eb, root position | Eb | barred |
| x-x-8-8-8-11 | 8th fret | Bb, 2nd inversion | Eb | barred |
| 11-13-13-12-11-11 | 11th fret | Eb, root position | Eb | barred |
The same notes rebuilt from scratch give 46 triad voicings, each on its own page.
How you get to it. The turn that lands on Eb is Fm7 to Bb7 — the ii and the V of Eb — and Bb7 shares its third and seventh with Fm7, so the hand barely moves between them.
In which keys. Every note of Eb belongs to C minor (the ♭III), Eb major (the I), F minor (the ♭VII), G minor (the ♭VI), Ab major (the V) and Bb major (the IV).
Every note of Eb is in Eb major pentatonic, Eb major, Eb lydian, Eb mixolydian and Eb lydian dominant.
Change one note of Eb and you have Ebm (the major third becomes a minor third), Ebsus2 (the major third becomes a ninth), Ebsus4 (the major third becomes a fourth), Ebmaj7 (add the major seventh), Ebadd9 (add the ninth) or Eb5 (drop the major third).
Eb is a major chord — root, major third, fifth. Major chords on every root.
On Eb’s sound and use this page follows Edward Aldwell & Carl Schachter, Harmony and Voice Leading (Schirmer / Cengage, 4th ed., 2011). The shapes and the derived voicings come from different places, and both are explained in where the chords and the theory come from.
Shows each chord the way this style would voice it, and marks which of its alternatives belong to the idiom.