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E1DD6727-6378-49C3-8346-A4A9026F358E
CHORDS
GUITAR
E1DD6727-6378-49C3-8346-A4A9026F358E
PAUL ROLAND
CHORDS
GUITAR
Arcturus Publishing Limited
26/27 Bickels Yard
151–153 Bermondsey Street
London SE1 3HA
Published in association with

foulsham
W. Foulsham & Co. Ltd,
The Publishing House, Bennetts Close, Cippenham,
Slough, Berkshire SL1 5AP, England
ISBN: 978-0-572-03375-0
This edition printed in 2007

Copyright © 2007 Arcturus Publishing Limited
All rights reserved
The Copyright Act prohibits (subject to certain very limited

exceptions) the making of copies of any copyright work or of a
substantial part of such a work, including the making of copies by
photocopying or similar process. Written permission to make a copy
or copies must therefore normally be obtained from the publisher in
advance. It is advisable also to consult the publisher if in any doubt
as to the legality of any copying which is to be undertaken.
British Library Cataloguing-in-Publication Data: a catalogue

record for this book is available from the British Library
Author: Paul Roland

Chord illustrations: David Woodroffe
Design: Ray Rich
Picture Credits: Shutterstock 6, 10, 15, 22, 25, 30
Printed in China
E1DD6727-6378-49C3-8346-A4A9026F358E
Contents
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
All About Chords

What Chords are and Why You Need to Learn Them. . . . . . 12
Chord Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Reading a Chord Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Creating Chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Songwriting Secrets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
The Capo – the Guitarist’s Short-Cut . . . . . . . . . . . . . . . . . . 21
Playing Tips and Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Chord Directory
Major Chords. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Major Triads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Major Chords: First Inversions . . . . . . . . . . . . . . . . . . . . . . 41
Major Chords: Second Inversions . . . . . . . . . . . . . . . . . . . . 50
Minor Chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Minor Chords: First Inversions . . . . . . . . . . . . . . . . . . . . . . 64
Minor Chords: Second Inversions. . . . . . . . . . . . . . . . . . . . 70
Basic Barre Chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Augmented Chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Diminished Chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Suspended Chords. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
5th/Power Chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Major 6th Chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Minor 6th Chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
Major 7th Chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
7th Chords. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
Minor 7th Chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
Minor/Major 7th Chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
Diminished 7th Chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
9th Chords. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167
Major 9th Chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
Minor 9th Chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201
Add 9th Chords. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210
Major 11th Chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223
Minor 11th Chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236
Moveable Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
Final Word . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256

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Introduction
opular music in all its myriad forms has developed
P at a remarkable pace since its first primal scream

was heard in the 1950s. But although the music
has become increasingly sophisticated and diverse, the
advent of digital technology has ensured that the means of
creating it now lies within the reach and the budget of
every aspiring songwriter and musician. Nowadays, artists
of varying abilities can compose, perform and record in
their own home using a personal computer and few, if any,
‘real’ instruments. It is no longer necessary for a singer-
songwriter or composer to be able to read music, to
master an instrument, to form a group, or even to secure
a recording contract. Everything can now be created in a
desktop ‘virtual studio’, with sampled sounds from a digital
keyboard replicating any instrument the amateur producer
chooses. It is even feasible to market the finished
recording on-line without a single CD being pressed.
However, despite all these technological advances, the
guitar remains the instrument of choice for many
songwriters and non-classical musicians alike, because the
basics are comparatively simple to master. You don’t even
have to read a note of music as chords can be learnt by
referring to diagrams which show you precisely where to
place your fingers on the fretboard. Once you have learnt
your first three chords, you can start writing your own
songs or play some of those written by your favourite
artists. And with every new chord you acquire, your
musical vocabulary increases dramatically.
This makes the guitar the ideal instrument for the
impatient, aspiring rock star or for the songwriter who
wants to make his or her first album while they are still
E1DD6727-6378-49C3-8346-A4A9026F358E
7
Guitar Chords
the right side of 20. But it also fulfils the requirements of

