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 Chords
Chords can be derived by stacking thirds from a modal scale. Constructing chords in this fashion on each scale degree reveals four chord types.

While the chords may look similar, the construction differs. One method of derivation is to construct the chord from intervals relative to the root note.

Maj7 = M3, P5, M7
-7 = m3, P5, m7
7 (dom7) = M3, P5, m7
-7b5 = m3, dim5, m7

Here is another method: visualize the construction of a chord as intervals relative to each other.

Maj7 = M3, m3, M3
-7 = m3, M3, m3
7 (dom7) = M3, m3, m3
-7b5 = m3, m3, M3

Relating these intervals to the fretbord in a linear fashion is straightforward.

In order to play chords, we need to arrange the intervals on the strings in a manner that makes them playable.

The following diagrams indicate scale degrees, not finger positioning.
Of course, there are many ways to spell these same chords. These are just a few to get you started. Use the chromatic voicing diagram to make your own substitutions. Sometimes it is ok to omit the fifth as the other notes shoulder the responsibility of defining the chord.

Two handed chords give you more flexibility with defining the root note. The limitations of one handed chords usually means you end up playing an inverted spelling of the chord. Grabbing the root with your left hand adds definition.
Fully voiced 7th chords can be played several ways. Here are some possible fingerings:
One advantage of a chord patterns on a touchstyle instrument is that they are transposable up and down the fret board like a guitar, but also side to side due to the consistent interval arrangement of the strings. The tonality of how a chord sounds is fixed as you move up the fretboard, becoming tinny in the upper registers. There is far more variety using two degrees of movement available on a touchstyle instrument, so you can transpose a chord up without losing body.
As modes relate to each other by their relative shift, the four primary chord types shift as well.

(click for a larger image)

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