Movable I, IV, and V Chords

I, IV, and V Chords

The most important chords are the I chord (also called “tonic”), V7 chord (dominant), and IV chord (subdominant).
The V7 adds a b7th to a V chord, and you can always use a V chord in place of a V7 chord. It's common to use
Roman numerals to label these chords. In Nashville, however, it became common to use Arabic numerals instead
(1, 4, and 5). Most modern-day players use this method.

Here are the I, IV, and V7 chords in the key of D:

D
x x 0 1 32
G A7 D
x x 0 13 2
2 10 0 0 3 x 0 1 11 2

# w w ww ww
b7

& # 44 www ww
www
ww ww
w
E 2 3 3 2
B
G
T 3
2
0
0
2
2
3
2
D A 0 0 2 0
A
E
B 2
3
0

Movable D Shape
Slide this shape up the fretboard to get any chord. 7th shape:

D# E F F# G G# A Bb
B C Db
D I chord IV chord V chord V7

œ nœ
xxx 13 2

# # # œœœ n œœœ n b œœ n # œœœ n n œœ b b œœ

œ # ww
7

œœ # ‹ œœ # œœœ n n œœœ # # # œœœ n n œœœ

D A
# w w
& # ww œ # œ
*
3
1
5
2 2 3 4 5 6 7 8 9 10 11 12 13 9
T 3
2
3
2
4
3
5
4
6
5
7
6
8
7
9
8
10
9
11
10
12
11
13
12
14
13
8
9
A
B
* For this shape, the 5th note of the scale is always on string 3, the 1st note is always on string 2, and the 3rd note is
always on string 1.

Movable F Shape
Slide this shape up the fretboard to get any chord. If you’re playing in the key of D,
F the I, IV, and V chords will be in different places than they were for the D shape.

F# G# Bb Db D D # Eœ
xxx 2 11 IV chord V chord I chord

b œ n œ # œ
œœ # # # œœœ œœ n n b œœœ # # n œœœ n n œœœ b n œœ n # œœ # ‹ œœ # œœ
F G A B C
# nw n n œœœ # # # œœœ
& # n ww œ œ
*
1
5
3

1 1 2 3 4 5 6 7 8 9 10 11 12
T 1
2
1
2
2
3
3
4
4
5
5
6
6
7
7
8
8
9
9
10
10
11
11
12
12
13
A
B
* For this shape, the 3rd note of the scale is always on string 3, the 5th note is always on string 2, and the 1st note is
always on string 1.

1
Practice moving between shapes Mix these shapes for easy access to the I, IV, and V chords
I IV V I
D
xxx 1 32
G
xxx 2 11
D
xxx 1 32
G A D
xxx 1 32
xxx 21 1 xxx 2 1 1
5 fr.

# ˙ ˙˙ œœ œœ
& # 44 .. ˙˙ ˙ .. œœœ œ œ œœ
œ

T . 2 3
. 2 3 5 2

. .
3 3 3 3 5 3
2 4 2 4 6 2
A
B
Movable Shapes Transpose Easily
Move shapes up two frets from D to play in E Move shapes up four frets from D to play in F #

F# C# F#
I IV V I I IV V I
E
xxx 13 2
A
xxx 2 11
B
xxx 2 11
E
xxx 13 2 xxx 1 32
B
xxx 2 11 xxx 21 1 xxx 13 2
5 fr. 7 fr. 6 fr. 7 fr. 9 fr. 6 fr.

œœ œœ œœ œœ
# # # # œœœ œ œ œœ # # # # # œœœ œ œ œœ
œ
& œ #
4 5 7 4 6 7 9 6
T 5
4
5
6
7
8
5
4
7
6
7
8
9
10
7
6
A
B
Movable Shapes with V7 Chord
I–IV–V7 in D Move shapes up one fret from D to play in E b

b b b b
I IV V7 I I IV V7 I
D G A7 D E A B7 E
xxx 13 2 xxx 2 11 xxx 11 2 xxx 1 32 xxx 13 2 xxx 2 11 xxx 11 2 xxx 1 3 2

# œ œœ œœ œœ œ œœ œœ œœ
& # œœ œ œ œ b b b œœ œ œ œ

2 3 3 2 3 4 4 3
T 3
2
3
4
2
2
3
2
4
3
4
5
3
3
4
3
A
B
2
Move shapes up two more frets from E b to play in F Move shapes up two more frets from F to play in G

b
I IV V7 I I IV V7 I
F B C7 F G C D7 G
xxx 2 11 xxx 2 1 1 xxx 1 12 xxx 2 11 xxx 13 2 xxx 2 11 xxx 1 12 xxx 1 3 2
6 fr. 5 fr. 7 fr. 8 fr. 7 fr. 7 fr.

œœ œ œœ œ
œœ
œ œœ œœ # œœœ œ œœ œœ
œ
&b œ œ

5 6 6 5 7 8 8 7
T 6
5
6
7
5
5
6
5
8
7
8
9
7
7
8
7
A
B
Use These Shapes to Play Songs up the Neck and Transpose Easily
Instead of playing “Will the Circle be Unbroken” like this, try the version on the next page:

I
D
x x0 1 32

#
& # 44 ˙ ˙
Ó œ œ ˙ ˙ Ó œ œ
œ œ
Will the cir - cle be un - bro - ken by and

IV I
G
2 100 0 3
D
x x 0 1 32

#
& # ˙ ˙ ˙
Ó
˙ ˙
Ó œ œ
˙ w œ œ
by Lord by and by There’s a bet - ter home a -

V7 I

A7
x0 2 0 3 0
D
x x 0 13 2

#
& # ˙ ˙ Ó
œ œ ˙ ˙ ˙ ˙ w w
wait - ing in the sky Lord in the sky

3
Try “Will the Circle be Unbroken” using these three-note shapes:
I IV I
D G D
xxx 1 32 xxx 21 1 xxx 13 2

#
& # 44 ˙ ˙
Ó œ
œ ˙ ˙ Ó œ
œ ˙ ˙ ˙
œ œ ˙ w
Will the cir - cle be un - bro - ken by and by Lord by and by

*V I
A D
xxx 2 11 xxx 1 32
5 fr.

