A guitar chord

A guitar chord DEFAULT

Chords for guitar - fingering

The most frequently used guitar chords. This table will help any guitarist, both beginner and more experienced. Here are presented three main chords from each note - major, minor and seventh chord. Such tabular representation of fingering is most convenient for perception. But if you did not find the desired fingering in this table, do not worry, just go to the "See all" link under the images. Following the link, you will see the fingering of all the chords in the pictures for the corresponding note: sharps, flat, nonacord and others.

How to use chord fingerings

  • Fingering is a schematic representation of the chord on the guitar fretboard. On all images the first string is located on top (the thinnest), the sixth string is on the bottom. The chords in the pictures are fingering.
  • Numbers above the "grid" indicate the numbers of frets on the guitar fingerboard.
  • The red dots indicate which strings you need to press the strings to play the chord.
  • The red line indicates barre reception. To take a barre, use your index finger to clamp all the strings simultaneously. Beginning guitarists are particularly difficult to play chords with barrels, but do not worry - with frequent training it becomes easier!
  • To ensure that the chords sound flawlessly, do not forget about the tuning of the guitar!

A bit of history or where are the chords "B"

Very often people are not sure how to correctly label the note Si - H or B. The answer to this question lies in the X century, because it was then that they began to use the Latin letters to designate sounds. Each letter name corresponds to the letter of the alphabet. The scale in our time looks like this: C (Do), D (Re), E (Mi), F (Fa), G (Sol), A (La), H (Si). But in the old days instead of the note Si was used Si-flat and it was denoted by the letter "B". And the lowest of the used notes was A (La). The scale looked like this: A (La), B (Si-flat), C (Do), D (Re), E (Mi), F (Fa), G (Sol).

Now the chord B means H or Hb - in each case you have to choose which chord sounds better.

Sours: https://tuner-online.com/chords/

12 Easy Guitar Chords for Beginners

While trying to wrap your head around all the different guitar chords, you may feel slightly overwhelmed. To make your life easier, we put together this handy list of cheat chords.

Cheat chords are easier to play, and in many cases, sound more interesting than the original chords. In reality, you’re not actually cheating when you play these chords. Cheat chords are simply altered chords that are easier to play, and can be played in place of the original chords.

The chords below are listed under the keys where they work best. (Once you’re comfortable with playing cheat chords, you can advance to these basic guitar chords).

Key of C

G Simplified

easy guitar cheat chords - G

When you see a G, you often use this fingering instead of the traditional fingering. You can play it with only two fingers and it sounds cleaner.

Make sure your finger (that’s fretting the low note) is laying down just enough to play the low G and dampen the A string.

Am7

easy guitar chords -Am7

When you see an Am chord, try to play an Am7. It has a fuller sound, and once again, you only need to use two fingers.

Here is a chord progression that uses these two chords with C.

easy guitar chords C Am7 G C progression

Key of G

The Am7 also works well in this key. In addition, try these two chord alterations:

G Altered Fingerings

easy guitar chords - G altered fingering

This is very similar to the traditional G fingerings, but adds a fretted D on the B string in order to make it easier to transition between chords.

The key to this fingering is how easily it leads to the next two chords because of the pivot fingers on the high G and B string, which never have to move.

C (add9)

easy guitar chords C (add9)

The C (add9) works well to replace the C chord in the key of G. It has a fuller sound and it leads beautifully to the G chord with the altered fingering.

Dsus Chord

easy guitar chords - D sus chord

The Dsus chord is a good replacement for the D chord. You need to listen to make sure it doesn’t clash with the melody, but when it works, it makes for a simple transition between the C (add9) and G, because you never have to move your pinky and ring finger.

This cheat chord can also add a lot of interest to your strumming if you move from the Dsus and D. In other words, the chord chart might only have a D written, but you could play a Dsus going to a D, to make the music sound more interesting.

Here is a chord progression that uses these new easy guitar chords.

easy guitar chords - G C(add9) D sus D G progression

Related Article: How to Properly Hold a Guitar Pick

Key of D

The G simplified also works well in the key of D.

Here are two more chords to try:

A2 Chord

easy guitar chords - A2

The A2 chord works as a very simple replacement for the A chord in the key of D. It only takes two fingers, and it has a nice open sound with a little extra color.

D2 Chord

easy guitar chords - D2

The D2 can replace any D chord. Again, it’s easy to play since it uses only two fingers.

Here’s a chord progression that uses these chords. Notice you never have to use more than two fingers on any of these easy guitar chords.

easy guitar chords - D2 G A2 D2 progression

Key of A

D2 and A2 will also work well in this key. Here’s another chord to try in the key of A.

F#m13

easy guitar chords - F#m13

This is a little easier to play than the F#m7, and you can use it to replace the F#m chord or F#m7 chord. It’s a little more muddy sounding, so you’ll have to decide if you like it or not. I think that in the middle of a song, it sounds fine and is easy to play.

Here is a chord progression that uses these chords.

easy guitar chords - A2 F#m13 D2 E

Key of E

The A2 chord works well in this key. If you add these three chords, you can play a  full chord progression using only two or three fingers. Use the same finger position for all three of these chords.

E Open Version

easy guitar chords - E open version

Notice this chord is played at the 7th fret. By playing this version of E, you’ll find that the rest of the progression flows naturally.

You can also use the normal E, but this gets your fingers into position for the other chords. Also, it has a wonderfully big, open sound.

Bsus

easy guitar chords - Bsus or B sus

Use the three-finger position (from the E above) to play the Bsus. It’s a good replacement for the B chord, as long as it doesn’t clash too much with the melody line. Once again, it’s much easier to play since it doesn’t require a barre chord.

C#m7

easy guitar chords - C#m7 4fr

Here’s one more chord you can play with the same finger shape. Notice it’s played at the 4th fret. It’s a good replacement for the C#m chord, and like the Bsus, much easier to play.

Here is a chord progression that uses these chords.

easy guitar chords - E 7fr A2 Bsus C#m7

Bonus Chords

These last two bonus chords have a nice jazzy feel, and they’re easier to play than the normal versions. Use them to replace the F and C chords when you want a more dissonant jazz sound.

Fmaj7

easy guitar chords - Fmaj7

Cmaj7

easy guitar chords - Cmaj7

Here is a chord progression that uses these chords.

easy guitar chords - Cmaj7 Am7 Fmaj7 Cmaj7

Now you know 12 easy guitar chords. With these cheat chords and a capo, you should be able to play in any key, and in many cases, you can play with only two fingers!

Ready to go from easy to advanced chords? Try private guitar lessons or free online guitar classes here at TakeLessons Live!

Sours: https://takelessons.com/live/guitar/cheat-easy-guitar-chords-z01
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Guitar chord

In music, a guitar chord is a set of notes played on a guitar. A chord's notes are often played simultaneously, but they can be played sequentially in an arpeggio. The implementation of guitar chords depends on the guitar tuning. Most guitars used in popular music have six strings with the "standard" tuning of the Spanish classical guitar, namely E–A–D–G–B–E' (from the lowest pitched string to the highest); in standard tuning, the intervals present among adjacent strings are perfect fourths except for the major third (G,B). Standard tuning requires four chord-shapes for the major triads.