those who have limited leisure time and want to spend it
making music rather than mastering their technique or
practising scales. As long as you can hold down the
strings at the frets indicated by the diagrams, you will be
able to produce a perfectly acceptable sound. Moreover,
the quality of the sound you produce is all down to you;
it is literally at your fingertips. Unlike the ubiquitous
keyboard, it is the guitarist who creates the sound – not
a box of electronic circuitry – by using a number of
simple techniques to determine pitch and tone, the rate
of vibrato, attack and the subtle colouring of the notes
and chords. And if you happen to be an electric guitarist,
there is the added buzz you’ll get from cranking up your
amp and holding down a power chord, riding on a riff or
soaring on a solo layered with feedback and tasteful
distortion. Why be content with an air guitar when you
can have the real thing?
So, whether you are a beginner or already familiar
with the fretboard, where do you go from here?
The answer is in your hand. Guitar Chords is much
more than a standard catalogue of chord shapes.
Traditional chord dictionaries can overwhelm even the
most ambitious guitarist with countless ways to play up
to 2,000 chords, most of which even the greatest
guitarists will never need, whereas Guitar Chords
presents every chord you could find useful, in the order
you will need to learn them. In addition to a
comprehensive chord dictionary, featuring over 400
two-colour diagrams of the essential chords with
alternate finger placements, there are brief explanations
of when and how to use these chords for best effect.
Different fingerings give a distinctive voicing, which adds
a specific quality to the music. For example, major 6ths
evoke early 1960s pop simply because they were
favoured by the Beatles, whereas the awkwardly-named
category of chords known as add 9ths have become a
cliché of American ‘soft rock’. As a rough rule of thumb,
E1DD6727-6378-49C3-8346-A4A9026F358E
8
Introduction
the more complex the chord, the more sophisticated

and subtle the sound palette will be. This means that
such ‘advanced’ chords could be an asset to the jazz
guitarist, but are likely to be superfluous to the
requirements of a folk, rock or rhythm guitar player. A
beginner on acoustic guitar will find basic triads easier
to play and learn by heart, while the budding rock
guitarist will need to learn power chords from day one,
as open chords and full barre chords sound too muddy
when played on electric guitar.
So although you may feel that you only need to
familiarize yourself with the chords in the first half of this
book, you may discover that exploring the other sections
expands both your musical understanding and also your
musical vocabulary.
Whatever your style of music, Guitar Chords will help
you find the right chord and explain why it sounds the
way it does, making it ideal for the solo performer,
rhythm guitarist and songwriter alike.
Here are all the chords you’ll ever need…and more!
Author’s Note: For practical purposes it is

assumed that all readers will be using a right-
handed guitar. Anyone playing a left-handed
guitar will need to make the appropriate
substitutions such as muting the strings with
the palm of the left hand. They will also
need to transpose the finger positions and the
strings so they read right to left instead of left to
right – the strings on a left-handed guitar are top E,
B, G, D, A and bottom E.
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E1DD6727-6378-49C3-8346-A4A9026F358E
Chords
All About
11
What Chords Are
and Why You Need
to Learn Them
hords are the building blocks of music. They
C are the foundation on which a melody can

ride, rising and falling with the harmonic
changes that support it.
The chord itself is simply a group of notes which is
related harmonically, providing an accompaniment for a
melody line played on another instrument or sung by a
vocalist. The notes of a chord can be strummed in one
flowing stroke of the strings so that they blend together
to produce a harmonic block, or they can be picked
individually in a rhythmic pattern. Occasionally, they might
be played as an arpeggio (that is, one after the other, as if
checking the tuning of each string in turn), as in ‘Behind
Blue Eyes’ by The Who and ‘House of the Rising Sun’
by The Animals.
The basic major and minor chords consist of notes
which sound ‘right’ because they are related to each
other, but if you only played these, you would be
limiting your musical vocabulary considerably. Songs
which keep to the safety and security of ‘straight’ major
and minor chords tend to sound predictable. So it is
well worth experimenting with those chords which add
‘odd’ notes (such as 7ths and 9ths) and those which
restructure the sequence of notes in the chord to put
the emphasis on a note other than the root (these
chords are known as inversions). And then there is the
group of chords which produce a sense of expectation
or strangeness (such as augmented and suspended
E1DD6727-6378-49C3-8346-A4A9026F358E
12
What Chords Are and Why You Need to Learn Them
chords) which can make a song or instrumental

