Getting off to a good start!
The "First, Best and Only" guitar chord book you will ever need. Covers basic guitar chords, movable chord forms, rock guitar chords, how to transpose chords, learning the guitar fingerboard and an introduction to 4-part "jazz" chords and more ...

By

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2050 Orlando Rd., S Pottstown, PA 194u..,.-L ....",,"-'.
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CURT

Cun Sheller

1

Copyright

© 2004 by Curt Sheller
in any form or by

All rights reserved. No part of this book may be reproduced or transmitted any means, electronic, mechanical, photocopying,

recording, or otherwise, without the prior

written permission of the publisher. For information, contact Curt Sheller Publications. Curt Sheller Publications 2050 Or1andoRd., Suite 101 Pottstown, PA 19464-2348 International Standard Book Number (ISBN) ISBN 10: 1-60321-001-6 ISBN 13: 978-1-60321-001-0 Printed and bound in the United States of America

2

First Printing November 2004

Guitar

Guitar·

Guitar • Guitar • Guitar • Guitar • Guitar • Guitar • Guitar

Introduction
A tulde to tultar Chords
by Curt Sheller Chords can be grouped into four categories: Open Position Chords, Movable and Barre Form Chords, 4-Part Chords and Free Form Chords. Of these four A Guide to Guitar Chords covers the first three. This book is designed as a guide to open position chords, movable form chords and 4-part contemporary chords. Covering basic guitar chords, movable chord forms, rock chords, how to transpose chords, learning the guitar fingerboard and an introduction to 4-part "jazz" chords and more. It is proven material developed over the years from my private teaching and extensive research, study and application. From a few basic chord shapes and a understanding of how chords are constructed your chord vocabulary can be dramatically increased without memorizing countless more chord shapes. There are too many chord shapes to memorize. This book will take the mystery out playing and understanding chords on the guitar.

• Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar

Ciuitar

4

Ciuitar

Ciuitar·

Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar

add9 and Power 5 Chords Neutral Chords Barre Chords Fret Chart Summary Root & Fifth Chart Movable Triad Chord Forms Major Triads • String Family 1 2 3 & 2 3 4 Minor Triads • String Family 1 23 & 2 3 4 Diminished Triads • String Family 1 2 3 & 2 3 4 Augmented Triads • String Family 1 23 & 2 3 4 Tips for Remembering Triads Movable 4-Part Chord Forms Movable 7th Chords at Fret (1) • String Family 1 234 Generic • Movable 7th Chords • String Family 1 2 3 4 Additional 7th Movable Chord Forms Movable 7th Chords at Fret (1) • String Family 2 3 46 Movable 7th Chords at Fret (1) • String Family 3 4 5 6 Tips for Remembering 4-Part Chords 4-Part "Jazz" Chord Forms What is a Chord? A Few Chord Building Rules Creating the 4 Basic Chord Types Building More Advanced Chords Scale Interval Formula Chart Suggested Learning Order 8 15 16 17 18 19 20 21 22 23 24 24 25 25 26 3 7 27 28 28 28 29 29 30 31 32 33 34 35 38 40 Conf'd . • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar Ciuitar 5 .Contents Introduction Open Position Chords The Guitar Chord Diagram Movable Barre Forms "E/F" Barre Form "A/Bb" Barre Form "C/Db" Movable Form sus...

Contents Transposing Chords & Progressions How to Transpose Chords Practice Chord Progressions Orlando Blues WC Swing Learning the Guitar Fingerboard Reference or Key Frets Enharmonic equivalents Sharps to Flats Flats to Sharps Standard Tuning Natural & Sharp Notes Standard Tuning Natural & Flat Notes Conclusion 43 44 47 48 49 51 51 53 53 53 54 55 57 6 Ciuitar Ciuitar· Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar .

o ( Emo ee o o ( ( ( 2 3 6cf • • • • Suggested Reading: The Advanced The Advanced The Advanced Guide to Guitar Chords Vol I. 2 and 3 by Curt Sheller Guide to Chord Progressions for Guitar Vol I by Curt Sheller Guide to Blues Chord Progressions for Guitar Vol I & II by Curt Sheller Harmonic Analysis for Scale Selection and Chord Substutition by Curt Sheller • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar Ciuitar 7 .

If not indicated then play the chord in open position (1) c • o= String is not sounded. 0 0 O""__x= Fret to locate where on the neck to play the chord.The &ultar Chord Diagram Chord Name & Chord Type Information Strings -~r -r. Either mute or do not play..l '"r c .-----r-l-----... • 8 Ciuitar Ciuitar· Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar .. @@®@@CD o ..----"""'T-r.. Open String Frets c •• 2 • • • c ( 3 - Recommended Left Hand fingering of the chord.

= = = • . 8aslc Open Position Chords x = 0 o F= Em 000 A7 0 o x 0 F= = Am = ~ ~ ~ •• 2 = = = =. • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar 9 . These basic chords allow you to play common chord progressions in the popular Rock. 3* =2 . =. F= F= ••== = 2 3 1 = C •••• 234 = .. • Ji 2 Ciuitar • 1 = . ~ ! o o E7 = 000 F= ~ •• 231 = = ~ • 1 =. 2 3 =. 3 * All fingerings are recommended but not mandatory.. = = • .0 1 3 2 000 1:::::= 213 x x Om 0 x Co ==' Cf:::=: 0 C~ == • 1::::::= . C • 2 . • •..Chords are listed in ease to learn order.. 4 1 . Pop. Country and Folk keys of E A D G and C. . 1 o x F= C7 o o = = == U & ~ F= • 2 . == = = . == ~ o E ~ r-- o 0 x 0 A o x = x 07 0 x = x 0 o == . 231 3 b1 3 .

. x 0 o r-- AS x x x x - x liS 0 x x . = 3 2 1 . c b!b = = 3 = = = =. F= F= • == = 1 c = • 1 = = = 0 • = 1 = 1:::::= x r-- C5 o 0 x x &5 0 x F= F= U . 3 Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar 10 . = = = = =. !b 32 Another useful chord in the open position but really not an "open position" chord is F x = x F x = = = = =.Basic Open Position Chords &7 ==' 000 x 87 o F= ~ •= = = = = =.1 213 4 = =. n • Open Position Power 5 Chords E5 x x x x . = 1 r 2 Ciuitar Ciuitar· .