There are separate chord-forms for chords having their root note on the third, fourth, fifth, and sixth strings. For a six-string guitar in standard tuning, it may be necessary to drop or omit one or more tones from the chord; this is typically the root or fifth. The layout of notes on the fretboard in standard tuning often forces guitarists to permute the tonal order of notes in a chord.

The playing of conventional chords is simplified by open tunings, which are especially popular in folk, blues guitar and non-Spanish classical guitar (such as English and Russian guitar). For example, the typical twelve-bar blues uses only three chords, each of which can be played (in every open tuning) by fretting six strings with one finger. Open tunings are used especially for steel guitar and slide guitar. Open tunings allow one-finger chords to be played with greater consonance than do other tunings, which use equal temperament, at the cost of increasing the dissonance in other chords.

The playing of (3 to 5 string) guitar chords is simplified by the class of alternative tunings called regular tunings, in which the musical intervals are the same for each pair of consecutive strings. Regular tunings include major-thirds tuning, all-fourths, and all-fifths tunings. For each regular tuning, chord patterns may be diagonally shifted down the fretboard, a property that simplifies beginners' learning of chords and that simplifies advanced players' improvisation. On the other hand, in regular tunings 6-string chords (in the keys of C, G, and D) are more difficult to play.

Conventionally, guitarists double notes in a chord to increase its volume, an important technique for players without amplification; doubling notes and changing the order of notes also changes the timbre of chords. It can make a possible a "chord" which is composed of the all same note on different strings. Many chords can be played with the same notes in more than one place on the fretboard.

Musical fundamentals[edit]

The theory of guitar-chords respects harmonic conventions of Western music. Discussions of basic guitar-chords rely on fundamental concepts in music theory: the twelve notes of the octave, musical intervals, chords, and chord progressions.

Intervals[edit]

The chromatic circle lists the twelve notes of the octave, which differ by exactly one semitone.
One-octave C majorscale

C major scale

One octave played up and down in the c major scale on the piano


Problems playing this file? See media help.
Initial eight harmonics on C, namely (C,C,G,C,E,G,B♭,C)

Main article: Interval (music)

See also: Major scale

The octave consists of twelve notes. Its natural notes constitute the C majorscale, (C, D, E, F, G, A, B, and C).

The intervals between the notes of a chromatic scale are listed in a table, in which only the emboldened intervals are discussed in this article's section on fundamental chords; those intervals and other seventh-intervals are discussed in the section on intermediate chords. The unison and octave intervals have perfect consonance. Octave intervals were popularized by the jazz playing of Wes Montgomery. The perfect-fifth interval is highly consonant, which means that the successive playing of the two notes from the perfect fifth sounds harmonious.

A semitone is the distance between two adjacent notes on the chromatic circle, which displays the twelve notes of an octave.[a]

As indicated by their having been emboldened in the table, a handful of intervals—thirds (minor and major), perfect fifths, and minor sevenths—are used in the following discussion of fundamental guitar-chords.

As already stated, the perfect-fifths (P5) interval is the most harmonious, after the unison and octave intervals. An explanation of human perception of harmony relates the mechanics of a vibrating string to the musical acoustics of sound waves using the harmonic analysis of Fourier series. When a string is struck with a finger or pick (plectrum), it vibrates according to its harmonic series. When an open-note C-string is struck, its harmonic series begins with the terms (C,C,G,C,E,G,B♭,C). The root note is associated with a sequence of intervals, beginning with the unison interval (C,C), the octave interval (C,C), the perfect fifth (C,G), the perfect fourth (G,C), and the major third (C,E). In particular, this sequence of intervals contains the thirds of the C-major chord {(C,E),(E,G)}.

With a note of music, one strikes the fundamental, and, in addition to the root note, other notes are generated: these are the harmonic series.... As one fundamental note contains within it other notes in the octave, two fundamentals produce a remarkable array of harmonics, and the number of possible combinations between all the notes increases phenomenally. With a triad, affairs stand a good chance of getting severely out of hand.

— Robert Fripp

Perfect fifths[edit]

The perfect-fifth interval is featured in guitar playing and in sequences of chords. The sequence of fifth intervals built on the C-major scale is used in the construction of triads, which is discussed below.[b]

Cycle of fifths[edit]

Concatenating the perfect fifths ((F,C), (C,G), (G,D), (D,A), (A,E), (E,B),...) yields the sequence of fifths (F,C,G,D,A,E,B,...); this sequence of fifths displays all the notes of the octave.[c] This sequence of fifths shall be used in the discussions of chord progressions, below.

Power chord[edit]
The Who's Peter Townshend often used a theatrical "windmill" strum to play "power chords"—a root, fifth, and octave.

Main article: Power chord

The perfect-fifth interval is called a power chord by guitarists, who play them especially in blues and rock music.[7][8]The Who's guitarist, Peter Townshend, performed power chords with a theatrical windmill-strum.[7] Power chords are often played with the notes repeated in higher octaves.[7]

Although established, the term "power chord" is inconsistent with the usual definition of a chord in musical theory, which requires three (or more) distinct notes in each chord.[7]

Chords in music theory[edit]

A brief overview
Major triad as a triangle inscribed in the chromatic circle

C Major (C,E,G) begins with the major third (C,E).

Minor triad as a triangle inscribed in the chromatic circle

C Minor (C,E♭,G) begins with minor third (C,E♭).

Major and minor triads contain major-third and minor-third intervals in different orders.

The musical theory of chords is reviewed, to provide terminology for a discussion of guitar chords. Three kinds of chords, which are emphasized in introductions to guitar-playing,[10][d] are discussed. These basic chords arise in chord-triples that are conventional in Western music, triples that are called three-chord progressions. After each type of chord is introduced, its role in three-chord progressions is noted.

Intermediate discussions of chords derive both chords and their progressions simultaneously from the harmonization of scales. The basic guitar-chords can be constructed by "stacking thirds", that is, by concatenating two or three third-intervals, where all of the lowest notes come from the scale.[13]

Triads[edit]

Major[edit]

Both major and minor chords are examples of musical triads, which contain three distinct notes. Triads are often introduced as an orderedtriplet:

  • the root;
  • the third, which is above the root by either a major third (for a major chord) or a minor third (for a minor chord);
  • the fifth, which is a perfect fifth above the root; consequently, the fifth is a third above the third—either a minor third above a major third or a major third above a minor third.[14][15] The major triad has a root, a major third, and a fifth. (The major chord's major-third interval is replaced by a minor-third interval in the minor chord, which shall be discussed in the next subsection.)
Chord Root Major third Fifth
C C E G
D D F♯A
E E G♯B
F F A C
G G B D
A A C♯E
B[e]B D♯F♯

For example, a C-major triad consists of the (root, third, fifth)-notes (C, E, G).

The three notes of a major triad have been introduced as an orderedtriplet, namely (root, third, fifth), where the major third is four semitones above the root and where the perfect fifth is seven semitones above the root. This type of triad is in closed position. Triads are quite commonly played in open position: For example, the C-major triad is often played with the third (E) and fifth (G) an octave higher, respectively sixteen and nineteen semitones above the root. Another variation of the major triad changes the order of the notes: For example, the C-major triad is often played as (C,G,E), where (C,G) is a perfect fifth and E is raised an octave above the perfect third (C,E). Alternative orderings of the notes in a triad are discussed below (in the discussions of chord inversions and drop-2 chords).