sequence much more interesting. The trick, of course, is
knowing where and when to introduce these so that
they are not overused or inserted merely to impress.
In addition, there are chords which lend themselves to
the particular needs of the player, such as the simplified
versions (known as triads which omit the bass notes but
sound thinner as a result) and barre chords for which
you only need to learn one particular ‘shape’ (the fixed
position of the fingers on the frets). By moving that shape
up the fretboard, you can alter the pitch to create eleven
other chords. An E major, for example, can be raised one
tone to create an F major chord if the same shape is
played with the index finger holding down all the strings
across the first fret. The same E major shape played a
tone higher up with the index finger flat across the third
fret will give G major, and so on. For more detail, see
Barre Chords on page 76.
So the more chord shapes you learn, the more
options you will have when you want to change from
one chord to another. You won’t be forced to use the
shape that is related to the chord you have just played.
You could move from a triad to a barre, for example, or
any version of the next chord which you find easiest to
play in the split second you have between changes. If you
are playing a fast sequence, you won’t want an awkward
pause while you adjust your fingers to form the next
shape. The more versions of a chord you know, the more
options you will have for ensuring fluid changeovers
when working out a chord sequence, more commonly
known as a progression.
If you are learning the guitar to write your own
songs, then you can learn as many or as few chords as
you decide are necessary. The late Marc Bolan had a
minor early hit with a song that used only one chord
(‘Desdemona’) and several of his greatest hits used no
more than three, while John Lennon single-handedly
ushered in the psychedelic era when he wrote the
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13
Guitar Chords
influential ‘Tomorrow Never Knows’ using just one

hypnotic chord. But it takes a special intuitive talent to
transcend such limitations and eventually even the most
inventive songwriters will run out of variations if they
have limited material to work with.
If, on the other hand, you are intending to perform
songs by other artists, you will need to familiarize yourself
with as many chords as you can, since it is not always
possible to substitute a chord you can play for the one
specified by the songwriter. Chords have distinctive
qualities and you risk diluting the personality of the song if
you use a basic chord in place of one chosen by the
original artist for its special character. Bear in mind,
though, that the subtle colouring of certain chords can be
lost if other musicians are playing basic chords to
accompany you, so they might not be worth struggling
with when an easier chord is an option. Alternatively, you
could give the ‘difficult’ note(s) to another instrument and
simply support them with the basic chord. The effect will
be the same. These short cuts and tricks of the trade
come with experience.
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14
Chord Names
or those unfamiliar with musical theory it is
F important to know that several chords have more

than one name. These are the chords between A
and B, C and D, D and E, F and G, G and A. They are
denoted as either sharps ( ) or flats ( ) to show that they
are in a semitone position, literally a step between one
chord and the next on the ascending scale. In fact, only
the alternative names need to be memorized, as the
chord shapes are the same. A is the same chord as B ,
B is the same chord as C and so on. The only
exceptions are between B and C, and E and F as there is
no semitone between these chords. The next chord after
B is C, and the next chord after E is F.
It is easier to understand the reason for this when you
know that seven of the twelve notes in the traditional
‘Western’ musical scale correspond to the white notes on
the piano keyboard while the semitones (sharps and flats)
correspond to the five black notes (see illustration below).
C /D D /E F /G G /A A /B
C D E F G AB
NOTES OF THE SCALE (ONE OCTAVE)
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Reading a Chord
Diagram
elow are two sample chord diagrams, the first is
B
X
for D major played as a triad and the second is a
typical barre chord, A major.
X O
1 2
3 D
D A D F
5 1 1
2
A Major 3 4
A E A C E A
E1DD6727-6378-49C3-8346-A4A9026F358E
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Reading a Chord Diagram
The letters at the bottom of each box indicate the