Emaj7 0 000 o Emaj7 0 F= F= • • 312 231 4 321 • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar Ciuitar 11 .Open Position Major 1 Chords x Amaj7 0 F= F= ~ •• • 213 . . 0 x x Dmaj7 0 &maj7 c= F= =• •= c ~ 000 x Cmaj7 0 0 0 = = = F= ~~ == = F= ~ F= • • 1 1 1 32 =~ 1 = 3=2 xx F= Fmaj7 F= ~ .

o x x Dm7 0 F= F= ~ • D6 0 i-i • . o o F= Em7 o 0 0 0 x E6 F= F= ~ • 3 2 4 F= ~ . 4 o ••= • = 231 c= F= = x ~ F= ~ F= ~ F= ~ 211 = = A6 0 = = = x x o F= x &6 o F= F= F= F= ••• F= "4_ ~ •• 3 F= c= F= = F= F= F= • ~ • . .Open Position m1 £.4t 1 3 4 F= 1 1 1 1 2 F= 2 12 Ciuitar Ciuitar· Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar . majl Chords c= F= = = F= ~ x Am7 0 • 2 • 1 .

.. • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar Ciuitar 13 . Cut Time and Waltz. D7 t&7 C.Am.A7 Root on String Fifth on String ® @ @ @ ® @ @ R Dm. Chord E. Fifth Chart The location of the Root and Fifth of a chord is needed for several strumming patterns such as Reggae..Root . Em..CI87* * Shifted ® @ ® finger: Finger moves between root and fifth of the chord on the same fret between strings ® and @... E7 A.

software and gadgets available that catalog hundreds and hundreds of chords. There are countless chord dictionaries. These are not the answer. Even chord theory does not offer any insight into unraveling the complexity of chord voicings.Open Position Chord Summary The basic chords presented in the section are a few of the many possible open position chords. charts. books. By building on these basic open position chords you can expand your chord vocabulary without having to memorize countless more chord shapes. 14 Ciuitar Ciuitar· Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar .

F 1 3 4 2 1 1 Movable form chords are chords containing no open strings. Each movable barre form is based on a common open position chord. These chords are transposable by moving each note of the chord the same number of frets up and down the neck. Movable forms allow you to play chords not found in the open position. • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar Ciuitar 15 . From these movable chord forms variations and more advanced chords can be created and added to your chord vocabulary.

._ ~ ~ ~ . ."ElF" Barre Form Based on the open position E. 16 Ciuitar Ciuitar· Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar . Em... E7 and Em7 chords Fm ® (1) (2) (2) (3) 13 4 2 1 1 13 4 1 1 1 Transposition Chart FRET CHORD NAME F Fm F7 Fm7 F# Gb G F#m Gbm Gm F#7 Gb7 G7 F#m7 Gbm7 Gm7 (4) (4) (5) (6) (6) G# Ab A G#m Abm Am G#7 Ab7 A7 G#m7 Abm7 Am7 F7 F= Fm7 . (. A# Bb B C A#m Bbm Bm Cm A#7 Bb7 B7 C7 A#m7 Bbm7 Bm7 Cm7 (7) F= • 1 1 1 1 (8) (9) (9) (10) (11) (11) (12) (13) C# Db D CUm Dbm Dm C#7 Db7 D7 C#m7 Dbm7 Dm7 13 1 2 1 1 F= 13 D# Eb E D#m Ebm Em D#7 Eb7 E7 D#m7 Ebm7 Em7 Same as fret (1) ® ROOT or letter name of the chord used for transposition purposes.

"A/Sb" Sarre Form Based on the open position A. A7 and Am 7 chords x 8b x 8bm ® (1) (1) (2) (3) Transposition Chart FRET CHORD NAME A# Bb B C C# Db D D# Eb E F F# Gb G G# Ab A A#m Bbm Bm Cm C#m Dbm Dm D#m Ebm Em Fm F#m Gbm Gm G#m Abm Am A#7 Bb7 B7 C7 C#7 Db7 D7 D#7 Eb7 E7 F7 F#7 Gb7 G7 G#7 Ab7 A7 A#m7 Bbm7 Bm7 em7 C#m7 Dbm7 Dm7 D#m7 Ebm7 Em7 Fm7 F#m7 Gbm7 Gm7 G#m7 Abm7 Am7 1 3 3 3 1 1 3 4 2 1 (4) x 8b7 x 8bm7 (4) (5) (6) (6) (7) (8) (9) (9) (10) 1 3 1 4 1 1 3 1 2 1 (11) (11) (12) (13) Same as fret (1) ® ROOT or letter name of the chord used for transposition purposes. • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar Ciuitar 17 . Am.

tIC/Db"Movable Form Based on the open position C chord Beyond the ElF and AlBb barre form chords..- . there is one other useful open position chord that can be transformed into a moveable form." • 43121 • Eb (7) E (8) F F# (9) (9) (10) (11) (11) (12) (13) (13) (14) (15) (16) b! Gb G G# Ab A A# Bb B C Same as fret (1) ® ROOT or letter name of the chord used for transposition purposes. but functionally these are very hard to play and not very useful. 18 Ciuitar Ciuitar· Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar ... This is the open position C chord. Theoritically the open position D and G chords can be barred and movable.. Transposition Chart FRET CHORD NAME ® (4) (4) (5) (6) (6) C# Db D D# C#m Dbm Dm D#m Ebm Em Fm F#m Gbm Gm G#m Abm Am A#m Bbm Bm Cm C#7 Db7 D7 D#7 Eb7 E7 F7 F#7 Gb7 G7 G#7 Ab7 A7 A#7 Bb7 B7 C7 C#m7 Dbm7 Dm7 D#m7 Ebm7 Em7 Fm7 F#m7 Gbm7 Gm7 G#m7 Abm7 Am7 A#m7 Bbm7 Bm7 Cm7 x r= F= F= F= Db ~.