#
& # Ó Ó œ œ ˙ ˙ Ó
œ œ ˙ ˙ ˙ ˙
œ œ ˙ ˙ w w
There’s a bet - ter home a - wait - ing in the sky Lord in the sky
* Remember that you can always use a V instead of a V7.

Slide the shapes up five frets to transpose “Will the CIrcle Be Unbroken” up to G:
I IV I
G
xxx 13 2
C
xxx 2 11
G
xxx 1 32
7 fr. 8 fr. 7 fr.

#
& œ ˙ ˙ Ó œ œ ˙ ˙ Ó œ œ ˙ ˙ ˙ ˙
œ w
Will the cir - cle be un - bro - ken by and by Lord by and by

V7 I
D7
xxx 1 12
G
xxx 13 2
7 fr. 7 fr.

#
& Ó œ œ ˙ ˙ Ó œ œ ˙ ˙ Ó œ œ ˙ ˙ ˙ ˙ w w
There’s a bet - ter home a - wait - ing in the sky Lord in the sky

4
 More Chord Shapes
Movable A Shape

Bb
Use the Top Three Strings of An A Chord
A
Bb Db Eb Gb Ab
x0 12 3 0 xxx 2 3 0 xxx 23 1
Slide this shape up the neck to get any chord.

œ b œ n œ œœ b
A B C D E F G
bœ nœ bœ nœ n œœ b b œœ n n œœ b œ
˙
& # ˙˙˙
˙˙˙ ˙
b ˙˙ 5
# œœœ œ #œ
b œœ # n œœ n œœœ n b œœ # n œœ b œœ # n œœ
˙
3
1

0 0 1 0 1 2 3 4 5 6 7 8 9 10 11
T 2
2
2
2
3
3
2
2
3
3
4
4
5
5
6
6
7
7
8
8
9
9
10
10
11
11
12
12
13
13
A 2
B 0

Try this shape in I–IV–V progressions… And move it around to play in different keys
I IV V I I IV V I
D G A D E A B E
xxx 13 2 xxx 21 1 xxx 2 11 xxx 23 1 xxx 1 32 xxx 2 11 xxx 2 1 1 xxx 2 31
5 fr. 5 fr. 5 fr. 7 fr. 7 fr.

# œ œœ œœ œœœ # # # # œœœ œœ œœ œœœ

& # 44 œœ œ œ œ œ

2 3 5 5 4 5 7 7
T 3
2
3
4
5
6
7
7
5
4
5
6
7
8
9
9
A
B

Try the A-Shape Chord as the I Chord in Progressions

In a I–IV progression in D: Or a I–IV progression in E: Also try I–IV–V progressions: And try resolving to the F shape:
I IV I I IV I I IV V I I IV V I
C F C D G D C F G C C F G C
xxx 2 31 xxx 13 2 xxx 2 3 1 xxx 2 31 xxx 1 3 2 xxx 2 3 1 xxx 23 1 xxx 13 2 xxx 13 2 xxx 2 31 xxx 2 3 1 xxx 1 3 2 xxx 1 3 2 xxx 2 11
5 fr. 5 fr. 7 fr. 5 fr. 5 fr. 7 fr. 5 fr. 7 fr. 8 fr.

œœ œœ œœ œœ œœ
œœ ˙˙˙ # œœœ œ
˙˙˙ œœœ œœ
œ œœœ œœœ œœ
œ œ
&œ œ œ œ

3 5 3 5 7 5 3 5 7 3 3 5 7 8
T5 6 5 7 8 7 5 6 8 5 5 6 8 8
A5 5 5 7 7 7 5 5 7 5 5 5 7 9

5
 Understanding Movable Chords
Notice How the Shapes Interlock Differently Depending on Context
In the key of C, moving from a D shape Using the same shapes down lower in the
to an F shape is a V–I progression key of D produces a I–IV progression
V I I IV
G
2 10 0 0 3
C
x 32 0 1 0
D
x x 0 1 32
G
2 10 0 0 3

˙˙ ˙˙ # # ˙˙ ˙˙
˙
&˙ ˙ ˙
7 8 2 3
T 8
7
8
9
3
2
3
4
A
B
* As you look at these chord shapes, keep in mind 1) the fret that they’re on 2) what chord you’re playing and
3) what degree of the chord is on each string. This will help you construct chord progressions more easily
Interlocking I, IV, and V chords moving up the neck
In D: I IV V I IV V I
D G A D G A D
xxx 1 3 2 xxx 21 1 xxx 2 1 1 xxx 2 3 1 xxx 1 32 xxx 1 3 2 xxx 2 1 1
5 fr. 5 fr. 7 fr. 9 fr. 10 fr.