In popular music, a subset of triads is emphasized—those with notes from the three major-keys (C, G, D), which also contain the notes of their relative minor keys (Am, Em, Bm).[16]

Progressions[edit]
Stacking the C-major scale with thirds creates a chord progression,traditionally enumerated with the Roman numerals I, ii, iii, IV, V, vi, viio. Its major-key sub-progression C–F–G (I–IV–V) is conventional in popular music. In this progression, the minor triads ii–iii–vi appear in the relative minor key (Am)'s corresponding chord progression.

The major chords are highlighted by the three-chord theory of chord progressions, which describes the three-chord song that is archetypal in popular music. When played sequentially (in any order), the chords from a three-chord progression sound harmonious ("good together").[f]

The most basic three-chord progressions of Western harmony have only major chords. In each key, three chords are designated with the Roman numerals (of musical notation): The tonic (I), the subdominant (IV), and the dominant (V). While the chords of each three-chord progression are numbered (I, IV, and V), they appear in other orders.[f][18]

KeyTonic (I)Subdominant (IV)Dominant (V)
CCFG
DDGA
EEAB
GGCD
AADE

In the 1950s the I–IV–V chord progression was used in "Hound Dog" (Elvis Presley) and in "Chantilly Lace" (The Big Bopper).

Major-chord progressions are constructed in the harmonization of major scales in triads. For example, stacking the C-major scale with thirds creates a chord progression, which is traditionally enumerated with the Roman numerals I, ii, iii, IV, V, vi, viio; its sub-progression C–F–G (I–IV–V) is used in popular music, as already discussed. Further chords are constructed by stacking additional thirds. Stacking the dominant major-triad with a minor third creates the dominant seventh chord, which shall be discussed after minor chords.

Minor[edit]
An A-minor scale has the same pitches as the C major scale, because the C major and A minor keys are relative major and minor keys.

A minor chord has the root and the fifth of the corresponding major chord, but its first interval is a minor third rather than a major third:

Minor chords arise in the harmonization of the major scale in thirds, which was already discussed: The minor chords have the degree positions ii, iii, and vi.

KeyTonic (I)Subdominant (IV)Dominant (V)
CmCmFmG7
DmDmGmA7
EmEmAmB7
GmGmCmD7
AmAmDmE7
Major and minor keys that share the same key signature are paired as relative-minor and relative-major keys.

Minor chords arise as the tonic notes of minor keys that share the same key signature with major keys. From the major key's I–ii–iii–IV–V–vi–viio progression, the "secondary" (minor) triads ii–iii–vi appear in the relative minor key's corresponding chord progression as i–iv–v (or i–iv–V or i–iv–V7): For example, from C's vi–ii–iii progression Am–Dm–Em, the chord Em is often played as E or E7 in a minor chord progression. Among basic chords, the minor chords (D,E,A) are the tonic chords of the relative minors of the three major keys (F,G,C):

The technique of changing among relative keys (pairs of relative majors and relative minors) is a form of modulation. Minor chords are constructed by the harmonization of minor scales in triads.

Seventh chords: major–minor chords with dominant function[edit]

The previously noted chord progression with a dominant seventh About this soundPlay (help·info). The dominant seventh (V7) chord G7=(G,B,D,F) increases the tension with the tonic (I) chord C.

Adding a minor seventh to a major triad creates a dominant seventh (denoted V7). In music theory, the "dominant seventh" described here is called a major–minor seventh, emphasizing the chord's construction rather than its usual function.[27] Dominant sevenths are often the dominant chords in three-chord progressions,[18] in which they increase the tension with the tonic "already inherent in the dominant triad".

Chord Root Major third Perfect fifth Minor seventh
C7 C E G B♭
D7 D F♯A C
E7 E G♯B D
F7[e]F A C E♭
G7 G B D F
A7 A C♯E G
B7 B D♯F♯A

The dominant seventh discussed is the most commonly played seventh chord.[29][30]

Paul McCartney used an A-major I–IV–V7 chord progression in "3 Legs", which is also an example of the twelve-bar blues.
KeyTonic (I)Subdominant (IV)Dominant (V)
CCFG7
DDGA7
EEAB7
GGCD7
AADE7

An A-major I–IV–V7 chord progression A–D–E7 was used by Paul McCartney in the song "3 Legs" on his album Ram.[32]

These progressions with seventh chords arise in the harmonization of major scales in seventh chords.[g]

Twelve-bar blues[edit]

Be they in major key or minor key, such I–IV–V chord progressions are extended over twelve bars in popular music—especially in jazz, blues, and rock music.[36][37] For example, a twelve-bar blues progression of chords in the key of E has three sets of four bars:

E–E–E–E7
A–A–E–E
B7–A–E–B7;

this progression is simplified by playing the sevenths as major chords.[36] The twelve-bar blues structure is used by McCartney's "3 Legs",[32] which was noted earlier.

Playing chords: open strings, inversion, and note doubling[edit]

See also: Open string (music), Inversion (music), and Voicing (music)

The implementation of musical chords on guitars depends on the tuning. Since standard tuning is most commonly used, expositions of guitar chords emphasize the implementation of musical chords on guitars with standard tuning. The implementation of chords using particular tunings is a defining part of the literature on guitar chords, which is omitted in the abstract musical-theory of chords for all instruments.

For example, in the guitar (like other stringed instruments but unlike the piano), open-stringnotes are not fretted and so require less hand-motion. Thus chords that contain open notes are more easily played and hence more frequently played in popular music, such as folk music. Many of the most popular tunings—standard tuning, open tunings, and new standard tuning—are rich in the open notes used by popular chords. Open tunings allow major triads to be played by barring one fret with only one finger, using the finger like a capo. On guitars without a zeroth fret (after the nut), the intonation of an open note may differ from then note when fretted on other strings; consequently, on some guitars, the sound of an open note may be inferior to that of a fretted note.[38]

Unlike the piano, the guitar has the same notes on different strings. Consequently, guitar players often double notes in chord, so increasing the volume of sound. Doubled notes also changes the chordal timbre: Having different "string widths, tensions and tunings, the doubled notes reinforce each other, like the doubled strings of a twelve-string guitar add chorusing and depth".[39] Notes can be doubled at identical pitches or in different octaves. For triadic chords, doubling the third interval, which is either a major third or a minor third, clarifies whether the chord is major or minor.[40]

Unlike a piano or the voices of a choir, the guitar (in standard tuning) has difficulty playing the chords as stacks of thirds, which would require the left hand to span too many frets, particularly for dominant seventh chords, as explained below. If in a particular tuning chords cannot be played in closed position, then they often can be played in open position; similarly, if in a particular tuning chords cannot be played in root position, they can often be played in inverted positions. A chord is inverted when the bass note is not the root note. Additional chords can be generated with drop-2 (or drop-3) voicing, which are discussed for standard tuning's implementation of dominant seventh chords (below).

Johnny Marr is known for providing harmony by playing arpeggiated chords.