notes in the chord. The strings of the guitar are
represented by the six vertical lines with bottom E (the
thickest string) to the far left and top E (the thinnest) at
the far right. When played ‘open’, the six strings produce
the notes E-A-D-G-B-E. The horizontal white lines are
the frets. To produce a single note or a chord cleanly you
need to position your fingers between the frets and press
down firmly. If your fingers touch the frets you’ll get an
unwanted buzz or a dead note. Beginners usually find this
the hardest part of guitar playing. It takes a few weeks of
regular playing to harden the skin at the fingertips so that
you can hold down a chord without discomfort.
The white line at the top of the first diagram
represents the nut at the top of the neck, but in the
second diagram the nut is not shown as this barre chord
is played higher up the fingerboard on the fifth fret
(which is indicated by the number 5 at the top left).
The numbers shown in the circles on the strings
indicate which fingers should be used. If a ‘T’ is shown on
a bass string it means that this note is to be played with
the thumb.
Finally, the letters ‘X’ and ‘O’ above the nut show
whether a string is to be struck i.e. played ‘open’ (O) or
not (X). If a string that should not be played is struck, the
extra note will produce a jarring effect or discord. To
prevent an unwanted string from sounding, mute it with
the adjacent finger. This might feel awkward at first, but
after a few weeks of regular practice you will do it
automatically. If the bottom E string needs to be muted,
you can use your thumb. If you come across a chord
diagram indicating that more than one string is to be
muted (such as a G diminished), it is likely that this chord
was intended to be picked rather than strummed, with
the thumb plucking the bottom string(s). If you need to
strum this type of chord, the first finger will need to arch
over the higher strings to mute the two unwanted strings.
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Creating Chords
he simplest chords are called triads because
T they use just three notes. These are the root

note, which gives the chord its name and
establishes where it features on the scale; the third, which
determines whether the chord will be major or minor,
and the fifth which reinforces its character. The C major
chord therefore comprises the notes C, E and G (these
being the root, the third and the fifth notes in the scale of
C), whereas all minor chords simply flatten the third to
produce a characteristically ‘sad’ sound (for example C
minor comprises the notes C, E and G).
These triads are the basis of all chords, but as already
noted, a triad can sound thin, so other shapes are used
when a fuller sound is required. This is achieved by
doubling or trebling one or more notes in the chord.
A full F major barre chord, for example, includes three
F’s, two C’s and an A, with the doubled and tripled notes
being at a higher or lower register to resonate in
sympathy with its equivalent on another string. In
contrast, power chords (which are almost exclusively
used by rock guitarists) use even less notes than the triad
so that the amplified sound is not muddied by too many
notes. A typical power chord comprises just two notes
(the root and the fifth, hence its original name – a fifth
chord) with the other strings being dampened to ensure
that they don’t ring in sympathy.
The most common guitar chords are the major, minor,
barre chords, major 7th, 7th, minor 7th, 5th and
suspended 4th. More unusual chords are the suspended
2nd, major and minor 6th, diminished 7th, augmented, 9th
and the oddly named add 9th. Unless you’re an extremely
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18
Creating Chords
adventurous jazz guitarist, you are unlikely to need the

most complex chords – the minor/major 7th, other 9ths,
and 11ths – but you will find examples of these in the
chord directory, so you will have the option to use them
if you wish.
A guitarist with serious ambitions to master their
instrument is expected to create their own chords and
understand how they work – just like a mechanic who,
not content with just knowing how to drive, can strip
down and then reassemble an engine. Creating your own
chords is not as difficult as it sounds. To make a 7th
chord, for example, you simply add the seventh note of
the appropriate scale (e.g. to produce a C major 7th
chord you would add a B, to make a D major 7th chord
you would add a C, and so on) To create a 9th chord you
merely add the ninth note in addition to the seventh. For
a C major 9th this would mean adding both the B and a
D. To create an augmented chord you would sharpen the
fifth note (e.g. a C augmented triad would comprise C, E
and G ) and to produce a diminished chord you would
need to flatten the third and the fifth notes (e.g. a C
diminished triad would feature C, E and G ).
Remember, if you want to emphasize the extra note,
select a shape where it is played on the top E string, as
higher frequencies carry more clearly than low frequency
notes, but if you want the extra note to have a more
subtle effect then select a chord where it appears on a
lower string so that it blends in with the other notes.
The great thing about chord dictionaries such as this
one is that you don’t have to remember all these rules if
you don’t want to. It’s all been done for you. All you have
to do is learn the shapes. And the good news is that you
are unlikely to need to learn more than 20 chords in
order to write or play a simple rock or pop song –
perhaps even less. Some of the biggest names in rock
have carved an entire career using no more than a dozen
or so chords!
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Songwriting
Secrets
The Three Chord Trick

any musicians learn the guitar primarily to write
M songs, but most believe that they will have to