œœ œœœ œœ œœ ˙˙
# œ œœ œ ˙
& # œœ œ œ œ

2 3 5 5 7 9 10
T 3
2
3
4
5
6
7
7
8
7
10
9
10
11
A
B
In G: I IV V I IV V I
G
xxx 21 1
C
xxx 23 1
D
xxx 2 31
G
xxx 13 2
C
xxx 2 11
D
xxx 2 1 1
G
xxx 2 31
5 fr. 7 fr. 8 fr. 10 fr. 10 fr.

œœœ œœ œœ œœ ˙˙˙
# œ œœœ œ œ
& œœ
œ

3 3 5 7 8 10 10
T 3
4
5
5
7
7
8
7
8
9
10
11
12
12
A
B
6
 Amazing Grace
In root position: I I7 IV I V7
D D7 G D A7
x x0 1 3 2 x x0 2 1 3 2 10 0 0 3 x x0 1 32 x 0 1 11 2

#
& # 43 ˙ œ œ ˙ œ ˙ œ ˙ œ œ ˙ œ ˙.
Œ Œ œ
œ ˙ œ
A - maz - ing grace how sweet the sound that saved a wretch like me I

I I7 IV I V7 IV I
7 7
D D G D A G D
x x 0 1 32 x x0 2 1 3 2 10 00 3 x x0 1 3 2 x 0 1 11 2 2 10 00 3 x x0 1 3 2

#
& # ˙ œ œ ˙ œ ˙ ˙ œ œ ˙ œ ˙. ˙.
œ ˙ œ
once was lost but now I’m found was blind but now I see

Using Movable Shapes: I I7 IV I V7

7 7
D
xxx 2 3 1
D
xxx 23 4
G
xxx 1 32
D
xxx 2 31
A
xxx 21 3
5 fr. 7 fr. 7 fr. 5 fr. 8 fr.

#
& # 43 ˙ œ œ ˙ œ ˙ œ ˙ œ œ ˙ œ ˙.
Œ Œ œ
œ ˙ œ
A - maz - ing grace how sweet the sound that saved a wretch like me I

I I7 IV I V IV I
D
xxx 2 11
D7
xxx 2 34
G
xxx 1 32
D
xxx 2 3 1
A
xxx 21 1
G
xxx 1 32
D
xxx 2 3 1
10 fr. 7 fr. 7 fr. 5 fr. 5 fr. 7 fr. 5 fr.

#
& # ˙ œ œ ˙ œ ˙ ˙ œ œ ˙ œ ˙. ˙.
œ ˙ œ
once was lost but now I’m found was blind but now I see

7
In the key of G: I I7 IV I V7
7
G G C G D
xxx 21 1 xxx 2 4 1 xxx 23 1 xxx 21 1 xxx 13 2 xxx 23 1
3 fr. 7 fr. 5 fr.

# 3 œ ˙. Œ Œ œ
& 4œ ˙ œ œ ˙ œ ˙ œ ˙ œ ˙ œœ ˙
A - maz - ing grace how sweet the sound that saved a wretch like me I

I I7 IV I V IV I
G
xxx 1 3 2
G7
xxx 21 3
C
xxx 2 1 1
G
xxx 1 32
D
xxx 2 3 1
C
xxx 23 1
G
xxx 2 11
7 fr. 6 fr. 8 fr. 7 fr. 5 fr.

# ˙ œ
& œ ˙ œ ˙ œ ˙ œ ˙ œ œ ˙ œ ˙. ˙.
once was lost but now I’m found was blind but now I see

Try different variations. Here’s another version in G:

I I7 IV I V7
G
xxx 23 1
G7
xxx 23 4
C
xxx 21 1
G
xxx 1 32
D
xxx 23 1
10 fr. 12 fr. 8 fr. 7 fr. 5 fr.

# 3 œ ˙.
& 4œ ˙ œ œ ˙ œ ˙ œ ˙ œœ ˙ Œ Œ œ
˙ œ
A - maz - ing grace how sweet the sound that saved a wretch like me I

I I7 IV I V IV I

G
xxx 1 3 2
G7
xxx 21 3
C
xxx 2 1 1
G
xxx 2 11
D
xxx 2 3 1
C
xxx 23 1
G
xxx 2 11
7 fr. 6 fr. 8 fr. 5 fr.

# ˙
& œ œ ˙ œ ˙ œ ˙ œ œ ˙ œ ˙. ˙.
˙ œ
once was lost but now I’m found was blind but now I see

8
 Chords with the Fourth String
D Shape: F Shape: I–IV–V with D and F Shapes A Shape:
I IV V I
D
xx 3 1 2 1
D
xx 31 2 x
F
xx 3 2 1 1
F
xx 3 21 x
D
xx 3 1 2 1
G
xx 3 21 1
A
xx 3 2 11
D
xx 31 2 1
A
xx 1 1 1 x
5 fr.

# ˙ ˙˙ œœ œœ œœ œœ
or or

& # 44 ˙˙˙
˙˙ ˙˙ ˙˙˙ œœ œœ œœ œœ ww
˙
1

w
3
1 5 3
5 3 1
3 1 5

2 3 2 3 5 2
T 3
2
3
2
3
4
3
4
3
2
3
4
5
6
3
2
2
2
A 4 4 5 5 4 5 7 4 2
B
I–V–I with D and A Shapes
In D: I V I I V I
D
xx 3 12 x
A
xx 1 11 x
D
xx 31 2 x
In E: E
xx 3 1 2 x
B
xx 1 1 1 x
E
xx 3 12 x
4 fr. 4 fr.