When providing harmony in accompanying a melody, guitarists may play chords all-at-once or as arpeggios. Arpeggiation was the traditional method of playing chords for guitarists for example in the time of Mozart. Contemporary guitarists using arpeggios include Johnny Marr of The Smiths.

Fundamental chords[edit]

Standard tuning[edit]

A fretboard with line segments connecting the successive open-string notes of the standard tuning
In the standardguitar tuning, one major third interval is interjected amid four perfect fourth intervals.
In standard tuning, the C-major chord has three shapes because of the irregular major-third between the G- and B-strings.

A six-string guitar has five musical-intervals between its consecutive strings. In standard tuning, the intervals are four perfect fourths and one major third, the comparatively irregular interval for the (G,B) pair. Consequently, standard tuning requires four chord shapes for the major chords. There are separate chord forms for chords having their root note on the third, fourth, fifth, and sixth strings. Of course, a beginner learns guitar by learning notes and chords, and irregularities make learning the guitar difficult—even more difficult than learning the formation of plural nouns in German, according to Gary Marcus. Nonetheless, most beginners use standard tuning.

Another feature of standard tuning is that the ordering of notes often differs from root position. Notes are often inverted or otherwise permuted, particularly with seventh chords in standard tuning,[47] as discussed below.

Power chords: fingerings[edit]

As previously discussed, each power chord has only one interval, a perfect fifth between the root note and the fifth.[7] In standard tuning, the following fingerings are conventional:

Triads[edit]

Triads are usually played with doubled notes,[48] as the following examples illustrate.

Major[edit]

Commonly used major chords are convenient to play in standard tuning, in which fundamental chords are available in open position, that is, the first three frets and additional open strings.

C major chord in open position

For the C major chord (C,E,G), the conventional left-hand fingering doubles the C and E notes in the next octave; this fingering uses two open notes, E and G:

  • E on the first string
  • C on the second string
  • G on the third string
  • E on the fourth string
  • C on the fifth string
  • Sixth string is not played.

Major Chords (Guide for Guitar Chord Charts)

  • A: 002220
  • B: x24442
  • C: 032010
  • D: xx0232
  • E: 022100
  • F: 133211
  • F#: 244322 (movable – remember that no sharps or flats are between BC and EF)
  • Normal G: 320003
  • Nashville style G: 3×0033

For the other commonly used chords, the conventional fingerings also double notes and feature open-string notes:

Besides doubling the fifth note, the conventional E-major chord features a tripled bass note.[48]

A barre chord ("E Major shape"), with the index finger used to bar the strings

The B major and F major chords are commonly played as barre chords, with the first finger depressing five–six strings.

B major chord has the same shape as the A major chord but it is located two frets further up the fretboard. The F major chord is the same shape as E major but it is located one fret further up the fretboard.

Minor[edit]

Minor chords (commonly notated as C-, Cm, Cmi or Cmin) are the same as major chords except that they have a minor third instead of a major third. This is a difference of one semitone.

To create F minor from the F major chord (in E major shape), the second finger should be lifted so that the third string plays onto the barre. Compare the F major to F minor:

The other shapes can be modified as well:

Chord nameFret numbers
E minor [0 2 2 0 0 0]
A minor [X 0 2 2 1 0]
D minor [X X 0 2 3 1]
Suspended[edit]

Movable Suspended Chords Guide (for chord charts)

(in standard tuning)

Sus2

  • A Sus2 x02200
  • B Sus2 x24422
  • C Sus2 x35533
  • D Sus2 x00230

Sus4

  • E SUS4 022200
  • F SUS4 133311
  • G SUS4 355533

These chords are used extensively by My Bloody Valentine, on the album Loveless. They are also used on the Who song "Pinball Wizard" and many, many more songs.

Dominant sevenths: drop two[edit]

See also: Voicing (music) § Drop voicings

In standardtuning, the C7 chord has notes on frets 3–8. Covering six frets is difficult, and so C7 is rarely played. Instead, an "alternative voicing" is substituted.
Dominant seventh chord on C guitar open position
Dominant seventh chord on C guitar barre chord
Dominant seventh chord on C, played on guitar in open position About this soundPlay (help·info)and as a barre chord About this soundPlay (help·info).

As previously stated, a dominant seventh is a four-note chord combining a major chord and a minor seventh. For example, the C7 dominant seventh chord adds B♭ to the C-major chord (C,E,G). The naive chord (C,E,G,B♭) spans six frets from fret 3 to fret 8;[50] such seventh chords "contain some pretty serious stretches in the left hand".[47] An illustration shows a naive C7 chord, which would be extremely difficult to play,[50] besides the open-position C7 chord that is conventional in standard tuning.[50][h] The standard-tuning implementation of a C7 chord is a second-inversion C7 drop 2 chord, in which the second highest note in a second inversion of the C7 chord is lowered by an octave.[50][53] Drop-two chords are used for sevenths chords besides the major–minor seventh with dominant function, which are discussed in the section on intermediate chords, below. Drop-two chords are used particularly in jazz guitar. Drop-two second-inversions are examples of openly voiced chords, which are typical of standard tuning and other popular guitar tunings.[i]

"Alternatively voiced" seventh chords are commonly played with standard tuning. A list of fret number configurations for some common chords follows:

  • E7:[020100]
  • G7:[320001]
  • A7:[X02020]
  • B7:[X21202] (This B7 requires no barre, unlike the B major.)
  • D7:[XX0212]

Other chord inversions[edit]

Already in basic guitar playing, inversion is important for sevenths chords in standard tuning. It is also important for playing major chords.

In standard tuning, chord inversion depends on the bass note's string, and so there are three different forms for the inversion of each major chord, depending on the position of the irregular major thirds interval between the G and B strings.

For example, if the note E (the open sixth string) is played over the A minor chord, then the chord would be [0 0 2 2 1 0]. This has the note E as its lowest tone instead of A. It is often written as Am/E, where the letter following the slash indicates the new bass note. However, in popular music it is usual to play inverted chords on the guitar when they are not part of the harmony, since the bass guitar can play the root pitch.

Alternate tunings[edit]

Main article: Guitar tunings § Alternative

Minor, major, and seventh chords (C, D, G) in major-thirds tuning
Chords have consistent shapes everywhere on the fretboard for each regular tuning, for example, major-thirds (M3) tuning.
A C-major chord in four positions.
Chords can be shifted diagonally in regular tunings.

There are many alternate tunings. These change the way chords are played, making some chords easier to play and others harder.