learn dozens of chords before they can write
something worth recording professionally or submitting in
demo form to a publisher or record label. Not so.
Popular music evolved from the blues, which has rarely
varied beyond the three-chord, 12-bar format. Almost all
of the classic rock and roll hits during the 1950s were
based on this same pattern of three chords and it is still
being used today, although modern artists and producers
have become increasingly sophisticated at disguising it!
The three chords are the tonic (the tonal centre which
provides a harmonic point of reference), the subdominant
and the dominant (written in Roman numerals as l, lV and
V). If you play this progression in the key of C major, for
example, the three chords will be C, F and G. If you
choose to pitch it in D, the three chords will be D, G and
A, and so on. To identify the other two chords in a blues
progression or three chord trick, all you have to do is
work out which is the fourth and fifth note above the
root you have chosen to begin the pattern.
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The Capo –
the guitarist’s
short-cut
ou don’t have to be a guitar maestro to play
Y songs in ‘difficult’ keys. If, for example, you want

to play a song that was written in E and you
find the fingering too difficult, simply place a capo on the
second fret of the guitar (see photo) and play a basic D
shape which will raise the chord to E .
Alternatively, transpose all the chords in the song to a
more comfortable key. This will preserve the quality of
the progression, but make it easier to play. Dropping a
basic E A B blues progression down a semi-tone will
give you D G A which you can then play without a capo.
Similarly, raising the sequence by a semi-tone will give you
E A B, which can also be played on ‘open’ strings.
When playing with musicians whose instruments are
tuned to specific keys, such as woodwind and certain
traditional or ethnic instruments, transposing using a capo
offers the ideal solution allowing the guitar player to
adapt the music to a key that others will be comfortable
playing in.
Remember, if you are uncomfortable singing in the
given key, or if you find the fingering or changes too
difficult, you do not have to stay with that key. However, if
there is only one chord that you find difficult in a
sequence you can solve the problem by using a capo,
bearing in mind of course that by doing so you will be
raising ALL the chords you play by a tone or semitone,
depending on which fret you select and that might create
more problems than it solves. For example, to simplify a
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Essential Guitar Chords
Dummy caption copy to follow. Dummy caption copy to follow.

Dummy caption copy to follow.
B diminished 7th (B °7) (which has a distinctive

unresolved quality for creating suspense) place the capo
on the second fret and put your index (first) finger on
the third string, third fret and your middle (second) finger
on the top string, third fret and strike the top four strings
only. But remember that if you then want to play a D
minor chord, for example, which resolves the progression
nicely, you would have to play it as a barre chord with the
flat finger across the fifth fret to mask the effect of the
capo. This is why you need to learn as many variations of
the basic chords as you can so that you always have
several options literally at your fingertips.
Of course if you can play a barre chord comfortably,
then you shouldn’t have much difficulty playing a B °7!
The Songwriter’s Short-cut

Guitarists and songwriters who know only a few basic
chords can extend the range of their musical vocabulary
instantly by judicious use of the capo. Position the capo
on the first fret and an E chord becomes F, F becomes F
and so on.
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The Capo – the guitarist’s short-cut
If you play a simple sequence using a capo it will only

alter the pitch of all the chords in the progression, not
the melody line. But if you play the same chords with a
capo higher up the fret board with variations in tempo
and rhythm you might find that you are inspired to write
an entirely new melody in this higher key using the same
sequence of chords. In this way an untrained, intuitive
songwriter can create an almost limitless number of
songs using a relatively few chords. The old blues masters
and the early 1950s rock legends such as Chuck Berry
are prime examples of how to sustain an entire career
out of variations on the three chord trick (see page XX).
Guitarists often complain that commercial

sheet music frequently presents songs in a
‘difficult’ key. That is because the person who
transcribed it is usually a pianist or an
accomplished guitar player who finds flats
and sharps easy to play. What the
transcriber often fails to understand is that pop
music, and contemporary dance music in particular,
is occasionally speeded up after recording to raise
the bpm (beats per minute) ratio to make it more
exciting, or to make the singer sound younger.
Speeding up the music will alter both the pitch and
the key by a semitone or more. This also explains
why you may find difficulty playing along with your
favourite CD. If you have a portastudio you can copy
the track and use the varispeed to slow it down so
that you can find the key. Then once you have the
root chord you can work out the rest by ear.
E1DD6727-6378-49C3-8346-A4A9026F358E
23
Playing tips
and techniques
t is not the purpose of this book to teach lead guitar
I techniques such as hammering on, soloing, creating

riffs and so on. There are plenty of comprehensive
titles on these aspects of guitar playing on the market.
This book concentrates exclusively on putting all the
essential chords at your fingertips, but it would be remiss
if it did not cover a few useful techniques relevant to
playing basic rhythm guitar.
To Pick or Not To Pick?

