S6°2$ ‘S'n _ Penns }39)0d peg 4 re, punisuy “© sin AqABOUT THE AUTHOR Ro ees 24 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 it!”Bac t guitar wonderful and endless world of guitar chords. Quy «4 Tudlund CONTENTS 2 DIAGRAM WITH CHORD 126 22 76 SYMBOLS AND FRET NUMBER. 13 m6 23 Maj 7 4 HOW TO READ THE DICTIONARY 14 619 24 m Mai 7 5 HOW 10 USE THIS DICTIONARY 15 7 25 Mal 7-5, & NOTES OF THE FRETBOARD. 16 m7 26 dim T Major 47 sus7 29 8 Minor 1875 29 95,945 9 Sued 20 mrs 509 45 ars, 31 mo a 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 De played from variations 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 5500 guitar chords. | nope It will give you both the principles and the inspiration to explore the 9s ot5 96 Maj 9 +9 (10) rn mit va 4“ a2 a a 45 46 13 139 13411 FROM MOVABLE CHORD SHAPES TO ZERO-POSITION EXAMPLES OF CHORD-SHAPES: IN ZERO-POSITION CONSTRUCTION OF CHORDSDIAGRAM WITH CHORD SYMBOLS FINGERING AND FRET NUMBER F E Oe A eaeeua eee open tings Position —i [ll] position zero) ° IT i ot) [Sel 5 5 Geena emacs S42 ~All fingering 3 & DIAGRAM MOVABLE CHORD-SHAPES OPEN CHORDS: 2 svicureshowingtho “Cchord-shapesthatcanbe (chords at retpostion ro) F% strings and frets moved along the fretboard |= chord-shapes using open strings, z ofthe guitar neck ‘without altering {see alsopage 44-46.) Your fingering.LEFT HAND FINGERING “4=fourth or ite finger let-hand fingering numbers are written inside the black dots and squares of the diagram, or else immediately beneath the diagram, as alternative fingerings. That = Barré, One finger simultaneously presses ‘own iwo.or more strings Barré ad lib. Chord-shapes with or without bare. The barré curve indicates the number of strings to be pressed down by the barre finger. Not all these strings are necessarily sounded (see below) ‘SOUNDING AND DAMPED STRINGS Only strings marked by the following signs must be headin ‘the chore: oe¢0@ ‘The other strings-| vu Abe 9 3S Dn tn [cen 0 [Dem Em Fn [Fem Ge Gin Am Abn Brsus 4 {orjust us) ivr vu vi vit 1Gbsus Fsus Feu Tbs Ghous Asus ‘Abus‘The same-5 chord-shape can, in the same postion, be oiven more than one name, depanding on which note is regarded asits oot. (6.9045, E45, GP+6,) Wi x vir vu 2 bx 1. x iu ut ° Ww vil Ww vu v aKvi vil 2 1K 1 x eeeVir vu rs 2 vit vir var 1X x {Ebe Dis Tabs Gis ‘AG AteTame Gine Ame Aimbe Tapes {Also calles 9/6) Fi 5i9 Gos Gisvo Asis At6o 2 Desiesus 7 (no called su) "haus 7 tas7 CEaus7 Ds? Désus 7 iBbas? Taba? Gaus 7 Bsus?PuSIARHH IN VRER Seren angUEY Te ras eaten con ngeng o ih es er ane en yee 9]Ee} a 1 i ur W vi vir [Abn 7-5. q e < aa gle Zio Gin 7-57/6 (Compare with 13) | Lope oe i Giris Ane Ww T Art v Et 0 [Atrio {Bb7/6 vi ‘ 1 Coa vil i iMai 7vu v vi vu vu i (Also written m a) mMaj 7W v vi vil {Eb o-5 L 1G» [ay as By 5 (Also written 6-5) DE a5 ied a5 Chas Aas AbA—5 adim (Also writen