A/Bb Barra Form Chords· x 8b7sus4 x 8bsus4 x 8badd9 x 8b5 1 = = = xxx • 3 1 3 1 4 1 1 3 3 4 1 1 3 4 1 1 = 1 * Use the Transposition charts on pages 16 for the ElF Barre form and page 17 for the A/Bb Barre form to move there chords to other keys.J ElF Barra Form Chords· F7sus4 Fsus4 Fadd9 II • = = = 13 1 4 1 1 12 3 4 1 1 2 3 4 1 1 Root 1 xxxx F5 • 13 = ({f . add9 and Power 5 Chords ({f/ 6<J ~.. .:r::.~J ® Implied .sus. • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar Ciuitar 19 .

4 3 •• 2 .:. 1 3 2 0.Neutral Chords The diminished and augmented chords are symmetrical chords consisting of equal distant intervals. x x = = = === = = 1 . Diminished Chords Anywhere a diminished chord is indicated it can be replaced with a diminished 7th chord. 3 2 tH • 1 • ~ 1 1 20 Ciuitar Ciuitar· Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar . + x = x x + x = = = == = = 0 c . • . ANY one of the notes in the chord can be the root of the chord. Common chord symbols for a diminished chord are: dim. @t1:/ A~.. + x = n •• 324 = = === = 4t 4 = . 1 3 1 dim7. °7 x = (j)/ 4~ ~/ Augmented Chords Common chord symbols for an augmented chord are: aug. x x = •= • 2 = = === .

Gb G G#.Db (9) (10) (11) (12) (13) (14) (15) D D#.Ab A A#.Gb G#.Db D D#.Ab A Bb B C * Fret (12) is the same notes as the open strings one octave higher • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar Ciuitar 21 .Gb G G#.Bb B C C#.8arre Chords Fret Chart Summary Fret* • • • • • • • " • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • "ElF" Form : "A/8b" Form: ftC/Db" Form : Root on String • Root on String • Root on String • • (1) '-- 1 ® F G (2) (3) (4) (5) (6) (7) (8) F#.Ab A - • • • • '" • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • @ C#.Eb E F F#.Eb E F F#.Eb E - • • • • " • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • @ B C Bb C#.Db - D D#.

22 Ciuitar Ciuitar· Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar . Cut Time and Waltz.Root £ Fifth Chart The location of the Root and Fifth of a chord is needed for several strumming patterns such as Reggae. Chord Root on String Fifth on String ElF Form A/8b Form* C/Db Form* * Shifted ® @ @ @ ® ® finger: Finger moves between root and fifth if the chord on the same fret between strings @ and @.

Each note of a chord is called a chord tone.maJ* c min x t b3 S dim xt b3 bS aug xt 3. Diminished Augmented. The minimum number of notes required for a chord is three. Chords are categorized into one of four types: Major.S xt3S 0 c c •• <t>. Two notes are usually referred to as an interval or dyad. This section will introduce you to triads voiced on strings or (!) @ @ and @ @ @. ® T 0 c • ® T ® Root of Chord • Cf" • • A chord is three or more notes sounded simultaneously. * Chords are shown on strings (!) @ @ @ • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar Ciuitar . These three note chords are called triads. Triads are a great bridge between basic open position and barre form chords and more advanced 4-part chords. Minor. Triads are a major part of Ryhyhm and Lead guitar and find their way into a wide range of music.

• • I • O® 2 2 1 I I I 1 1 1 321 3 1 1 312 24 Ciuitar Ciuitar· Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar .Movable Triad Chord Forms ~:/ .) ~ ='== 0 • 2 1 1 • 132 • '== • '== = '== • ®• . 312 • ® I I o®o 234 = '== = In addition to chords voiced on strings string families should be explored. Fm x b3 5 !. diminished and augmented triads by lowering or raising one note of the chord. Memorizing the location of the root.) 341 3 2 1 I I • I . rim 1 x 5 1 b3 x Ibm 1 b3 5 1 Fm b3 5 x b3 rim 5 1 Ibm x 5 1 b3 x ~ I '== = '== '. third and fifth of the chord allows for the creation of minor. • ® 2 3 1 0 ~u I I .' laior Triads • String Familv12 3 & 2 3 4 F x 3 5 1 x 5 rI 1 3 x Ib 1 3 5 1 3 F 5 x 3 5 1 x 5 Ib 1 3 x u .. CD @ @ and @ @ @ additional Using the 1 or Root of the triad these chords can be transposed to other keys using the Transposing Chords & Progressions information on page 43./ linor Triads • String Familv 12 3 & 2 3 4 By lowering the third of the chord one fret.'.. ) 0 ® I . three minor triads can be created on strings CD @ @ and @ @ @. /. .:Y ~.

. triads can be Faug x 3 #s 1 I Daug x #s 1 3 x 8baug 1 3 #s I Faug 1 3 #s x I Daug 3#Slx I 8baug #S13x I .Movable Triad Chord Forms ~ £? Diminished Triads • String Familv 123 & 234 triads can be By lowering the fifth of the chord one fret. • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar Ciuitar 25 . ( 1 1 I ®u 4 I 2 1 1 An augmented triad is a symmetrical chord consisting of equal distant intervals.. xb3bSl •4 • • I I Ddim I 8dim* xlb3bS I Ft=dim* lb3bSx Ddim b3bSlx I 8dim* bSlb3x I xbSlb3 4~ I 4. ) 4_ ® T ® • T 3 1 4 • 2 1 •. 2 ~ I I .J ~ Augmelll8d Triads • SIrIng familY 123 & 234 By raising the fifth of the chord one fret. ( 213 I •• ® 'r 132 2 1 3 1 3 1 4 * To keep the chord transposable it has been transposed up one fret or key to avoid using an open string in the voicing..® I 0 4_ ® 4_ . ) I . ANYone of the notes in the chord can be the root of the chord.0 3 1 2 3 1 2 3 1 2 1 1 • 2 . A/. I 0 ~ . three augmented created on strings CD @ @ and @ @ @. three diminished created on strings CD @ @ and @ @ @.

