S6'2$ ‘s'n aeyns }39P0d peg punjsuy 9 sin AqABOUT THE AUTHOR He teaches, composes, arranges, plays the guitar. He teaches guitar teachers at the Royal Academy of Music in Stockholm, Sweden. He has his own ideas about how to teach music and the guitar. His ideas have made him what he is. ‘Once he was a miner in the far north of Sweden, beyond the Arctic Circle. There was no one to teach him music, so he taught himself. Then he went to a music academy, became a concert soloist, studied top-level music, lectured, played chamber music, composed. Today Ulf Goran Ahslund is known internationally as a superb teacher at the most sensitive of all levels—the very beginning. He is a star on both Swedish and British TV. His TV course ‘Play Guitar’ attracted a mass public. Why? Because to learn from Ulf Goran is like play: ing a game. And the viewers—all sorts of viewers—switched on to watch. Soon hundreds of thousands of them were holding guitars in their hands, saying ‘Look, I've made5500 GUITAR CHORDS by Ulf G. Ahslund ‘This chord dictionary shows you how to take a few basic chord shapes and move them up and down the neck to derive new chords. Many new chords can be played rom varlations on the simple open-position chords, such as E, G, C, A, D, that you already know. This book will give you access to over $500 guitar chords. | hope it will give you both the principles and the inspiration to explore the chords: wonderful and endless world of guit Oy 4 ulund CONTENTS 2 DIAGRAM WITH CHORD 126 716 32 95 SYMBOLS AND FRET NUMBER 13 me. Maj 7 34 945 4 HOWTO READ THE DICTIONARY «14 619 m Maj 7 35 96 2 2 2a 5 HOWTO USE THIS DICTIONARY = 18:7 25 Mal 7-5 36 Majo 6 NOTES OF THE FRETBOARD 16 m7 28 sim 37 49 (10) T Major 17 sus7 BS 38 11 8 Minor 7s 29:95,.945 39 mit 9 Susd ams 309 aot 1045 2745 31 mo 13 139 1311 FROM MOVABLE CHORD SHAPES TO ZERO-POSITION EXAMPLES OF CHORD-SHAPES IN ZERO-POSITION. CONSTRUCTION OF CHORDSFret and postion numbers DIAGRAM WITH CHORD SYMBOLS FINGERING AND FRET NUMBER F chord symoois ----- E ‘open strings ] position zero) [} MOVABLE CHORD-SHAPES. ‘chord-shapes that can be without altering, your fingering © F-- Alt. tngering ‘OPEN CHORDS (chords at fet postion ze) ‘movedalong thetetboard=chord-shapes using open stings, (see also page 44-45.)LEFT HAND FINGERING 1 trator foretinger 2esecond or middlafinger ‘S=thirdorring-inger fourth or lite ager ‘These left-hand fingoring numbers are wrtton inside the black dots and squares ofthe diagram, or else immediately beneath the diagram, as alternative fingerings. ‘= Barré. One finger simultaneously presses down two oF more strings. += Barré ad lib. Chord-shapes with or without arte ‘The barro curve indicates the number of stings to be pressed down by the barré finger. Not all these stings are necessarily sounded (see below) ‘SOUNDING AND DAMPED STRINGS Only strings marked by the folowing signs must be heard in the core oe¢ 0 @ ‘The other strings-either marked with an x or left unmarked are not played o simply dampened by the let hand. NB: In this context the barre chord is not regarded as @ marking POSITION Roman numerals indicate the position of the diagram on the finger-board. AV next to the diagram indicates that the first fret shown In the diagram would be the ath tet, fon the fingerboard Position number 0 (see pages 44-45) @ =n00T= © ‘The note which givas a chord its basic name 8 called its ‘root’ In this book itis indicated by a black or white dia- ‘mond, (S08 also page 47). CChord-shapes having no root are indicated by the abbrovia- tion nr (ro rt) * (See page under "Selecting chord-chapes")HOW TO READ THE DICTIONARY in 77 The prample