  • Open tunings each allow a chord to be played by strumming the strings when "open", or while fretting no strings.[57][58] Open tunings are common in blues and folk music,[59] and they are used in the playing of slide guitar.[60][61]
  • Drop tunings are common in hard rock and heavy metal music. In drop-D tuning, the standard tuning's E-string is tuned down to a D note. With drop-D tuning, the bottom three strings are tuned to a root–fifth–octave (D–A–D) tuning, which simplifies the playing of power chords.[62][63]
  • Regular tunings allow chord note-forms to be shifted all around the fretboard, on all six strings (unlike standard or other non-regular tunings). Knowing a few note-patterns—for example of the C major, C minor, and C7 chords—enables a guitarist to play all such chords.Sethares (2009, p. 2) "Learn a handful of chord forms in a regular tuning, and you'll know hundreds of chords!"</ref>

Open tunings[edit]

Main article: Open tuning

An open tuning allows a chord to be played by strumming the strings when "open", or while fretting no strings. The base chord consists of at least three notes and may include all the strings or a subset. The tuning is named for the base chord when played open, typically a major triad, and each major triad can be played by barring exactly one fret.[60] Open tunings are common in blues and folk music,[59] and they are used in the playing of slide and lap-slide ("Hawaiian") guitars.[60][61]Ry Cooder uses open tunings when he plays slide guitar.[59]

Open tunings improve the intonation of major chords by reducing the error of third intervals in equal temperaments. For example, in the open-G overtones tuning G–G–D–G–B–D, the (G,B) interval is a major third, and of course each successive pair of notes on the G- and B-strings is also a major third; similarly, the open-string minor-third (B,D) induces minor thirds among all the frets of the B-D strings. The thirds of equal temperament have audible deviations from the thirds of just intonation: Equal temperaments is used in modern music because it facilitates music in all keys, while (on a piano and other instruments) just intonation provided better-sounding major-third intervals for only a subset of keys.[64] "Sonny Landreth, Keith Richards and other open-G masters often lower the second string slightly so the major third is in tune with the overtone series. This adjustment dials out the dissonance, and makes those big one-finger major-chords come alive."[65]

Repetitive open-tunings are used for two non-Spanish classical-guitars. For the English guitar the open chord is C major (C–E–G–C–E–G); for the Russian guitar which has seven strings, G major (G–B–D–G–B–D–G).[67][68][69] Mixing a perfect fourth and a minor third along with a major third, these tunings are on-average major-thirds regular-tunings. While on-average major-thirds tunings are conventional open tunings, properly major-thirds tunings are unconventional open-tunings, because they have augmented triads as their open chords.[70]

Regular tunings[edit]

Main article: Regular tunings

See also: Repetitive tuning

Guitar chords are dramatically simplified by the class of alternative tunings called regular tunings. In each regular tuning, the musical intervals are the same for each pair of consecutive strings. Regular tunings include major-thirds (M3), all-fourths, augmented-fourths, and all-fifths tunings. For each regular tuning, chord patterns may be diagonally shifted down the fretboard, a property that simplifies beginners' learning of chords and that simplifies advanced players' improvisation.[71][72][73] The diagonal shifting of a C major chord in M3 tuning appears in a diagram.

The C major chord (C,E,G) on the bass (4–6) and tenor (1–3) strings of M3 tuning, on frets. The C note and the E note have been raised 3 strings on the same fret.
Major-thirds tuning repeats its notes after three strings.

Further simplifications occur for the regular tunings that are repetitive, that is, which repeat their strings. For example, the E–G♯–c–e–g♯–c' M3 tuning repeats its octave after every two strings. Such repetition further simplifies the learning of chords and improvisation;[72] This repetition results in two copies of the three open-strings' notes, each in a different octave. Similarly, the B–F–B–F–B–F augmented-fourths tuning repeats itself after one string.

The C major chord and its first and second inversions. In the first inversion, the C note has been raised 3 strings on the same fret. In the second inversion, both the C note and the E note have been raised 3 strings on the same fret.
In major-thirds tuning, chords are inverted by raising notes by three strings on the same frets. The inversions of a C major chord are shown.[75]

A chord is inverted when the bass note is not the root note. Chord inversion is especially simple in M3 tuning. Chords are inverted simply by raising one or two notes by three strings; each raised note is played with the same finger as the original note. Inverted major and minor chords can be played on two frets in M3 tuning.[75][76] In standard tuning, the shape of inversions depends on the involvement of the irregular major third, and can involve four frets.[77]

It is a challenge to adapt conventional guitar chords to new standard tuning, which is based on all-fifths tuning.[j]

Intermediate chords[edit]

After major and minor triads are learned, intermediate guitarists play seventh chords.

Tertian harmonization[edit]

Stacking of third intervals

The fundamental guitar-chords—major and minor triads and dominant sevenths—are tertian chords, which concatenate third intervals, with each such third being either major (M3) or minor (m3).

More triads: diminished and augmented[edit]

As discussed above, major and minor triads are constructed by stacking thirds:

  • The major triad concatenates (M3,m3), supplementing M3 with a perfect-fifth (P5) interval, and
  • the minor triad concatenates (m3, M3), supplementing m3 with a P5 interval.

Similar tertian harmonization yields the remaining two triads:

More sevenths: major, minor, and (half-)diminished[edit]

Stacking thirds also constructs the most used seventh-chords. The most important seventh-chords concatenate a major triad with a third interval, supplementing it with a seventh interval:

  1. The (dominant) major-minor seventh concatenates a major triad with another minor third, supplementing it with a minor-seventh interval.
  2. The major seventh concatenates a major triad with a major third, supplementing it with a major-seventh interval.
  3. The minor seventh concatenates a minor triad with a minor third, supplementing it with a minor-seventh interval.
  4. The half-diminished seventh concatenates a diminished triad with a major third, supplementing it with a diminished-seventh interval.
  5. The (fully) diminished seventh concatenates a diminished triad with a minor third, supplementing it with a diminished-seventh interval.[79]

Four of these five seventh-chords—all but the diminished seventh—are constructed via the tertian harmonization of a major scale.[80] As already stated,

  1. The major-minor seventh has the dominant V7 function.
  2. The major seventh plays the tonic (I7) and subdominant (IV7) roles;
  3. The minor seventh plays the ii7, iii7, and vi7 roles.
  4. The half-diminished seventh plays the viiø7 role.

While absent from the tertian harmonization of the major scale,

Besides these five types there are many more seventh-chords, which are less used in the tonal harmony of the common-practice period.[79]

When playing seventh chords, guitarists often play only subset of notes from the chord. The fifth is often omitted. When a guitar is accompanied by a bass, the guitarist may omit the bass note from a chord. As discussed earlier, the third of a triad is doubled to emphasize its major or minor quality; similarly, the third of a seventh is doubled to emphasize its major or minor quality. The most frequent seventh is the dominant seventh; the minor, half-diminished, and major sevenths are also popular.[81]

Chord progression: circle of fifths[edit]

Sevenths chords arising in the tertian harmonization of the C-major scale, arranged by the circle of perfect fifths (perfect fourths). Fretboard diagrams for major-thirds tuning are shown. About this soundFifthsC.mid (help·info)

The previously discussed I–IV–V chord progressions of major triads is a subsequence of the circle progression, which ascends by perfect fourths and descends by perfect fifths: Perfect fifths and perfect fourths are inverse intervals, because one reaches the same pitch class by either ascending by a perfect fourth (five semitones) or descending by a perfect fifth (seven semitones). For example, the jazz standard "Autumn Leaves" contains the iv7–VII7–VIM7–iiø7–i circle-of-fifths chord progression;[82] its sevenths occur in the tertian harmonization in sevenths of the minor scale. Other subsequences of the fifths-circle chord progression are used in music. In particular, the ii–V–I progression is the most important chord progression in jazz music.