(f{:}. (3) c= = c= = c= = c= = ( ( t J F x 3 5 1 x 5 F 1 F • 2 u~ I (1) =./ Tips for Remembering Triads CD @ @ and - ..== ® ~.Movable Triad Chord Forms /}:i. Try remembering the graphic picture or shape that a chord represents. With enough practice the fingers will develop muscle memory and the ear will take over when playing these chords.) (1) Here the three major triads from string family @@ ® shownasF. the shape. Over time you will rely more on the actual notes vs. (6) 2 3 x 1 3 5 1 c= = • ~)J~ . 26 Ciuitar Ciuitar· Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar . These triads are also contained within in the barre forms chords shown earlier.( (6) c= = r---1== 'I ®o 1 (10) c= = c= = c= = (10) c= = c= = V 1 1 1 3 341 ~ ~ """""".)000004 I-- / 4~ Remembering that a Seventh chord is a major chord type find these triads contain with in one of the four seventh chords on page 30.

From these 7th chords ALL other 4-part chords can be built. These chords are the foundation for the contemporary guitarist and find they way into a wide range of styles. 5 5 Ab7 13 . These chords are a great bridge between rock. blues and jazz. * Chords are shown on strings (!) @ @ @ • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar Ciuitar 27 .~ 4 These movble seventh chords are transposable by moving each note of the chord the same number of frets up and down the neck.. • 3 1 4 1 1 1 • 2 1 • 2 1 1 1 • 3 • 2 .3 b7 1 . 1 ® • 1 Eb7 5 b7 3 • 2 . F7 b7 b7 3 5 1 ~ . See the chapter on 4-part "Jazz" chords for the priniciples behind b these chords and to create additional chords from these forms..

4 2 2 • c1 1 1 1 2 4 28 Ciuitar Ciuitar· Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar .4"Part Movable 7th Chord Forms lovable1th Chords at Fret rn• String Familv 12 3 4 C7 4-Part Movable Seventh Chord forms from my book The Advanced Guide to Guitar Chords voll. R 3 b7 R 3 5 b7 3 5 R 3 5 b7 b7 3 5 b7 ) @ Implied Root • 3 • u 4~ 0 . movable chord forms. 3 1 3 . By knowing the root ® of the chord and using the transposition chart on page 44 or 46 you can move these chords to any key. . b7 .• . ® ( 0 • • • • .. o 0 2 4 1 3 4 2 1 3 1 4 1 • CE 4 3 • 2 1 .~ •• 3 5 R R 5 3 4 • 2 • 0 • 4 fIf/ 1 2 1 1 1 3 . A Seventh chord contains the intervals 1 35 and b7 (based on a major scale) 3 b7 1 5 5 Ab7 1 3 b7 b7 F7 3 5 1 1 Eb7 5 b7 3 ~ ~ • 2 •• 3 1 4 1 1 1 2 1 • 2 1 1 •• 1 3 2 4 b7 • fIf:r' Generic· I_ble lib Chanls • Siring FamilY12 3 4 3 Here the chords are presented as GENERIC.~:~. Some voicings contain duplicate intervals with the root or fifth of the chord being displaced and implied. b7 R 5 5 R 3 b7 b7 ~ • 2 •• 3 1 4 1 1 1 2 .j Additional1th lovable Chord Forms R 3 Additional 4-part movable Seventh chord forms..

d't/ ~ 6<J ~. These three string familes are considred a core set of chords.J Movabla1th Chords at Frat 111·String Familv 2 3 4 6 C7 5 Ab7 1 4-Part Movable Seventh Chord forms from my book The Advanced Guide to Guitar Chords vol 1 A Seventh chord contains the intervals 1 35 and b7 (based on a major scale) F7 3 Eb7 5 x 3 b7 x b7 x 5 1 x 1 x b7 3 x 3 x 1 5 b7 x 4 • J~o k ® • • • ~ U ~ • 3 • 2 • 4 1 • 2 • 2 4 3 u • 3 2 • 4 1 1 1 1 ct?. Two additional string familes are required. F7 x x Eb7 x x 3 b7 1 5 1 ® • • li 1 5 b7 3 x x " " ~ ~ • • 4 • 1 • 1 3 1 • 2 • 2 231 231 • 4 • 1 3 • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar Ciuitar 29 . minor.4"Part Movable 7th Chord Forms In addition to chords voiced on strings 00 @ @ and @ which place the top note of the chord voicing on string 00. From these core string families various major./ {:~:J Movabla1th Chords at Frat 111·String Familv 3 4 5 6 4-Part Movable Seventh Chord forms from my book The Advanced Guide to Guitar Chords vol 1 A Seventh chord contains the intervals 1 35 and b7 (based on a major scale) C7 5 1 3 b7 x x b7 3 Ab7 5 • •® • J~ . These additional string families allow for the placement of the top note of a chords on string @ or @. diminished and augmented chord types can be created.

V \ t::::::> 1 1 4 1 1 1 2 Chords are like the constellations in the night sky..~_'_--'- (= = (== F7 b7 3 F7 R R 5 F7 3 F7 5 5 R 3 (1) 0 • 1 2 .: • .if\ .-.-.-. I? r-- ~ 5 ~ == The ElF Movable Barre Form • ~ ....-. Try remembering the graphic picture or shape that a chord represents. Once you know what you are looking for and where to look they are easy to find and remember.- (= = ~1lt*====\:JP ..(= =RF=F=J9 .4"Part Movable 7th Chord Forms /}:i.-.-. the shape.-..) i) ~ (3) ~ ./ Tips for Remembering 4-Part Chords -(1) Here the four seventh chord voicings from string family CD @ @ @ are shown as F7. With enough practice the fingers will develop muscle memory and the ear will take over when playing these chords.. 1 5 b7 3 b7 R b7 (= = . Over time you will rely more on the actual notes vs. • . 5 R 3 b7 R 3 3 5 R 3 5 b7 3 5 5 ~ .(= = .(6) ...) .. changing names but R 3 (-- Relate these chords back to their basic guitar chords.. (3) (= = f:= r--o--. . The A/Bb Movable Barre Form The C/Db Movable Barre Form 30 Ciuitar Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar . • . . • 0 3 2 4 (6) 0 ~ (10) o~ • 0 . • C·) . Chords will move up and down the neck.. = @.... (f{:}.J • C·) r- • t F= F= .. (= = • 2 3 1 0 \\ (= = . t F.~ U3ii..-.. b7 R R 3 ~ • • • • • .. u • (.-.