# # # # # œœ ˙˙
& # œœœ œœ ˙˙ œœ
œ ˙ œ œ ˙

T 3
2
2
2
3
2
5
4
4
4
5
4
A 4 2 4 6 4 6
B
I–IV–V–I with D, F, and A Shapes
I IV V I or I IV V I
E A B E E A B E
xx 3 12 x xx 3 21 x xx 11 1 x xx 31 2 x xx 31 2 x xx 11 1 x xx 11 1 x xx 3 12 x
4 fr. 5 fr. 4 fr. 4 fr. 4 fr.

## œ œœœ œœ œœ œœ
& # # œœ œœ
œ œ œ œœ
œ
œœ
œ œ

T 5
4
5
6
4
4
5
4
5
4
2
2
4
4
5
4
A 6 7 4 6 6 2 4 6
B
9
“Amazing Grace” with Chords that Use the Fourth String
I I7 IV I V7
E E A E B
xx 31 2 x xx 31 2 1 xx 11 1 x xx 31 2 x xx 1 1 1 x
4 fr. 4 fr. 4 fr.

##
& # # 43 ˙ œ œ ˙ œ ˙ œ ˙ œœ ˙
œ ˙. Œ Œ œ
œ ˙ œ
A - maz-ing grace how sweet the sound that saved a wretch like me I

I I7 IV I V IV I
E E7 A E B A E
xx 3 1 2 x xxx 21 3 xx 1 1 1 x xx 31 2 x xx 11 1 x xx 11 1 x xx 3 1 2 x
4 fr. 3 fr. 4 fr. 4 fr.

##
& ## ˙ œ œ ˙ œ ˙ ˙ œ œ ˙ œ ˙. ˙.
œ ˙ œ
once was lost but now I’m found was blind but now I see

“Amazing Grace” Transposed to F #

F# F# C# C#
I IV I V V7
7
xx 31 2 x
B
xx 1 11 x xx 31 2 x xx 11 1 x xxx 1 12
6 fr. 6 fr. 6 fr. 6 fr.

#### #
& #
œ ˙ œ œ ˙ œ ˙ œ ˙ œ ˙ œ œ ˙ œ ˙. Œ Œ œ
A - maz-ing grace how sweet the sound that saved a wretch like me I

F# F #7 F# F# C# F#
I I7 IV I V IV I
B B
xxx 13 2 xxx 21 3 xxx 2 11 xxx 1 32 xx 31 2 1 xx 1 11 x xx 1 11 x xx 31 2 x
6 fr. 5 fr. 7 fr. 6 fr. 6 fr. 6 fr. 6 fr.

#### # ˙
& # œ œ ˙ œ ˙ œ ˙ œ œ ˙ œ ˙. ˙.
˙ œ
once was lost but now I’m found was blind but now I see

10
 Passing Tones
D Shape: F Shape: A Shape:
D G D
xxx 13 2 xx 32 11 xxx 23 1
5 fr.

˙ ˙˙ ˙˙ œ œ
You Can Add the 5th:

# 4 ˙˙
You Can Add the 6th or 4th:

˙
You Can Add the 6th:

˙
& # 4˙ ˙˙
5 6 6 4

2 5 3 5 7
T 3
2
3
4
5 7
7
8
A 5
B
Sus4 (“suspended”) Chord
A sus4 chord substitutes the The 4th degree wants to resolve James Taylor–type move
4th degree in for the 3rd: to the 3rd of a major chord. starting with sus4
D sus4 D sus4 D D sus4 D
xx0 13 4 xx 0 13 4 x x 0 13 2 xx 0 13 4 x x 0 1 32

# w ˙˙ œœ j
˙˙ œ œ œ œ.
& # www ˙˙ ˙˙ œœ œ
4 4 3

œ
3 3 2 3 2 0 0 2
T 3
2
3
2
3
2
3
2
3
A 0 0 0 0 0
B
Add4 Chord
An add4 chord adds the 4th to a chord. The difference between a sus4 chord and an add4 chord is that the sus4 chord
does not have the 3rd, while an add4 chord does.

Bob Dylan–type move starting with an add4 chord.

add4 add4
C
x3 40 10
C
x3 40 1 0
C
x3 20 10

ww œœ Û Û Û Û Û Û œœ Û Û Û Û Û Û
& www œœœ œœœ
3

T
0
1
0
1 À À À À À À 0
1 À À À À À À
0 0 0
A 3 3 2
B 3 3 3

11
Sus4 Chord with Movable Shapes
D Shape: A Shape: F Shape:
D D sus4 D D D sus4 D D D sus4 D
xxx 13 2 xx0 1 3 4 xxx 1 3 2 xxx 2 31 xxx 2 41 xxx 2 31 xxx 2 11 xxx 3 1 1 xxx 21 1
5 fr. 5 fr. 5 fr. 10 fr. 10 fr. 10 fr.

œœ œœ œ ˙˙
# œœ œœ ˙˙ œ œœœ ˙˙
˙ œ œœ ˙
& # œ œ ˙
2 3 2 5 5 5 10 10 10
T 3
2
3
2
3
2
7
7
8
7
7
7
10
11
10
12
10
11
A
B

Minor Chords
To make a minor chord, move the 3rd from a major chord down one fret (1/2 step). This is called a “ b3rd.”