The first concerns your choice of playing technique. As a
general rule electric guitarists (both lead and rhythm
players) use a plectrum to strum, solo, riff and play
arpeggios, while acoustic guitarists alternate between
fingerpicking and strumming for which they’ll invariably
use a plectrum. Of course the one truism in music is that
there are no rules. The song and the sound you want will
dictate the technique you use.
Fingerpicking offers a greater flexibility if you want
to play a rhythmic pattern, but you will need to keep
your fingernails trimmed to the optimum length and
consider using a thumb pick. Generally a plectrum
offers a cleaner, more even sound for strumming. It is
the simplest method of playing rhythm guitar parts and
it also produces more volume. All you need to know at
the outset is that a thin pick makes strumming easier,
whereas a thicker plectrum is more suitable for
soloing. Hold the plectrum lightly between the thumb
and first finger and practice up and down strokes
E1DD6727-6378-49C3-8346-A4A9026F358E
24
Playing tips and techniques
across all six strings in a regular rhythm. Don’t worry

about speed at this stage, just concentrate on keeping a
smooth, steady tempo.
Dummy caption copy to follow. Dummy caption copy to follow.

Dummy caption copy to follow.
Rhythm
Unless you intend to dedicate your musical career to
performing atonal, avant-garde jazz, you will need to
acknowledge the underlying pulse in every song
commonly referred to as ‘the beat’. In all forms of
popular music the beat is emphasized and is often at
E1DD6727-6378-49C3-8346-A4A9026F358E
25
the heart of a song’s appeal. So it is vital that you

practice playing individual chords and chord
progressions to a specific beat. To keep you steady you
can use a metronome or a simple pattern from a drum
machine. Even the most basic, inexpensive keyboard
should have an in-built drum machine with more
rhythms than you’ll ever need and a facility for altering
the tempo which can be very useful. As a beginner you
can slow down the tempo, then raise it as you become
more familiar with the shapes and smoother with your
changes. Failing that, you can always tap your feet in
time to the beat.
The majority of simple songs tend to be in 4/4 time.
This means that the rhythm can be counted 1,2,3,4;
1,2,3,4 with each note of equal length. In sheet music
these are arranged in groups of four beats called a bar.
When you hear a musician count a band in with ‘1,2,3,4’,
that’s one bar. These quarter notes are written on a
musical stave (the five horizontal lines) as a black dot
with a tail (crotchets). However, when strumming you’ll
be playing on the up beat as well as on the down beat in
a rhythm that you can count as ‘1, and, 2, and, 3, and, 4’
with the down stroke on the ‘1’, ‘2’, ‘3’, ‘4’ and the
upstrokes on the ‘and’. These eighth notes will be shown
on the music stave as double notes whose tails are joined
(quavers).
A dot after a note indicates that it is to be lengthened
by half of its normal value while a note with a clear
centre (usually represented by an oval without a tail – a
semibreve) is to be held for a full measure (one complete
bar).
One bar in 4.4 time
time 1/2 beat 1 beat 1.5 beat 2 beats

signature (quaver) (crotchet) (dotted (minim)
4/4 time crotchet)
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26
Rests, Muting and Dampening