Chord chart guide for major inversions[edit]

Major inversions for guitar in standard tuning. The low E is on the left. The A demonstrates three of the different movable shapes.

  • A: [XXX655] | A: [XXX9(10)9] | A: [XXX220]
  • B: [XXX442]
  • C: [XXX553]
  • D: [XXX775]
  • E: [XXX997]
  • F: [XXX211]
  • G: [XXX433] [84]

Specific tunings[edit]

Standard tuning: minor and major sevenths[edit]

Guitar - Dm7 chord.png

Besides the dominant seventh chords discussed above, other seventh chords—especially minor seventh chords and major seventh chords—are used in guitar music.

Minor seventh chords have the following fingerings in standard tuning:

  • Dm7: [XX0211]
  • Em7: [020000]
  • Am7: [X02010]
  • Bm7: [X20202]
  • F♯m7: [202220] or ([XX2222] Also an A/F♯ Chord)

Major seventh chords have the following fingerings in standard tuning:

  • Cmaj7: [X32000]
  • Dmaj7: [XX0222]
  • Emaj7: [021100]
  • Fmaj7: [103210]
  • Gmaj7: [320002]
  • Amaj7: [X02120]

Major-thirds tuning[edit]

In major-thirds (M3) tuning, the chromatic scale is arranged on three consecutive strings in four consecutive frets.[85][86] This four-fret arrangement facilitates the left-hand technique for classical (Spanish) guitar:[86] For each hand position of four frets, the hand is stationary and the fingers move, each finger being responsible for exactly one fret.[87] Consequently, three hand positions (covering frets 1–4, 5–8, and 9–12) partition the fingerboard of classical guitar,[88] which has exactly 12 frets.[k]

Only two or three frets are needed for the guitar chords—major, minor, and dominant sevenths—which are emphasized in introductions to guitar-playing and to the fundamentals of music.[91] Each major and minor chord can be played on exactly two successive frets on exactly three successive strings, and therefore each needs only two fingers. Other chords—seconds, fourths, sevenths, and ninths—are played on only three successive frets.[93]

Advanced chords and harmony[edit]

Sequences of thirds and seconds[edit]

The circle of fifths was discussed in the section on intermediate guitar chords. Other progressions are also based on sequences of third intervals;[94] progressions are occasionally based on sequences of second intervals.

Extended chords[edit]

As their categorical name suggests, extended chords indeed extend seventh chords by stacking one or more additional third-intervals, successively constructing ninth, eleventh, and finally thirteenth chords; thirteenth chords contain all seven notes of the diatonic scale. In closed position, extended chords contain dissonant intervals or may sound supersaturated, particularly thirteenth chords with their seven notes. Consequently, extended chords are often played with the omission of one or more tones, especially the fifth and often the third,[96][97] as already noted for seventh chords; similarly, eleventh chords often omit the ninth, and thirteenth chords the ninth or eleventh. Often, the third is raised an octave, mimicking its position in the root's sequence of harmonics.[96]

Dominant ninth chords were used by Beethoven, and eleventh chords appeared in Impressionist music. Thirteenth chords appeared in the twentieth century.[98]Extended chords appear in many musical genres, including jazz, funk, rhythm and blues, and progressive rock.[97]

Chord guide for major and minor 9 chords[edit]

(Standard tuning, read from left to right, low E to high e)

Major 9

  • AM9: [XX7454]
  • BbM9: [XX8565]
  • BM9: [XX9676]
  • CM9: [XX(10)787]
  • C#M9: [XX(11)898]
  • DM9: [XX0220]
  • EM9: [099800]
  • FM9: [XX3010]
  • GM9: [XX5232]

Minor 9

  • Am9: [575557]
  • Bm9: [797779]
  • Cm9: [X3133X]
  • Dm9: [X5355X]
  • Em9: [X7577X]
  • Fm9: [X8688X]
  • Gm9: [353335] [99]

Alternative harmonies[edit]

Scales and modes[edit]

Conventional music uses diatonic harmony, the major and minor keys and major and minor scales, as sketched above. Jazz guitarists must be fluent with jazz chords and also with many scales and modes; "of all the forms of music, jazz ... demands the highest level of musicianship—in terms of both theory and technique".[100]

Whole tone scales were used by King Crimson for the title track on its Red album of 1974;[101] whole tone scales were also used by King Crimson guitarist Robert Fripp on "Fractured".[101]

Beyond tertian harmony[edit]

Disliking the sound of thirds (in equal-temperament tuning), Robert Fripp builds chords with perfect intervals in his new standard tuning.

In popular music, chords are often extended also with added tones, especially added sixths.

Quartal and quintal harmony[edit]

Chords are also systematically constructed by stacking not only thirds but also fourths and fifths, supplementing tertian major–minor harmony with quartal and quintal harmonies. Quartal and quintal harmonies are used by guitarists who play jazz, folk, and rock music.

Quartal harmony has been used in jazz by guitarists such as Jim Hall (especially on Sonny Rollins's The Bridge), George Benson ("Skydive"), Kenny Burrell ("So What"), and Wes Montgomery ("Little Sunflower").

Harmonies based on fourths and fifths also appear in folk guitar. On her 1968 debut album Song to a Seagull, Joni Mitchell used both quartal and quintal harmony in "Dawntreader", and she used quintal harmony in "Seagull".[105]

Quartal and quintal harmonies also appear in alternate tunings. It is easier to finger the chords that are based on perfect fifths in new standard tuning than in standard tuning. New standard tuning was invented by Robert Fripp, a guitarist for King Crimson. Preferring to base chords on perfect intervals—especially octaves, fifths, and fourths—Fripp often avoids minor thirds and especially major thirds,[106] which are sharp in equal temperament tuning (in comparison to thirds in just intonation).

Alternative harmonies can also be generated by stacking second intervals (major or minor).

See also[edit]

References[edit]

[edit]

  1. ^An octave is the interval between one musical pitch and another with double (or half) its frequency.
  2. ^This sequence of fifths features the diminished fifth (b,f), which replaces the perfect fifth (b,f♯) containing the chromatic note f♯, which is not a member of the C-majorkey. The note f (of the C-major scale) is replaced by the note f♯ in the Lydian chromatic scale.
  3. ^Perfect fifths have been emphasized since the chants and hymns of medieval Christendom, according to the medieval musical-theory called the organum.
  4. ^Denyer (1992) and Schmid & Kolb (2002) each list the same fifteen chords for beginners: Am, A, A7; B7; C, C7; Dm, D, D7; Em, E, E7; F; G, G7.[11]
  5. ^ abcdefThis chord does not appear among the fifteen basic-chords listed independently by Denyer and by Schmid and Kolb: Am, A, A7; B7; C, C7; Dm, D, D7; Em, E, E7; F; G, G7.[11]
  6. ^ abcRoman numeral analysis.
  7. ^The harmony of major chords has dominated music since the Baroque era (17th and 18th centuries). The Baroque period also introduced the dominant seventh.
  8. ^The alternative voicing of the C7 chord follows the first seventh-chord diagram of (Denyer 1992).
  9. ^Closed voicings, which are typical of minor-thirds tuning, are typical also of a keyboard or piano.
  10. ^Musicologist Eric Tamm wrote that despite "considerable effort and search I just could not find a good set of chords whose sound I liked" for rhythm guitar.
  11. ^Classical guitars have 12 frets, while steel-string acoustics have 14 or more. Electrical guitars have more frets, for example 20.