D Dm A Am E Em
x x0 1 3 2 xx0 2 3 1 x 0 1 23 0 x0 2 31 0 0 23100 0 2 30 0 0

#˙ n ˙˙
b3

& ˙˙˙ # ˙˙˙ n ˙˙˙ ˙ ˙

3
b3 b3

˙˙ # ˙˙˙ n ˙˙˙
3 3

˙˙ ˙˙ ˙˙ ˙˙
2 1 0 0 0 0
T 3
2
3
2
2
2
1
2
0
1
0
0
A 0 0 2 2 2 2
B 0 0 2
0
2
0

F #m G m G #m A m B bm B m C m C #m
Movable Three-String D Minor Shape
Dm D m E bm Em Fm
xxx 2 31

œœ b b œœ n n œœ b œœ # n œœ b œœ # n œœ œœ b n b œœœ n # n œœœ n b œœœ # # n œœœ

w œ
& ww
b3
1 œ bœ nœ œ #œ œ #œ
5

1 3 2 3 4 5 6 7 8 9 10 11 12
T3 5 4 5 6 7 8 9 10 11 12 13 14
A2 4 3 4 5 6 7 8 9 10 11 12 13

12
 F #m G m G #m A m B bm B m C m C #m
Movable Four-String D Minor Shape
Dm D m E bm Em Fm
xx 3 2 41

b œœ # n œœ b œœ # n œœ œœ b b œœ n n œœ n b œœœ # # n œœœ
w œœ b b œœ n n œœ n œœ n b œœ # n œœ b œ n œ
b3

& www 1
5
œœ b b œœ n n œœ b œœ # n œœ b œœ # n œœ
b3

1 1 2 3 4 5 6 7 8 9 10 11 12
T3 3 4 5 6 7 8 9 10 11 12 13 14
A 23 2
3
3
4
4
5
5
6
6
7
7
8
8
9
9
10
10
11
11
12
12
13
13
14
B
Movable Three-String E Minor Shape

Em
xx x 0 00
Em Fm F #m G m G #m A m B bm B m C m C #m D m E bm

œ bœ nœ œ #œ œ bœ
w œœ œ #œ œ #œ n œœ n b œœ # n œœ b n œœ # n œœ n œœ b b œœ
& ww œ b œœ # n œœ b œœ # n œœ
1
5
b3

0 0 1 2 3 4 5 6 7 8 9 10 11
T0 0 1 2 3 4 5 6 7 8 9 10 11
A0 0 1 2 3 4 5 6 7 8 9 10 11

B
Movable Four-String E Minor Shape
Em
xx 2 0 00
Em Fm F #m G m G #m A m B bm B m Cm C #m D m E bm

œœ b n b œœœ n # n œœœ b n œœœ n # # œœœ œ bœ

w œœ œ #œ œ #œ
b œœœ n # # œœœ n œœœ b b b œœœ
& www œœ b œœœ n # # œœœ n œœ b œ n œ œ # œ
1
5
b3
1

0 0 1 2 3 4 5 6 7 8 9 10 11
T0 0 1 2 3 4 5 6 7 8 9 10 11
A 02 0
2
1
3
2
4
3
5
4
6
5
7
6
8
7
9
8
10
9
11
10
12
11
13
B

13
Movable Three-String A Minor Shape

Am A m B bm Bm C m C #m D m E bm Em Fm F #m G m G #m
xxx 2 1 0

b œ n œ œ b œ b n œœ n b œœ
w œœ b b œœœ n n # œœœ b œœœ n b b œœœ n n n œœœ # b œœ n œœ n b œœ n # œœ œ b œ
& ww œ
5
b3
1

0 0 1 2 3 4 5 6 7 8 9 10 11
T1 1 2 3 4 5 6 7 8 9 10 11 12
A2 2 3 4 5 6 7 8 9 10 11 12 13

B
Movable Four-String A Minor Shape

Am
xx 2 3 10
A m B bm Bm C m C #m D m E bm Em Fm F #m G m G #m

œ bœ nœ b œ
w œœœ b b œœœ n n # œœœ b œœœ b n bb œœœœ n n nn œœœœ b # bb œœœœ n nn œœœœ n b œœœ # n b œœœ b n œœœ b n b œœœ
& www œ œ #œ œ
5
b3
1
5

0 0 1 2 3 4 5 6 7 8 9 10 11
T1 1 2 3 4 5 6 7 8 9 10 11 12
A 22 2
2
3
3
4
4
5
5
6
6
7
7
8
8
9
9
10
10
11
11
12
12
13
13
B
Minor Seventh Chords
A minor seventh chord is built by adding a b7th degree to a minor chord. Movable Am7 Shape
(The b7 degree is one step—two frets—below the root, or 1st degree.)
Dm
xx0 2 3 1
D m7 xx0 2 1 1
A m A m7 A m7
x 0 2 31 0
Em
x 0 2 31 4 x0 2 0 1 0 0 2 30 0 0
E m7
0 2 30 40
A m7
xx 1 11 1

˙˙ ˙˙ ˙˙˙ ˙˙ ˙˙ ˙˙ ww
˙˙˙
& 44
b7
ww
b7
˙˙ ˙˙ ˙˙
b7
b7
˙˙ ˙˙ b7
˙˙ ˙˙
˙ ˙ ˙˙
˙
1 1 0 3 0 0 0 5
T 3
2
1
2
1
2
1
2
1
0
0
0
3
0
5
5
A 0 0 2 2 2 2 2 5
B 0 0 0 2
0
2
0

14
 Minor Scales (and the Relative Minor)
Relative Minor
The relative minor is the scale built around the sixth note of a major scale. The relative major and minor scales both
have the same number of sharps and flats. Here we see that A minor is the relative minor to C major:
m
C
x3 20 10
A
x0 2 3 1 0

