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(I chose to answer despite your already having accepted an answer because I felt I had some information to offer that is relevant to your question)

A specific chord voicing cannot always be accurately captured in a chord symbol. This is one of these instances. What you basically have here is a shell rootless G13 chord (FBE) with an Ab in the bass. You CAN call it a G13/Ab(no root) but don’t expect it will always sound the way you want if someone else reads and interprets that chord. For example, some players might choose to add a 5th or a 9th to it.

This chord has a diminished quality to it. If you replace the E with a D it is simply a G#o7: 4x343x. There are times when a diminished chord has non-diminished chord tones added to it. If you spell it from the F it is a Fo(maj7)/Ab (1st inversion). A M7 note is sometimes used as either a chord tone or a melody note in diminished chords (“Spring is Here” and “Stella By Starlight*, both in bar 1). You could also spell it from the root: G#o(b6,no 5). Both of these are accurate but awkward chord symbols so pick your poison. Personally I prefer the G13/Ab(no root). I think this would best be understood by another jazz or Brazilian guitarist and in most instances I think the “no root” designation would be a given.

This chord does resolve to a C in a slightly unusual way because of the G# root but in making my case for the diminished quality you will see it also resolves nicely to Amaj7 or Am7. Keep in mind dominant 7th and diminished chords are closely related.

*In the case of “Stella”, the original first chord is a Idim, not the 2-5 commonly used in fake books

(I chose to answer despite your already having accepted an answer because I felt I had some information to offer that is relevant to your question)

A specific chord voicing cannot always be accurately captured in a chord symbol. This is one of these instances. What you basically have here is a shell rootless G13 chord (FBE) with an Ab in the bass. You CAN call it a G13/Ab(no root) but don’t expect it will always sound the way you want if someone else reads and interprets that chord. For example, some players might choose to add a 5th or a 9th to it.

This chord has a diminished quality to it. If you replace the E with a D it is simply a G#o7: 4x343x. There are times when a diminished chord has non-diminished chord tones added to it. If you spell it from the F it is a Fo(maj7)/Ab (1st inversion). A M7 note is sometimes used as either a chord tone or a melody note in diminished chords (“Spring is Here” and “Stella By Starlight*, both in bar 1). You could also spell it from the root: G#o7(b6,no 5). Both of these are accurate but awkward chord symbols so pick your poison. Personally I prefer the G13/Ab(no root). I think this would best be understood by another jazz or Brazilian guitarist and in most instances I think the “no root” designation would be a given.

This chord does resolve to a C in a slightly unusual way because of the G# root but in making my case for the diminished quality you will see it also resolves nicely to Amaj7 or Am7. Keep in mind dominant 7th and diminished chords are closely related.

*In the case of “Stella”, the original first chord is a Idim, not the 2-5 commonly used in fake books

A specific chord voicing cannot always be accurately captured in a chord symbol. This is one of these instances. What you basically have here is a shell rootless G13 chord (FBE) with an Ab in the bass. You CAN call it a G13/Ab(no root) but don’t expect it will always sound the way you want if someone else reads and interprets that chord. For example, some players might choose to add a 5th or a 9th to it.

This chord has a diminished quality to it. If you replace the E with a D it is simply a G#o7: 4x343x. There are times when a diminished chord has non-diminished chord tones added to it. If you spell it from the F it is a Fo(maj7)/Ab (1st inversion). A M7 note is sometimes used as either a chord tone or a melody note in diminished chords (“Spring is Here” and “Stella By Starlight*, both in bar 1). You could also spell it from the root: G#o(b6,no 5). Both of these are accurate but awkward chord symbols so pick your poison. Personally I prefer the G13/Ab(no root). I think this would best be understood by another jazz or Brazilian guitarist and in most instances I think the “no root” designation would be a given.

This chord does resolve to a C in a slightly unusual way because of the G# root but in making my case for the diminished quality you will see it also resolves nicely to Amaj7 or Am7. Keep in mind dominant 7th and diminished chords are closely related.