Citations[edit]

  1. ^ abcdeDenyer (1992, "The advanced guitarist; Power chords and fret tapping: Power chords", p. 156)
Sours: https://en.wikipedia.org/wiki/Guitar_chord
ALL OF ME - John Legend (Easy Chords and Lyrics)

50 guitar chords you need to know

If you could choose a guitar playing superpower what would you choose? Pooling the guitar world, there would be some very different answers. Some players will want to master crosspicking inside and out. Others have ambitions of sweeping and tapping their way to the top of Shred Mountain.

But what if your superpower was to know and instantly recall every chord shape and voicing? Now, that would be something. 

Spoiler: we can't get you that. Not yet, anyway, but here, Total Guitar has compiled a comprehensive list (50 all in), of the chords that every guitarist should know.

It doesn't matter if you play acoustic guitar or electric, because these can work in all kinds of contexts, and consigning them to memory may well unlock new possibilities in your songwriting (there are even a couple of voicings for seven-string and eight-string guitars in here, too).

So dig out the guitar and let's get to work. We'll start out with the basics…

1-10

1. F (Basic Barre Chord)

Barre chords are tough to play at first. Many players find it takes a few weeks to develop the strength to press down on the strings and play cleanly. Still, this ‘E-shape’ F barre chord is an essential voicing, so start your journey here and make sure to try playing the shape in other fretboard positions too.

2. C (Fingerstyle Friendly)

You surely know the open C chord, right? Well, with the simple addition of a high G note you’ll transform the basic C into a staple fingerstyle shape. From Ralph McTell to John Smith, it’s a shape employed by almost every fingerpicker around.


3. C/G

With a fingerstyle friendly C shape under your belt you’ll ‘get’ the reasoning behind this chord. A simple move of your third finger opens up the opportunity to play alternating basslines – just swap between the two 3rd fret notes on the low strings. Johnny Cash strums out a cool bassline in The Man Comes Around.


4. F5 (aka the powerchord)

Possibly the most commonly used chord in all of rock guitar, the 5 chord is generally known as a ‘powerchord’ thanks to its chunky, solid sound. Crank up the gain on your amp and power away to your heart’s content. Just remember to keep the top strings (marked X) muted.


5. F5 (Drop D powerchord)

Lower your sixth string down a tone (two frets) to produce the drop D tuning. And what a tuning it is! This easy, hard rocking powerchord shape can be played with just one finger and easily moved around the fretboard. Soundgarden’s Outshined is a classic example.


6. Csus2 (in Drop D)

Sus what? Well, it’s short for suspended but don’t worry too much about that. Dial in a distorted tone and this chord can sound epic in a post-grunge Foo Fighters meets Alter Bridge way. It’s a contemporary sounding variation on the basic powerchord.


7. D5 (extended)

This extended version of the basic powerchord covers a full two octaves on the fretboard. What’s the big deal about that? You’ll get a bigger, fatter sound and, let’s face it, that’s often the point with powerchords.


8. E5/B

Another powerchord now as we look at the mother of them all. This voicing is played across all six guitar strings giving you the biggest, fattest sound possible from the humble 5 chord. It’s played as an inversion, which just means the root note isn’t the lowest note you’ll play.


9. A5/E

Power McPowerchordface? Yes, the well of powerchord puns has run dry here at TG Towers, but you should still take a look at one last 5 chord, this time covering five strings. Remember, with all of these extended powerchords, you can just play two or three adjacent strings; mapping them out in full just gives you more options to explore.


10. Bm7

We love this chord. Admittedly it can be tough to manage the third finger barre but it’s no harder to play than, say, a conventional E-shape barre chord. In fact, this is essentially the same as said barre chord, just without the first or fifth strings. Try it in jazz or light blues progressions.


11-20

11. Bm6

This minor 6th shape is great for an instant Django Reinhardt or Biréli Lagrène-style gypsy jazz sound. Alternate between a bass note and the upper notes of the chord with your pick for an authentic ‘la pompe’ groove.


12. B13

Ideal for jazz-blues, gypsy jazz or even funk, this 13th chord is a bit of a finger twister but it sure is versatile. Still struggling to play it? Try leaving out the first string. No one will notice!


13. F#m7

The opening seconds of Oasis’ biggest hit turned this otherwise basic Em7 shape into a full-on ear worm. There’s a capo on the 2nd fret, of course – so the actual pitch is F#. You can’t really play it as a standard barre chord so the capo is vital.


14. A/C#

Bob Marley’s P-90-fuelled reggae-style skank grooves boil down to some very simple chord shapes often played on only three strings. This shape is the top three strings of an ‘E-shape’ barre chord. In 5th position it’s  an A chord and C# is the lowest note. Play staccato for true Marley feel.


15. G

Played famously by Paul McCartney on The Fab Four’s Blackbird, this shape can easily be moved around the fretboard. The open third string comes in and out of tune as you move the shape, creating harmony and dissonance – so it’s worth experimenting to find the sweeter-sounding positions.


16. Em

Another shape from The Beatles’ Blackbird, this time played as a minor chord. Contemporary pop rocker James Bay has also taken these shapes to heart. Hold Back The River uses both of McCartney’s chord shapes.


17. Badd11

Whenever we hear this chord we think of No Excuses by Alice In Chains. Just slide in from two frets below to outline the intro. This is a versatile shape that you can move all around the fretboard. Avoid the more dissonant sounding 9th and 11th positions though.


18. F#7add11

Just to hammer home the point, here’s the No Excuses chord again, but played down in 2nd position where there’s a different flavour all together thanks to the open-string intervals. You can also hear it in action as the opening chord to Hemispheres by Rush.


19. Bsus4

Pete Townshend’s strumming tour de force on The Who’s classic rock opera track Pinball Wizard kicks off with this sus chord. Hook your thumb over the back of the neck to fret the sixth string and aim to keep the fifth string muted out.


20. Cadd9

If you’re after a bright, happy folk or acoustic rock vibe then this is the chord for you. It sounds great on acoustic guitar or with a clean electric tone. Mix in open G and Dsus4 chords for a cool upbeat progression.


21-30

21. E7sus4

This might seem like an unassuming barre chord. Nothing special, surely? Well, in the hands of disco rhythm guitar great Nile Rodgers this is one of the genre’s great chords, found amidst the riff in Chic’s Good Times. For a true Nile vibe, strum only two or three strings at a time.


22. A6

Another chord from Good Times, this shape also sounds great played fingerstyle in country and rockabilly styles. The 7th fret F# note on the second string is the all-important 6th interval giving the chord its trademark sound.


23. D6/9

Strum this with a steady stream of 16ths and you’ll instantly be in Prince territory. As the opening chord from Kiss, this shape is arguably part of the Purple One’s greatest and most memorable guitar moments.


24. Daug

A highly recognisable shape to fans of rock ’n’ roll pioneer Chuck Berry, this shape kicks off the classic No Particular Place To Go. Also try using it in place of a standard D7 shape in a blues progression – the augmented chord has even tension than a dominant 7th.