skipping the octave (8). most guitar players struggle with advanced chords. is by using numeric formulas based on the scale intervals of the fifteen major scales. This section presents an organized and efficient approach to this mysterious subject of advanced 4-part chords. find a wide use in all forms of music and styles. commonly called "jazz" chords. Building Chords There are several ways to build chords .but the best way to build chords on a guitar. These 4-part chords are the bread and butter of the "jazz" guitarist chords vocabulary. These numeric formulas are taken from the major scales by numbering each scale interval 1 through 13. Example: C Major Scale C 1 D 2 E 3 F 4 G 5 A 6 B 7 D 9 F 11 A 13 Example: G Major Scale G 1 A 2 3 B C 4 D 5 E 6 F# 7 A 9 C 11 E 13 Example: F Major Scale F 1 G 2 A 3 Bb C 4 5 D 6 E 7 keys) G Bb 9 11 D 13 (See the Scale Interval Chart on page 39 for aI/ fifteen major • Guitar • Guitar • Guitar • Guitar • Guitar • Guitar • Guitar • Guitar Guitar 31 .Beyond learning basic chords. 10th and 12th scale intervals. These more sophisticated voicings. barre form chords. as these are duplicates of the fundamental triad chord tones.

mi. For F Major the notes F. Eb and Gb. Common notation for a minor chord is a capital letter and a lowercase m.. MA or L\. min or-. Example: for a C augmented triad the notes would be C. Common notation for a diminished chord is a capital letter and a lowercase dim or degree sign 0. Diminished or Augmented. M~orTrlads A major triad is created using the 1. Augmented Triads An augmented triad is created using the 1. Example: for a C Minor triad the notes would be C. Minor Triads A minor triad is created using the 1. MAJ. A. and G. Common notation for a major chord is a capital letter only or a capital letter and maj. Any diminished triad can be created by lowering the fifth of a minor triad one fret. For G Major the notes G. Two notes are usually referred to as an interval or dyad. Here is the formula for building each of these four basic triads. Example: for a C diminished triad the notes would be C. Each note of a chord is called a chord tone. Example: for a C Major triad the notes would be C. Minor. Any augmented triad can be created by raising the fifth of a major triad 1 fret. Eb and G.. E. Common notation for an augmented chord is a capital letter and a lowercase aug or a plus sign +. 3 and sharp 5 of a major scale. and C would be used. E and G#. flat 3 and 5 of a major scale. Guitar Guitar· Guitar • Guitar • Guitar • Guitar • Guitar • Guitar • Guitar . Any minor triad can be created by lowering the third of a major triad one fret. The minimum number of notes required for a chord is three. etc . 3 and 5 of a major scale. Chords are categorized into one of four types: Major. flat 3 and flat 5 of a major scale. These three note chords are called triads.4"Part ~azz" Chord Forms What is a Chord? A chord is three or more notes sounded simultaneously. Band D. Diminished Triads A diminished triad is created using the 1.

Lowering a sharp note removes the sharp. This is a seventh chord. Example C must remain C either C#. Cb. A notated note is different than the pitch a note produces. Example Using the Chord 8ulldlng Chart (07) 1. The root of a D7 chord is D. This will make the C# a C. Raising a sharp note becomes a double sharp. sometimes called a Dominant Seventh chord this chord is created by adding the flat seventh to a major triad giving us the formula 1. Example D7 is a Major chord type and specifically a 7th chord. F# the note produces the same pitch as Gb the note. 5 and flat 7. C# becomes C. C# becomes Cx (double sharp). • Guitar • Guitar • Guitar • Guitar • Guitar • Guitar • Guitar • Guitar Guitar . Now flat the seventh as required for a 7th chord. Find the formula on the Scale Interval Formula Chart for the chord on page 35. Bb becomes Bbb (double flat). A Few Chord Building Rules When lowering or raising a scale degree to create a chord tone the alphabetical name of the note can not change. It's intervalic formula is 1 3 5 b7 2. Raising a flat note removes the flat. Lowering a flat note becomes a double flat. 3.4"Part ~azz" Chord Forms Seventh Chords There is one other chord beyond triads that can be considered a basic chord. Find the key of the chord based on the root or letter name of the chord. Lookup the intervals 1 3 5 and 7 for the key of D on page 35 (D F# A C#). The notes of a D7 chord are D F# A C. These double flats and double sharps are the theoretically correct spelling for the note. 3. Bb becomes B. Cx (double sharp) or Cbb (double flat).

Being able to create chords on the :flyfrom a solid foundation of basic chords.5 4. To create a diminished triad... raise the fifth of a major triad one fret. This is the key to building a massive chord vocabulary. * Chords are shown on strings CD @ @ @ Guitar Guitar· Guitar • Guitar • Guitar • Guitar • Guitar • Guitar • Guitar . m-r x t min x dim x aug x t S5 t bS 5 t bS b5 • S . 5tS ~ 0 ®. • u • ® T • • • 0 ~ It ®~ T ® It T ® Root of Chord By keeping track of the location of the chord tones you can create other chords from known chords. = ® == ~ ® Root of Chord Starting with the first major triad above. To create an augmented triad. and @ @ m-r. lower the fifth of a minor triad one fret. x t S5 4~ • m-r x S5 m-r t ) x • . we can create a minor triad by lowering the third of the chord one fret.4"Part ~azz" Chord Forms Creating the 4 Basic Chord Types Here is an example of three possible voicings for a major triad using strings CD.