o} ‘A diminished chord can be considered a non-root dominant chord with flatted ninth (soe ‘construction of chords, page 46). Ofcourse the diminished chord can also be thought of as a chord with ts own root, giving the chord its name (marked@as usual). “The same chord-shape can, in the same postion, be given more than one name, depending on which notes regardedas its root, ‘When choosing chord shape one usually connects chord symbole and bass tone = C dim chord shape with Cbass and son, cee ut { U(Also wrtten 7-9)Ww B35 tp 948 Gi3+5 A-845 B 945 ABO vir vilMm Wy vu 5 5/=/7 5} xx lv 1x Wv vit vin vill 1% vit vu vi vil De [Bo co (cto De Deo la Go Gis AO Tae Aso Be0 it Vv ur v v vi v vi vir vi ivi {vir wir vit vu vil vine bx Wt vit Ebmo Emo Dm Deno € 2 [Adm sie jez lomo ‘Atm 9 Bindo t iu ur v vi vir vit ir iv Vv vi lv v vi vit [abo-s {Bbo-5 Gto_5 ‘Ass Atos Bosx 0 t u ur lv vi ut Vv vi vi vu 1K x ou t ur 17 Vv ve vir {Bbou5 Harvey Tabor [Bboss Dros Doss Floss Goss Gious Agus Agos5 Bows iS1388 Cet 1234 r vu xt x Iv v vi WV vu {Bboi6 TAbor6 16 Gore Gi06 ‘Ao Bole(Aisowrtten 09)Db +e Cio Bie Dito Tate ‘Bre GE+o Ato Bro Atovil x ur Ww v vi vir vill vil Iv v vi vir Tpit TAT Ca iBT Ss : Dai En Fit Fai Gi Ga AN AST ivar 1K x i Ww v vi vit Avi ABSIT Bat1Gbi3 Fig Fria TADS Gis tape iis Ais Abcis "Dbrs-9 cHis-9 D8 D139 1Ebi3-3 Tapi3-3 E30 Fis-8 Gii3_9 Ajs-9 1 BH13-9 13-9 Bisocam ae efoto = Dist | [Onsti ist : een Fiat | Sen or [sen isnt | al Gist Gist Aon “| [Aa | Anat lap 13411FROM MOVABLE ORD ‘SHAPES TO ZERO-POSITION \ihen turning movable chovd-shapes to 2er0-posi- tion shapes, the left-hand fingering is changed, either completely or in part, (See example on this page.) Position htsEXAMPLES OF CHORD-SHAPES IN ZERO-POSITION CChordshapes in position 0= chord-shepes using open stings. ‘Most shapes in postion 0 can be changed to movable shapes (compare with the example on the opposite page). © Oxopenstrings _% =the string doos not form partot the chor. A B Cc D E G To? tet nie Toa? ith fin? Bit ts? An a Am Bm Cm Dm Em Gm ' Witt) tee tot oft tt alt [abl O| L AT B? c7 D7 —7 G7 1 1 uT ' f nhs fe u eal] ] Ua a‘Lp 96d uo *,euoUUNoD,, 988 = 94, nero posuouine 3 z 3 2 2 EI 3 2. fafa spesjeue pioyo}0 squauoduos BUMOYS SA3M ONVd= "3001 21 sewoced sri LOUM"O BION WH onHEp SBi0U}0 fous pue Buuequinu aya yorum ul eydusexe UE s1 mojaq LOHONU}SUOD PLOY OU, SGHOHD SO NOILONYLSNOD‘wu penn "8 uw plows uiveELINA ¥ WOH petIWo AyenSN 5} oI0U ‘pur 3 Aew pu poosns Ouomp aoten poppe esr) (ev0y1u96 e pasamo) aioupouey= -04 (eroge ses) stuuequnusjou= —ssaquinn, ‘042 .0u} 01001 a4 = oqUIKe-p1OUD OYA UI J0NOIISIH UL ‘SNDIS 40 NOLYNY 1X3 ‘9.10043H1 ous ONIUBBANN ‘S[eAeiUu Jo WeisKs BumNO}O} O41 | UMOYS Se 'spuemn Bujpaeoo1d ue 0! oy wos) SUITE ‘SajoU a4} zequinu yoquiAS proyo Oy Ul SJOqUINU Ouby ulf G. Ahsiund + PR wu. tzonano ueusanc conronano HL00699546