25. Badd9 (seven-string)

When six strings just isn’t enough you’ve just got to have, er, seven strings, right? Honestly, there’s a world of new shapes to try out if you want to play seven-string guitar and this one covers a full three octaves.


26. F#madd9 (eight-string)

With eight-string guitars now available at under £200, it’d be remiss of us to forget fans of the bottom-end! Just like our seven-string chord, this one covers three octaves. Try and do that on a standard six-string!


27. G/B

Played on its own this chord sounds a bit odd – like an open G with a bit missing perhaps. It comes into its own as a passing chord. Play it in between open C and Am chords and you’ll hear the descending run of notes from C to B and to A. Clever stuff!


28. D/F#

Another shape that sounds great as a passing chord, you can hear D/F# in REM’s Everybody Hurts between the G and Em chords. Instead of a straight change from G to Em you get a smooth sound as the bassline goes via F#.


29. Cdim7

The last of our passing chords, the diminished 7th chord is oft-heard as a chromatic move in jazz and blues. Chromatic? Well, that just means you’ll be moving one fret at a time. For example, Cdim7 might be found between B7 and C#7, or between Bmaj7 and C#m7. B, C, C# are all one fret apart, hence it’s called Chromatic. Simple!


30. EmMaj9

Okay, we admit it, this is a weird-sounding chord with little to no practical use – its jarring, dissonant sound makes it usable for only the most hardened jazzer! Oh, but it is Vic Flick’s signature closing chord from the James Bond theme!


31-40

31. G#m7b5

This is another unusual chord, but it’s worth learning. Despite the tension in its sound it’s a diatonic chord – that means it can be played ‘in key’ with no altered or chromatic notes to worry about. G#m7b5 comes from A major so try using it among other chords from the key, A, Bm, D or E for example.


32. E7#9

Sours: https://www.guitarworld.com/lessons/50-guitar-chords-you-need-to-know

Guitar chord a

Guitar Chords Chart



Guitar Chord: A Major

Key

x = don't play string
o = play open string
If the same fingering appears for more than one string, place the finger flat on the fingerboard as a 'bar', so all the strings can sound.

See also the A Piano Chord

Examples of use
In major keys, major chords are found on the I, IV and V (1st, 4th and 5th) degrees of the scale.
In A major, that means A, D and E. These three chords form the basis of a huge number of popular songs.

In a minor key, a major chord is found on the III, V and VI (3rd, 5th and 6th) degrees of the scale.
For example, in D minor, there are major chords on F, Bb and A







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Sours: https://www.8notes.com/guitar_chord_chart/A.asp
Tuning a Guitar - Standard tuning for 6 string guitar

8 Basic Guitar Chords You Need to Learn

A Major

The A major chord (often referred to as an A chord) can give new guitarists trouble because all three fingers need to fit on the second fret on adjacent strings. Be sure the open first string is ringing clearly by curling your third (ring) finger.

In all chord examples, the small gray numbers on the accompanying diagrams illustrate which fingers on your fretting hand should be used to play each note.

C Major

The C major chord (also known as the C chord) is often the first chord guitarists learn. The fingering is fairly straightforward—the key is to concentrate on curling your first finger​ so that the first string rings open properly.

D Major

The D major chord is another extremely common beginner guitar chord, one that shouldn't give you too much trouble. Don't forget to curl your third finger on the second string or the first string won't ring properly. Also, be sure only to strum the top four strings, avoiding the open sixth and fifth strings.

E Major

Another chord you come across every day, the E major chord is fairly straightforward to play. Make sure your first finger (holding down the first fret on the third string) is properly curled or the open second string won't ring properly. Strum all six strings. There are situations when it makes sense to reverse your second and third fingers when playing the E major chord. 

G Major

As with most chords in this list, a clear G major chord depends on curling your first finger so the open fourth string rings clearly. Strum all six strings. Sometimes, it makes sense to play a G major chord using your third finger on the sixth string, your second finger on the fifth string, and your fourth (pinky) finger on the first string. This fingering makes the move to a C major chord much easier.

A Minor

If you know how to play an E major chord, then you know how to play an A minor chord—just move the chord whole shape over a string. Make sure your first finger is curled, so the open first string rings clearly. Avoid playing the open sixth string when strumming the A minor chord. There are situations when it makes sense to reverse your second and third fingers when playing the A minor chord.

D Minor

The D minor is another fairly simple chord, yet many beginner guitarists have some trouble with it. Watch your third finger on the second string; if it isn't curled properly, the first string won't ring. Be sure to play only the top four strings when strumming a D minor chord.

E Minor

The E minor chord is one of the simplest to play because you only use two fingers Take extra care not to allow either of them to touch any of the open strings, or the chord won't ring properly. Strum all six strings. In certain situations, it may make sense to reverse your finger position so that your second finger is on the fifth string, and your third finger is on the fourth string.

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Sours: https://www.liveabout.com/basic-guitar-chords-1712053

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What Is a Chord?

Chords are the very foundation of guitar playing. When you’re new to guitar and you don’t know much about playing music yet, one of the very first things you learn is how to play simple chords.

What Is a chord?

At its simplest, a chord is a combination of three or more different notes sounded together. That’s it. Knowing even a few chords will take you a long way. Indeed, the great U.S. songwriter Harlan Howard was famous for his oft-quoted contention that country music consisted only of “three chords and the truth,” a sentiment later appropriated by U2 in a cover of “All Along the Watchtower”.

If you like guitar and you stick with, you’ll learn more than three chords. You’ll learn a whole other musical language that deals with chords. Then you’ll learn fancier chords with more elaborate names, and if you’re paying attention, you might even grow to understand why all these chords are “built” the way they are and named what they’re named. Chords are pretty simple at their most basic level—especially on guitar—although they can certainly get more complex as your ability and understanding progress.

Chords vs. Intervals vs. Triads

Always remember, chords consist of 3 different notes.

Two notes sounded together is called an interval rather than a chord. In turn, a chord is further defined as a group of specific intervals. So if you hit an E chord and a B chord at the same time, that’s technically not a chord, no matter how many Black Sabbath albums you own.

Three of the same is not a chord either. If you hit three notes but they're all F#, that’s not really a chord either. The three notes must be three different notes at specific intervals.

Basic three-note chords are called triads. The notes in these chords are usually related to each other in prescribed ways having to do with scales (a whole other ballgame) and a sort of musical mathematics, but don’t let that scare you. Suffice to say for now that the three notes in a basic chord (triad) agree with each other according to a specific formula.

If you look at some basic open guitar chords (chords in which open strings are used), you’ll see this triad idea at work even though you’re strumming all six strings. When hitting a simple open G chord (Fig.1), for example, notice that it’s built using only three notes—three Gs, two Bs and a D. An open A chord (Fig. 2) consists of two As, three Es and a C#. An open C chord (Fig. 3) is nothing but two Cs, three Es and a G.

If you'd like to learn how to play even more chords, browse Fender Play's chord hub, learn about chord types, and find tips on how to master them.

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Sours: https://www.fender.com/articles/tech-talk/what-is-a-chord


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