1 C7 5 b7 3 I o~ I (10) ~ 4. I (5) L ~ I. • Guitar • Guitar • Guitar • Guitar • Guitar • Guitar • Guitar • Guitar Guitar 35 .4"Part ~azz" Chord Forms 8uilding More Advanced Chords Building more advanced 4-part chords can be accomplished using the same principles that were used to create the four basic triads. C7 3 b7 1 5 (1) ~ • 1::::='== • ~. C7 3 b7 1 5 I 5 (1) ~ (1) I L~o . For these more advanced "jazz" chords. 0 I. F7 3 5 . Here are four seventh chords played at fret. we will use a seventh chord as the starting point.~ 1 . and the foundation for building the 4-part major chord types. C7 3 5 1 . 1 Ab7 3 b7 b7 (1) • == 1::::='== = • • ! • 1::::== 1::::== . 1 C7 3 b7 b7 (8) • I ! 0 ... 5 . I These seventh chords are major chords types. 1 Eb7 5 b7 3 I (1) = = ~ ~ 1::::== '=== 0 •= 0 Here are the above four seventh chords transposed to C7 by raising each note the chord the same number of frets (based on the transposition chart).

4"Part ~azz" Chord Forms Create four major seventh chords by raising the seventh of each seventh chord one fret.n ~ rrn 5 1 3 6 8 6 ! . 1 8 5 6 3 0 .. I I ~ . 36 Guitar Guitar· Guitar • Guitar • Guitar • Guitar • Guitar • Guitar • Guitar . 8 3 5 1 . 1 7 3 •• . .. ..0 . 3 6 .) . I * Chords are shown as their generic shapes.. Use the roots to transpose to different keys. maj7· 3 7 1 5 5 maj7 1 3 7 7 maj7 3 5 1 R maj7 ( ~ • • .~ 1 5 l~o t u .I I * Chords are shown as their generic shapes. Use the roots to transpose to different keys. Create four major sixth or sixth chords by lowering the seventh of each chord one fret.

This same process can be used to create diminished and augmented chord types. .. 4 • == 0 0 • . 9· 3 b7 9 5 5 9 9 3 b7 b7 3 9 5 9 9 9 5 b7 3 ~ ~ • =• == • 4~ • . ~ ~ 4~ ~ . . • Guitar • Guitar • Guitar • Guitar • Guitar • Guitar • Guitar • Guitar Guitar 37 . . 1 m7 5 b7 b3 ~ ~ on . These minor seventh chords are minor chord types. Use the roots to transpose to different keys.= ~~ * Chords are shown as their generic shapes. b3 b7 1 . Use the roots to transpose to different keys. Create four minor seventh (m7) chords by lowering the third of a seventh chord one fret. 5 5 m7 1 b3 b7 b7 b3 . * Chords are shown as their generic shapes.® 1::::= •. m7 5 1 . and the foundation for building a1l4-part minor chord types.4"Part ~azz" Chord Forms Create four ninth chords by raising the root of each chord two frets.1=.

Major Chord Types Major 7 Major 7 Major 6 Scale interval formula: Notation*: Scale interval formula: Notation: Scale interval formula: Notation: Scale interval formula: Notation: 135 Capital letter only or MAJ. 117 1356 6. m7 and maj7 chord the common II V I chord progression can be played. MAJ6. mi. MA7. in various keys is found in a large majority of the standard jazz repertoire. min(maj7) . dom7 1357 maj7. 11 135 b7 7. _(7) 1 b3 5 6 m6. dim7 1 b3 b5 7 Guitar Guitar· Guitar • Guitar • Guitar • Guitar • Guitar • Guitar • Guitar . mi6. min. half dim7 Scale interval formula: 0(L7). m7' maj7. maj6. maj. min6 Diminished Chord Types Diminished Half-Diminished 7 Diminished-Major Diminished 7 7 Notation: Scale interval formula: Notation: Scale interval formula: Notation: Scale interval formula: Notation: 1 b3 b5 0. dim 1 b3 b5 b7 (2)7. mi7.4"Part ~azz" Chord Forms From the voicings of a 7.1 b35 b7 m7. -6. 6 Minor Chord Types Minor Minor 7 Minor-Major 7 Minor 6 Scale interval formula: Notation: Scale degree formula: Notation: Scale interval formula: Notation: Scale interval formula: Notation: 1 b35 m. This progression. MAJ7. min7. -7 1 b3 5 7 m(L7) . dim(L7) 1 b3 b5 bb7 07. Scale Interval Formula Chart Here are the scale interval formula to build the basic triads and 4-part chords and some of the common notations that you will encounter. MA6.

aug7 Scale interval formula: +L7. These chords are the foundation for building more advanced chords using extensions and alterations. augL7. Co7. Cm7. aug 13#5 b7 +7. Cdim. especially the basic chords and eleven 4-part chords from the Scale Interval Formula Chart above. Caug7 Not all fingerings of every chord are practical or possible but should be explored. • Guitar • Guitar • Guitar • Guitar • Guitar • Guitar • Guitar • Guitar Guitar 39 . Example: C. C7. L7(+5) 1 3 #5 7 * A root note is presumed to be in front of each notation. Cm. C7+.4"Part ~azz" Chord Forms Augmented Chord Types Augmented Augmented 7 Augmented-Major 7 Notation: Scale interval formula: Notation: Scale interval formula: Notation: 1 3 #5 +.

4"Part ~azz" Chord Forms Suggested Learning Order Core Chords 7. b13 For more information on building 4-part chords. m7. minor. 40 Guitar Guitar· Guitar • Guitar • Guitar • Guitar • Guitar • Guitar • Guitar . add. sus and slash chords.#9.#5. m7b5.#11. see my book The Advance Guide to Guitar Chords vol 1 & 2. The book covers ALL major. 4-part triads. dim7. aug7 Additional Core Chords maj7 to 6th m7 to m6 m7 to mL7 Diminished and Augmented Chords m7b5 to dimL7 (Rare) aug7 to augL7 (Rare) Upper Partials-Extensions 9. diminished and augmented chords types. shameless plug coming. maj7. These books provides detailed information on voicing all of the above 4-part chords. b9. 11 and 13 Alterations b5. their upper partials. alterations.