below shows now you ca pay (Tse: | Henson Le!HOW TO USE THIS DICTIONARY TOCHOOSE ORNOTTOCHOOSE: ‘THAT IS THE QUESTION! CHOICE OF CHORD-SHAPE ‘The opposite pago shows an example ot now, using this ditionary, you can combine chord-shape with position and chord name. Which chord-shape you will choose wil depend on such elements as taste, style, tone colour, technigue, voicing ete A solitary chord played alone can have a totaly differant meaning from one playod in @ succession of chores. Many chord:-shapes are derived from a “basic type”. This 1s an important factor in practical guitar-playing. For this reason thie dictionary gives many examples of chords derived this way. Chord-shapes that "belong togeiner” are grouped and framed with dotted vertical lines. (See example on the opposite page) Two chordshapes providing a practical supplement to each other's, qualities are indicatea by 2 *. This nelps the Interasted student to follow. {ny given shape-change from a thtee-note maior chord to a 13 11 chord EXPLANATION OF SYMBOLS (Seo pages 23,6 and pages 44.47NOTES OF THE FRETBOARD -MAJOR SCALE For clarity only the notes of the Cchromati¢ scale atthe bottom of th scale are shown on the fretboard below. where tho other notos il wil be clear from the 1498 (ef isthe same toneas cb ote) pen strings. stingnot--.-- os 6 °. theteeead ; esha, @-+a. be d et 9: @ tif a be 4 Qtp-—p>---}— ett o—t2 Our 9: a bt ct é- e- a ee CHROMATIC SCALE co cD OE F FOG GA ALB C tevir IB < Zo“The same +5 chord-shape can in the same position, ‘be Given more than one name, depending an which note is regarded as its root (0.3: C+5,5+8, G5)vil WV vit v 1K vi x vir vu bx 2vii -|=|=)2! z|2}>|5| 2|>|5|5) E\s 86 aig g (> fe <_18)_ OF JO | é . | Sale| gleigs21s | 312 ir . 0 t vir vil iBbee 6/9 socatese) S WY t Dba Taha 1Abe/9 {1 Bb6/9 2 slglelalsialglals 38 salle ofS |>/s!5]|« E ie i -|=|=|2 =]2]>|5|5| whe) re ‘2/2/2\2/2/2|2/2/2/2|z/2 S868/o.c|e olsl<|zieWV {Bos Dz9-5 Fos Tibo-s Gio-s Atos [Bosvir [Abo—s Gio-s aia) le i onsvin |S) )* :B@Ee « FE felelx| ol-|=/=]2[>[5 | i BEERS P| : 3 ig (3 [gl |g 8/88 8 la 004) —S |3|8) 213] 9\ 913/413) 31313 G8 S8)a ce \s/8\<)2\5)1244 vi -|=|=| >! | -|=| =] 2] >] 5] 5 It] ‘3 [3 |g | gesisisisiais a |S |< Sa(Also written 49)vu 1x v ci Bit 1ebi1 Det oH Fil Fir Tab Gi Gin ter AB Bit AllDom it {bet Oo 3S “v Dai DE mit [enn mitvi vil vill abIS ‘p13 Gis [tis Arg RiisWW vi vil pratt 'Bisht 4 Deis+i1 Geist cist Eset Fist Die 1GbISHT Fris+11 Gist TASH Ghia+i1 AFT [Bbisti ANH BistFROM MOVABLE CHORD: ‘SHAPES TO ZERO-POSITION age.) Position 0 When turning movable choed-o tion shapes, the left-hand fing ‘itner completely or in part. (S zoro-posi- is changed, sxample on thisEXAMPLES OF CHORD-SHAPES IN ZERO-POSITION CChoratshapes n position 0=eherd-shapes using open strings. ‘Most shapes in position O can be changed to movable shapes (compare withthe example onthe opposite page). © Oropenstrings X= the string doos not form part ofthe chord A 8 c D E G Tt ee ite at tla | HT 2 al a Am Bm Cm Dm Em Gm os Vt tet) tefl ton wt eel} [eI eeli| | i I u ul @ AT B7 c7 D7 =. G7 i tay) Te) tet 9‘Ly 8b ed vo ',ArewwaUUoD, 995= 91, syshreue pou jo ‘squauodwoo bumoys GAY ONVIE= seucoed sn Yow 'D BION WOH BAUOP 80)0440 ‘so1ouo pue Sujoquinu ai Yau ul ejduIexe Ue S| ojeq LOHONASUOD PACD OUL SGYOHD JO NOILONYLSNOD‘SNDIS 4 NOLLYNV 1X3 ‘snoge prB0gKo3 a4 Yim BBUEX SY BsECMIOD 848 24} U0 s}0412 =69} 2848 043 40104 |= dors a TATRA vo 4 q ey oF o3 aaio 8 8 < os 7 eet 9.1004 3H Wous ONTEZEWNN Jsks Bumoyo} oy) u unOYS Se spueA BuIpaeCO:A (ou ay) equnu joquis proyp ey) UY SrequiTu ey, ‘STOGWAS GUOHO 4O SINJM3 13 3HL‘9796690074 P punisuy “9 sin Aq