œ
C-major scale

&œ œ œ œ œ œ œ œ
œ œ œ œ œ œ
œ
1 2 3 4 5 6 A-minor scale

T 0 2 0 2
0 1
A 0 2 3 0 2 3
B 3 0 2 3

A-Minor Scale
whole step 1/2 step whole step whole step 1/2 step whole step whole step

& œ œ œ œ
œ œ œ œ
1 2 b
3 4 5 b
6 b
7 1(8)
A B C D E F G A

T 0 2
A 0 2 3
B 0 2 3

E Minor = Relative Minor of G Major

G
2 10 0 0 3
Em
0 23 0 00

G-major scale

& œ œ œ œ œ œ #œ œ
œ œ œ œ œ œ
œ #œ
1 2 3 4 5 6 E-minor scale

T 0
A 0 2 0 2 4
B 3
0 2 3
0 2 3
0 2 3

15
E-Minor Scale

&
whole half whole whole half whole whole

œ œ œ œ
œ #œ œ œ
b b b
#
1 2 3 4 5 6 7 1(8)
E F G A B C D E

T
A 0 2
B 0 2 3
0 2 3

A Harmonic Minor Scale*

œ
whole step 1/2 step whole step whole step 1/2 step 1 1/2 steps 1/2 step

& œ œ œ #œ
œ œ œ
b b
#
1 2 3 4 5 6 7 1(8)
A B C D E F G A

T 1 2
A 0 2 3
B 0 2 3
* At one point on the DVD, this scale is called the “melodic minor scale.” However, the “melodic minor” scale is shown
last on the DVD and is described below.

A Melodic Minor Scale Descending

Ascending: Sometimes it descends the same way, and

œ œ œ œ œ œ
whole step 1/2 step whole step whole step whole step whole step 1/2 step sometimes it descends via the minor scale:

& œ œ œ #œ #œ œ œ œ
œ œ
1 2 b
3 4 5 6 7 1(8) 1(8) b
7 b
6 5 4 b
3 2 1
A B C D E #
F #
G A A G F E D C B A

T 1 2 2 0
A 0 2 4 3 2 0
B 0 2 3 3 2 0

D Minor = Relative Minor of F Major

F
xx 3 2 11
Dm
xx0 2 3 1

œ œ œ œ
F-major scale

&œ œ œ bœ œ œ œ œ bœ œ
œ œ
1 2 3 4 5 6 D-minor scale
0 1
T 0 2 3
1 3
0 2 3
1 3
A3 0 2 3
B
16
B Minor = Relative Minor of D Major
D
x x0 1 32
Bm
x 1 34 2 1

œ
D-major scale

&œ #œ œ œ œ œ œ œ #œ
œ œ #œ œ œ #œ
1 2 3 4 5 6 B-minor scale

T 0 2
0
0 2
0 2 3
A0 2 4 0 2 4
B 2 4

Minor Key Chords

i chord is minor: iv chord is minor: v chord is sometimes minor or major (V7)
i iv v V7
Am Dm Em E7
x 0 23 1 0 xx0 2 31 0 2 30 0 0 0 2 0 1 00
or

w ww ˙˙ ˙
& 44 www ww ˙˙ # ˙˙˙
w ˙˙ ˙˙
0 1 0 0
T 1
2
3
2
0
0
3
1
A 2 0 2 2
B 0 2
0
2
0

Harmonized Scales
Harmonized Major Scale
I (major) ii (minor) iii (minor) IV (major) V (major) vi (minor) viiº (diminished)

œœœ œœœ œœœ

or V7

& œœœ œœœ œœœ œœœ

C major D minor E minor F major G major A minor B diminished

or G7

17
Harmonized C-Major Scale on Guitar
or
I ii iii IV V vi V7 I I ii iii IV V vi V7 viiº I
m m m 7 m m m 7
C D E F G A G C
x 3 2 0 1 0 xx0 2 3 1 0 2 3 0 0 0 xx 3 2 1 1 2 1 0 0 0 3 x0 2 3 1 0 3 2 0 0 0 1 x 3 2 0 1 0
C D E F G A
x 32 0 1 0 xx0 2 3 1 0 23 0 00 xx 3 2 11 xx 3 21 1 xx 3 1 1 1
G
xx 1 32 4
Bº
xx 1 32 4
C
xx 3 21 1
5 fr. 5 fr. 6 fr. 8 fr.

œœœ œœ œœœ œœ œœœ œœœ œœ œœœ œœ

& œœœ œœœ œœœ œœœ œ œ œœœ œœœ œœœ œœœ ( œœ) œ

Harmonized G-Major Scale

I ii iii IV V vi V7 I
G Am Bm C D Em D7 G
2 10 0 0 3 x0 2 31 0 x 1 3 42 1 x3 20 1 0 x x 0 1 32 xx 3 24 1 x x0 2 1 3 2 10 00 3

œœœ œœœ œœ œœœ

&œ # œœœ œœœ
œœ œœœ (œœ )

Harmonized E-Major Scale (with four-string chords)

F #m G #m C #m
I ii iii IV V vi V7 I
E A B B7 E
0 23100 xx 3 11 1 xx 3 11 1 xx 3 2 11 xx 32 1 1 xx 3 1 1 1 xx 1 32 4 xx 3 21 1
4 fr. 5 fr. 7 fr. 9 fr. 9 fr. 12 fr.