Scale Interval Chart The Fifteen Major Scales (Keys) Column one is the root of the key. 1 2 3 4 5 6 7 9 11 13 C G D A E B FII CII F Bb Eb Ab Db Gb Cb D A E B F# C# G# D# G C F Bb Eb Ab Db E B F# C# G# D# A# E# A D G C F Bb Eb F C G D A E B F# Bb Eb Ab Db Gb Cb Fb G D A E B F# C# G# C F Bb Eb Ab Db Gb A E B F# C# G# D# A# D G C F Bb Eb Ab B F# C# G# D# A# E# B# E A D G C F Bb D A E B F# C# G# D# G C F Bb Eb Ab Db F C G D A E B F# Bb Eb Ab Db Gb Cb Fb A E B F# C# G# D# A# D G C F Bb Eb Ab • Guitar • Guitar • Guitar • Guitar • Guitar • Guitar • Guitar • Guitar Guitar 41 .

42 Guitar Guitar· Guitar • Guitar • Guitar • Guitar • Guitar • Guitar • Guitar .

2 and 3 by Curt Sheller Guide to Chord Progressions for Guitar Vol I by Curt Sheller Guide to Blues Chord Progressions for Guitar Vol I & II by Curt Sheller Harmonic Analysis for Scale Selection and Chord Substutition by Curt Sheller • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar Ciuitar .F7 &7 A7 6cf • • • • Suggested Reading: The Advanced The Advanced The Advanced Guide to Guitar Chords Vol I.

How to Transpose Chords Transposing Chords a) All chords without open strings are movable and can be transposed to any key. Transposition Chart* Ascending A#. Bb A G#. c) Following the Transposition Chart below. F# B F E D#. Ab G F#. b) In order to transpose a chord you need to determine what string and fret the Root ® of the chord is on. Eb C#. Gb B Descending C Bb. C# * A graphic representation of the transposition chart is found on page 40. Db C D F E Eb. A# A Ab. G# G Gb. move all the notes of the chord the number of frets ascending (higher in pitch) or descending (lower in pitch) to place it so the Root ® of the chord is on the proper fret. Ciuitar Ciuitar· Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar . D# D Db.

e) Don't forget to transpose each note of the chord. b) Determine what string and fret the Root ® is on. you are now the key of E. c) To transpose upward.How to Transpose Chords How to Use the Transposition Chart a) Pick a chord with out any open strings. use the left (ascending keys) chart. you are now in the key of G. f) Remember that the fingering of the chord remains the same for the chord. use the right (descending keys) chart. Examples If you are in the key of C and move all notes of the chord up 4 frets. • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar Ciuitar 45 . To transpose downward. d) Each new key is 1 fret above or below the original key. 3 b7 C7 E7 5 3 b7 R 5 R ( 1) U 4 ~ (5) 0 U ~ • 2 3 1 0 2 3 1 4 4 If you are in the key of E and move all notes of the chord up 3 frets.

~. ct C A 32 IH 1 2 3 4 5 A to D is 7 frets Enharmonic Equivalants A#aqualsBb G#aqualsAb F#aqualsGb .--- 2 3 4 5 6 7 8 9 1 2 4 5 6 7 8 A' 1 3 4 ~. ~~ ~.-- 1 .. r-- C 1 2 3 4 5 6 7 8 9 10 11 12 8 1 2 3 4 5 6 7 8 9 10 11 "tI At 1 2 3 4 5 6 7 8 9 10 ~..&raphle Transposition Chart Here is a graph of the number of frets to move for any transposition. 1 Ft F 1 2 3 4 5 F E 1 2 3 4 E pt 1 2 3 pt P 1 2 ct 1 ~~ P ~~ C u8 . u Ff 1 2 5 6 7 8117 F 1 E 1 32 5 6 4 5 Pf P 1 2 10 9 D#aqualsEb d 1 11 10 9 T7 12 11 10 9 8 32 4 3 7 cl C#aqualsDb * Ascending and descending are used as musical terms referring to note pitched sound relative to the current pitch.. 1 2 3 4 6 E 46 S . A 1 2 3 4 5 6 7 8 9 c 1 2 1 3 2 1 4 3 2 1 5 4 3 2 6 5 4 3 2 1 7 6 5 7 3 2 1 8 7 6 5 8 3 2 1 9 8 7 6 5 4 3 2 1 10 9 8 7 6 5 4 3 2 1 11 10 9 8 7 6 5 4 3 2 1 12 11 10 9 8 7 6 5 4 3 2 1 8 At A &f 1 2 3 4 5 6 7 8 .~ ~. higher (ascending) or lower (descending). 1 2 3 4 5 6 7 &f Ft 1 2 3 4 5 6 .. . Ciuitar Ciuitar· Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar .

Try transposing them to other keys using the transposition chart on page 44 or 46. All are presented in the key of "C".With a vocabulary of chords under your fingers and guitar in-hand. Try playing the following chord progressions in this section. Dm7 G7 / / / / / / Cmaj7 / / / / / / / / II II II II II II II II / / II II II II II II II II Cmaj7 / / / / C7 / / / / Fmaj7 / / / / Fm6 / / / / Cmaj7 / / / / C7 / / / / Fmaj7 / / / / F#o7 / / / / Cmaj7 / / / / C7 / / / / Fmaj7 / / / / Bb7 / / / / Cmaj7 / / / / C07 / / / / Dm7 / / / / G7 / / / / Cmaj7 / / / / C+7 / / / / Dm7 / / / / G7 / / / / Cmaj7 / / / / Dm7 / / / / Em7 / / / / Fmaj7 / / / / Cmaj7 / / / / D7 / / / / Dm7 / / / / G7 / / / / • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar Ciuitar 47 .

. .:.. . &--5 ~--4 ~ & 1--3 · I l--i . _' I I . ~ I 3--~ 3 · i I 4--b $--& 3--1 .. < 5 5 e • ~ ~ & ~ j. --. 48 Ciuitar· Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar .. l. 11--& 12--& I fI l~i'I~ I~ { Lv. I ~~.. . - ~ Clio ~ . I •• . _ I..it. s--& I ~--& ...- -- ~ I " '( == ~ j. . l-. I ..A blues comp in the key of C All chords are shown voiced using string family 1 234. 9 l==1Q --a t-§ .. ~--~ I .... == '( { J II. 9 & I i~-l .. .. ~ I I !!-:.. '( n. n •• · ~ I . 1--3 I ~--& S s 5 & . • · _.w · 1 2 • ~ l III "". ~ . . .~ . J L i!:_' f:". e ._ l! !-: · _ :Ii. Orlando 81ues fI _. ~~ { . L . 10--& 12--& I fI II... I H--~ . I .. ICiuitar "'--:I. • ~ I ~ ~. 1.... . I"II ~ .... · . $--2 5--1 { 3--1 J--g . ~ .