*In the case of “Stella”, the original first chord is a Idim, not the 2-5 commonly used in fake books

(I chose to answer despite your already having accepted an answer because I felt I had some information to offer that is relevant to your question)

A specific chord voicing cannot always be accurately captured in a chord symbol. This is one of these instances. What you basically have here is a shell rootless G13 chord (FBE) with an Ab in the bass. You CAN call it a G13/Ab(no root) but don’t expect it will always sound the way you want if someone else reads and interprets that chord. For example, some players might choose to add a 5th or a 9th to it.

This chord has a diminished quality to it. If you replace the E with a D it is simply a G#o7: 4x343x. There are times when a diminished chord has non-diminished chord tones added to it. If you spell it from the F it is a Fo(maj7)/Ab (1st inversion). A M7 note is sometimes used as either a chord tone or a melody note in diminished chords (“Spring is Here” and “Stella By Starlight*, both in bar 1). You could also spell it from the root: G#o(b6,no 5). Both of these are accurate but awkward chord symbols so pick your poison. Personally I prefer the G13/Ab(no root). I think this would best be understood by another jazz or Brazilian guitarist and in most instances I think the “no root” designation would be a given.

This chord does resolve to a C in a slightly unusual way because of the G# root but in making my case for the diminished quality you will see it also resolves nicely to Amaj7 or Am7. Keep in mind dominant 7th and diminished chords are closely related.

*In the case of “Stella”, the original first chord is a Idim, not the 2-5 commonly used in fake books

A specific chord voicing cannot always be accurately captured in a chord symbol. This is one of these instances. What you basically have here is a shell rootless G13 chord (FBE) with an Ab in the bass. You CAN call it a G13/Ab(no root) but don’t expect it will always sound the way you want if someone else reads and interprets that chord. For example, some players might choose to add a 5th or a 9th to it.

This chord has a diminished quality to it. If you replace the E with a D it is simply a G#o7 or Abo7: 4x343x. There are times when a diminished chord has non-diminished chord tones added to it. If you spell it from the F it is a Fo(maj7)/Ab (1st inversion). A M7 note is sometimes used as either a chord tone or a melody note in diminished chords (“Spring is Here” and “Stella By Starlight*, both in bar 1). You could also spell it from the root: Abo(b6,no 5). Both of these are also accurate but awkward chord symbols so pick your poison. Personally I prefer the G13/Ab(no root). I think this would best be understood by another jazz or Brazilian guitarist and in most instances I think the “no root” designation would be a given.

This chord does resolve to a C in a slightly unusual way because of the Ab root but in making my case for the diminished quality you will see it also resolves nicely to Amaj7 or Am7. Keep in mind dominant 7th and diminished chords are closely related.

*In the case of “Stella”, the original first chord is a Idim, not the 2-5 commonly used in fake books

A specific chord voicing cannot always be accurately captured in a chord symbol. This is one of these instances. What you basically have here is a shell rootless G13 chord (FBE) with an Ab in the bass. You CAN call it a G13/Ab(no root) but don’t expect it will always sound the way you want if someone else reads and interprets that chord. For example, some players might choose to add a 5th or a 9th to it.

This chord has a diminished quality to it. If you replace the E with a D it is simply a G#o7: 4x343x. There are times when a diminished chord has non-diminished chord tones added to it. If you spell it from the F it is a Fo(maj7)/Ab (1st inversion). A M7 note is sometimes used as either a chord tone or a melody note in diminished chords (“Spring is Here” and “Stella By Starlight*, both in bar 1). You could also spell it from the root: G#o(b6,no 5). Both of these are accurate but awkward chord symbols so pick your poison. Personally I prefer the G13/Ab(no root). I think this would best be understood by another jazz or Brazilian guitarist and in most instances I think the “no root” designation would be a given.

This chord does resolve to a C in a slightly unusual way because of the G# root but in making my case for the diminished quality you will see it also resolves nicely to Amaj7 or Am7. Keep in mind dominant 7th and diminished chords are closely related.

*In the case of “Stella”, the original first chord is a Idim, not the 2-5 commonly used in fake books