# œœ # œœœ œœœ œœ
# œœœ œœœ œ
& # œœœ # # œœœ œ œ

Harmonized E-Major Scale (with barre chords)

F #m G #m C #m
I ii iii IV V vi V7 I
E A B B7 E
0 23100 1 3 4 11 1 1 3 4 11 1 1 34 2 11 1 3 42 1 1 134111 xx 1 32 4 x 1 3 33 1
4 fr. 5 fr. 7 fr. 9 fr. 9 fr. 7 fr.

œœœ # œœœ # œœœ œœœ œœœ

# œœœ
& # œœœ # # œœœ œ

18
Harmonizing the Major Scale with I, IV, and V chords Only
I V7 I IV V IV V7 I
E
0 23100
B7
x 21 3 0 4
E
0 2 3 1 00
A
x0 12 3 0
B
x 1 33 3 1
A
x 0 1 23 0
B7
x 21 3 0 4
E
0 2 3 1 00

œ #œ #œ œ
&œ #œ #œ œ
5th in a B (V) chord 3rd in an E (I) chord 3rd in an A (IV) chord

#œ #œ œ
Harmonized E-Major Scale on the First and Third Strings (in 6th intervals)

#œ #œ œ œ œ œ
œ œ #œ #œ œ
& #œ œ

0 2 4 5 7 9 11 12
T 1 2 4 6 8 9 11 13
A
B

œ œ
E Major Scale Harmonized in 6ths with B Drone
œ
# # # # 4 œ œ œ œ œœ œ œœ œ œœ œ œœ œ œ œ œ œ œ œ œœ œ œœ œ œœ œ œœ œ œ œ ˙
& 4œ œ œ ˙

0 2 4 5 7 9 11 12 11 9 7 5 4 2 0
T 1
0
2
0
4
0
6
0
8
0
9
0
11
0
13
0
11
0
9
0
8
0
6
0
4
0
2
0
1
A
B
Use These 6ths to Harmonize Melodies

œ œ œ œ. œ œœ œœ œ œ œ œ w
Like this melody, similar to “Blowin’ in the Wind”

# # # # 4 œœ œ œ œ œ. œ œœ œœ œ œ .
& 4J œ œ œ. œ œ œ œ w
J J
4 5 5 4 2 2 4 4 2 0 4 5 5 4 2 0 0
T 4 6 6 4 2 2 4 4 2 1 4 6 6 4 2 1
4
1
A
B

19
Harmonized E-Major Scale on the First and Third Strings with One Variation

œ œ #œ #œ œ
œ #œ #œ œ œ œ œ
& #œ œ œ #œ
5th interval
(instead of 6th)
0 2 4 5 7 9 11 12
T 1 2 4 6 9 9 11 13
A
B
Use This to Harmonize Melodies

# # # # 4 œ œ œ œœ œ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ
Like “Simple Gifts”

œ œœ œ œ œ œ
& 4œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

0 0 2 4 0 4 5 7 7 5 4 2 0 2 2 2 0 2 4 2
T 1 1 2 4 1 4 6
5 5
6 4 2 1 2 2 2 1 2 4 2
4
4
4
A 4 4
B 6

# # # # œ œ œ œœ œ œœ œœ œœ œœ œœ œœ œ œ œ œ œœ œœ œ œ œœ œ ˙˙˙
& œ œ œ œ œ œ œ œ œ œ
œ ˙
0 0 2 4 0 4 5 7 7 5 4 2 0 2 2 4 4 2 0 0 0
T 1 1 2 4 1 4 6 9 9 6 4 2 1 2 2 4 4 2 1
2
2
0
1
A
B 0
0

You Can Transpose These Harmonized 6ths to Other Keys

bœ œ œ œ œ
œ œ œ œ œ œ œ
For instance, here it is in the key of F:

&œ bœ œ œ

1 3 5 6 8 10 12 13
T
A2 3 5 7 9 10 12 14

20
Harmonized C-Major Scale on the Second and Fourth Strings (in 6ths)

œ œ œ œ
œ œ œ œ œ œ œ
& œœ œ œ œ œ œ
scale starts here

T0 1 3 5 6 8 10 12 13
A0 2 3 5 7 9 10 12 14
B

œ œœ œœ œœ œ œ œ œ œ
Harmonized C-Major Scale in 6ths (moving between string sets)
œ
4 œ œ œ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ ˙
œ œ œ œ œ ˙
&4 œ œ œ

0 1 3 5 7 8 10 12 13 12 10 8 7 5 3 1 0
T 1 3
0 2 4 5 7 9 10 12 14 12 10 9 7 5 4 2 0
3 1 0 1
A 2 3 3 2 0 2
B
“Simple Gifts” in C with Sliding 6ths

& 44 œ œ œ œ œœ œœ œ œœ œœ œœ œœ œœ œœ œœ œ œœ œœ œœ œ œ œœ œ œ œ
œ œ œ œ œ œ œ œ
œ œ
0 0 1 3 3 1 0 0
T 0 0
1 1 3
0
1
0 2 4 4 2 0
3 1 3 3 3 1 3
0
3 0
0
A 2 2 3 2 3 2 3 3 3 2 3 3 0 0
B 3

œ œ œ œ œ œ œ œ œ œœ œ œ œ
& œœ œœ œœ œœ œ œœ œ œ œ œ œ œ œ œ œ œœ ˙
œ œ œ œ œ œ œ œ ˙

0 0 1 3 3 1 0 0 0
T1 0 1 3
0
3
0 2 4 4 2 0
3 1 3 3 3
0 0
3 1 1 1
A2 0 2 3 3 3 2 3 3 3 3 2 3 2
B

21
 #œ œ
Harmonized D-Major Scale on the Second and Fourth Strings (in 6ths)