.. A+' . {i_l:__ " ~ -7- " 1--5---.· ..we Swing Key ofC All chords are shown voiced using string family 1 234.h mr If I~~~~ ~~ . ~~~ ' .. s.. ~ n 111-' I- ~ '"' · · · !Ii ..I " L"tt---3--3-3--1-1-s--3 3--3 3 6±6.."..----1~--4-----r-& 2~ ~ :--~ 3--J ~~==i---+I-!>-$--=--==b C1--5-~==~ • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar Ciuitar 49 .-3 6 1--5--5--10 10-~~..--3~'--5-S--&±&5--1\-4--7 7-1-4 --6-~--9 5--3 3& 8. . 'I Ill. :: f'!Ii ':t ( { ...----. . -$ I I mr I! ~ OiS C9 Chi! &3 IS C. n7 wM fI 11 oil ... · · IIro..-.-5 ~ 1--5-5--9-9-1-5 9-9-.9 c% F9 EM7... ~ rp1J 7 5~ gs 00 . ." I Ill... -••.. ~ -.

50 Ciuitar Ciuitar· Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar .

The open strings and frets (5) and (10) have no sharp or flat notes.Memorizing the names of the notes of the guitar fingerboard is not as hard as one would think. These we can call reference or key frets. Reference or Key Frets In addition to the open strings (and fret twelve) which most guitar players seem to remember there are several other frets that are easy to remember. . open fret (5) fret (10) E A A D G G B E A D G c F E A D c D • Guitar • Guitar • Guitar • Guitar • Guitar • Guitar • Guitar • Guitar Guitar 51 . By memorizing a few key frets the entire fingerboard can be memorized. . These frets are easy to remember frets that have no sharps or flats. . For a guitar in standard tuning E A D G BE. Although there doesn't seem to be any pattern and the same letter can be found on every string.

fret (2) fret (3) fret (4) Gb G G# Cb C C# Vb F F# A A# B Db D D# Gb G G# 52 Guitar Guitar· Guitar • Guitar • Guitar • Guitar • Guitar • Guitar • Guitar . fret (3) fret (7) G B C E F A A# D D F# G B All that is left are frets (2) and (8) which can be referenced from frets (3) and (7) as well as a few previous frets. (4). (9) and (11) can be referenced off of the open strings. (6). fret (5) and fret (10). open fret (1) fret (4) fret (5) fret (6) fret (9) fret (10) E A D G B E 1 E# Ab A A# Db D A# Db D D# Gb G G# D# Gb GeE G# Cb C C# G# Cb B# Eb E# Ab A C# Fb FAD F# E# Ab A# Db fret (11) D# A# D# Frets (3) and (7) have one sharp each and are easy to remember.Learning the Fingerboard Frets (1).

1 fret (6) fret (7) fret (8) Learning the Fingerboard Bb B B# Eb E E# Ab A A# Db F Bb D D# F# G B B# That is ALL the notes of the guitar fingerboard. Enharmonic equivalents Enharmonic equivalents are where the same pitch can have multiple names. Sharps to Flats A# is the same pitch as Bb B# is the same pitch as C C# is the same pitch as Db D# is the same pitch as Eb E# is the same pitch as F F# is the same pitch as Gb G# is the same pitch as Ab Flats to Sharps Ab is the same pitch as G# Bb is the same pitch as A# Cb is the same pitch as B Db is the same pitch as C# Eb is the same pitch as D# Fb is the same pitch as E Gb is the same pitch as F# • Guitar • Guitar • Guitar • Guitar • Guitar • Guitar • Guitar • Guitar Guitar 53 .

II. G' A 0 A' B C F' G 8 9 10 11 12 c. F' G c.Natural & Sharp Notes STRING ppen ~ ® E F @ A @ 0 ® G ® B C CD w ~ 1 2 A' B C 0' E F G' A E" F. F' . F' A' 0' The notes at the twelfth fret have the same names as the open strings one octave higher.. 0 4 3 4 5 6 7 c. 0 A' B C 0' E F F' G G' A c. G' A 0 A' B C G F' G 0' E F G' A A' B C 0' E F c. 0 0' G' c. 54 Guitar Guitar· Guitar • Guitar • Guitar • Guitar • Guitar • Guitar • Guitar .

• Guitar • Guitar • Guitar • Guitar • Guitar • Guitar • Guitar • Guitar Guitar 55 . 4 • II. 3 4 5 6 7 D~ D E~ E F G~ G A~ A B~ B C D~ D E~ E F G~ G A~ A B~ 8 9 10 11 12 D~ D E~ G~ G A~ D~ D E~ D~ G~ The notes at the twelfth fret have the same names as the open strings.. ..STRING ppen ~ ® E F @ A B~ B C @ D E~ E F @ G A~ A B~ B C ® B C CD E F w ~ 1 2 G~ G A~ A B~ B C D~ D E~ E F G~ G A~ A B~ B C .

56 Guitar Guitar· Guitar • Guitar • Guitar • Guitar • Guitar • Guitar • Guitar .

From a few basic chord shapes and a understanding of how chords are constructed your chord vocabulary can be dramatically increased without memorizing countless more chord shapes. The information presented in this guide should take some of the mystery out of chord construction allowing a guitarist to use the information gained from one type of chord to be used with learning other types.Chords whether they are open position. • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar Ciuitar 57 . barre form chords or more advanced 4-part chords find their way into a wide range of music and should be mastered and practiced. There are too many chord shapes to memorize.

58 20041226.1.1.1.3 Ciuitar Ciuitar· Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar • Ciuitar .20080808.

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