#œ œ œ œ œ
œ œ œ œ #œ œ œ
& #œ œ

T 3 5 7 8 10 12 14 15
A 4 5 7 9 11 12 14 16
B

œ œ #œ œ
Harmonized G-Major Scale on the First and Third Strings (in 6ths)

œ œ œ œ œ œ œ
œ œ œ #œ
&œ

3 5 7 8 10 12 14 15
T
A4 5 7 9 11 12 14 16

B
Chord Progressions
vi–ii–V–I Progression (also called “I–vi–ii–V”) in C:
I vi ii V7
C
x3 20 1 0
Am
x0 2 3 1 0
Dm
xx0 2 31
G7
3 20 0 0 1

4
& 4 .. ’ ’ ’ ’ ’ ’ ’ ’ ..

VI–II–V–I Progression (also called “I–VI–II–V”) in C:

I VI7 II7 V7

C
x3 20 1 0
A7
x 0 1 11 2
D7
x x0 2 1 3
G7
3 20 0 0 1

& 44 .. ’ ’ ’ ’ ’ ’ ’ ’ ..

22
VI–II–V–I Progression (also called “I–VI–II–V”) in G:
I VI7 II7 V7
7 7 7
G
210 0 0 3
E
0 2 31 4 0
A D
x x0 2 1 3
x 0 1 11 2

# 4
& 4 .. ’ ’ ’ ’ ’ ’ ’ ’ ..

II–V–I Progression in G:
I II7 V7
7 7
G
210 0 0 3
A
x 0 1 11 2
D
x x0 2 1 3

#
& 44 .. ’ ’ ’ ’ ’ ’ ’ ’ ..

vi–ii–V–I Progression (also called “I–vi–ii–V”) in E:

# #
I vi ii V7
E
0 2 3 1 00
Cm
x1 3 4 2 1
Fm
134111
B7
x 21 3 0 4
4 fr.

##
& # # 44 .. ’ ’ ’ ’ ’ ’ ’ ’ ..

C #7 F #7
VI–II–V–I Progression (also called “I–VI–II–V”) in E:
E
0 2 3 1 00 3 x2 4 1 x 131241
B7
x 21 3 0 4

#### 4 . ..
& 4 .’ ’ ’ ’ ’ ’ ’ ’

23
 Diminished Chords
Diminished 7th chords are built with minor 3rds. Because these minor 3rds divide the scale equally, it’s a symmetrical
chord, and you can name the chord by any of its notes.

Three Main Shapes:

E º7 (or Gº7 or Bbº7 or Dbº7) G º7 (or Bbº7 or Dbº7 or Eº7) C º7 (or Ebº7 or G bº7 or *Aº7)
xx 13 24 2 x 1 31 x x 23 14 x

w
& b b www b b www  b b www
w w
3
T 2
3
2
3
4
2
A 2 2 4
B 3
3
* A and B bb are the same note.
Diminished Chords Repeat Themselves Every Three Frets:
E bº7:
œ b œœ # œœ F #º7:
œœ
#œ b œœœ œœœ œœ œœ bœ # œœ œœ œ
& b œœœ #œ
œ
b œœ # œœ œ œ
œ œ
œ œ
#œ
2 5 8 11 14
T 1
2
4
5
7
8
10
11
13
14
1
2
4
5
7
8
10
11
13
14
A 1 4 7 10 13 1 4 7 10 13
B 2 5 8 11 14

Diminished Chords in Progressions:

Moving from IV to I Moving from I to V Moving from I to V

F #º7 B bº7x E bº7

IV I I V7 I V
F
1 3 4 2 1 1 xx 13 24
C
x 32 0 14
A
x0 2 3 4 0 x12 0 4
E7
0 20 140
D
x x0 13 2 xx13 2 4
A
x 0 1 11 4

4 . . ### . #
.
& 4 ’’’’ ’’’’ . . ’ ’ ’ ’ ’ ’ ’ ’ .. # .. ’ ’ ’ ’ ’ ’ ’ ’ ..

24
 D #º7
Moving from IV to I in A Blues
D7
x x0 2 1 3 xx 13 24
A
x0 11 1 4

##
& # 44 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

“Buddy Bolden’s Blues”

I V7 I I7
C
x 32 0 14
C º7
xx 13 2 4
G7
3 2 00 0 1
C
x3 20 1 0
C7
x 3 24 1 0

j
& 44 Ó Œ ‰ j j j j
œ œ #œ œ nœ œ œ œ
œ œ ˙
I thought I heard Bud - dy Bold - en shout

F #º7 F #º7
IV I I7 IV
7
F
xx 3 2 11 xx 1 3 24
C
x 32 0 14
C
x 3 24 1 0
F
1 34 2 11 xx 13 24

& j j j
œ œ œ œ bœ
œ œ œ œ œ œ œ. œ œ œ œ œ bœ œ œ œ nœ
3 3 3

O - pen up the door let the foul air out O - pen up the door let the foul

I VI7 II7 V7 I V7
C A7 D7 G7 C G7
x3 20 1 4 x0 11 1 2 xx0 2 1 3 32 0 0 0 1 x3 20 1 0 3 2 0 00 1

j j j j
& œj œ œ œ œ. œ œ œ œ bœ œ œ w
air out I thought I heard him shout

Transcription: Andrew DuBrock

Inscription: Andrew DuBrock

25