Once you can keep a steady even rhythm of up and down
strokes over a simple progression you can introduce
rests to add emphasis to a rhythm. Rests are simply short
gaps which are made by muting the strings suddenly and
cleanly so that they stop ringing. Use the palm of your
right hand near the bridge to mute all the strings
simultaneously. Then restart the rhythm whenever you
choose. If you want to add a sense of expectation you
can have a single 4 beat rest at a climactic point in a song
or in each verse or chorus. You can even mute every
single chord in a section to create the ‘choppy’ rhythm
which became the trademark of The Police and
previously, of course, the characteristic of all reggae.
If you want to produce a chugging rhythm you can
dampen the strings, a technique which is similar to
muting but which allows the strings to sound just enough
to hear the chords being played. To get this effect, rest
the palm of your right hand gently against the strings
near the bridge and play downstrokes only on one chord.
Experiment with the amount of pressure you are applying
and the position of your palm until you are producing a
sound from all the strings which has the musical
character of the chord but has no ringing tone. A prime
example of this technique can be heard on AC/DC’s
Touch Too Much. The same effect but played only on the
bass strings was a characteristic of the powerpop bands
of the late 70s, a good example being My Best Friends Girl
by The Cars.
Not All G Chords Sound The Same

If the preceding pages have given you the impression that
the guitar is an easy option, that is not entirely true.
Unlike the keyboard player who only needs to know one
version of each chord, the guitarist should be familiar
with between three to five versions of the same chord.
This is not only because guitarists need to have more
options at their fingertips to facilitate smoother chord
E1DD6727-6378-49C3-8346-A4A9026F358E
27
sequencing. The other reason is that the same chord

played in different positions on the guitar can acquire a
distinctive quality that has nothing to do with pitch or
the position of the root, third and fifth, but depends on
how it is configured. Both the acoustic piano and the
digital keyboard have a fixed tonality, ensuring that a
simple chord retains its character wherever it is played
on the keyboard, but the quality of guitar chords is
determined by which notes resonate as open strings,
which notes are fretted, and the number of strings played
in each version of the chord. For example, compare a G
major chord played as a barre with an open G played as a
triad and a G power chord, which is normally played on
only two strings.
You may hear or read how one particular
configuration is suitable for a particular style of music,
but generalizations are the curse of creativity. Use your
own intuitive musical sense to determine which
configuration you want to use. If it sounds right to you,
then trust your ears and don’t let musical theorists
influence you to play your music their way.
Ch-ch-ch-ch-changes
After memorizing the chord shapes, the final hurdle facing
the aspiring guitarist is how to ensure smooth
changeovers from one chord to another. Obviously
fluidity and speed comes with practice, but one way to
ensure a smooth transition is to choose a shape which
features a finger position that is common to both chords.
A good example is the change from C major to its
relative minor, Am, a progression which is easy on the ear
– an obvious transition and one which became a cliché of
early rock and pop especially when followed by F and G.
Teenager In Love by Dion and the Belmonts is just one of
thousands of early pop songs to use this now rather tired
sequence, but it is a good one to practice chord
transitions because of the use of the pivotal finger in C
and Am. You can also try alternating between the open
E1DD6727-6378-49C3-8346-A4A9026F358E
28
chords F and G and the barre versions of these chords. I

guarantee that if you play C – Am – F – G repeatedly for
fifteen minutes twice a day for a week you will be ready
to write your first song the next day!
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E1DD6727-6378-49C3-8346-A4A9026F358E
30
E1DD6727-6378-49C3-8346-A4A9026F358E
Chord
Directory
31
Major chords
Major chords could also be called plain chords, as they have no
distinctive character. They are the dependable foundations of
western music, providing a stable basis on which to build a
standard popular song. However, a song using only major
chords tends to be quite predictable and would not hold much
interest for anyone whose musical taste extended beyond
1950s rock and roll. Most songs feature the odd minor chord
to break up the predictability. So consider these chords as only
one essential element in your musical vocabulary and learn
their relative minors in the same session, or you’ll be playing
variations of Blue Suede Shoes in every key until you do.
Where to hear them

1950s rock and roll classics are not the only songs
to rely exclusively on major chords. Other
examples include Creedence Clearwater
Revival’s Bad Moon Rising (which uses D, A and
G); The Troggs’ Wild Thing (C, F and G) and
David Bowie’s Jean Genie (E, A and B). More
recently, Guns N Roses Sweet Child Of Mine and Green
Day’s American Idiot have utilized only major chords (E, A,
D, G, B and E in the former; A, D, G and E in the latter).
Major Triads
Triads are ideal for the beginner as they are comparatively easy to
memorize and to play. They are also useful if you want to
accompany another guitarist who is playing full or barre chords.
The lightness of triads makes them ideal as supplementary guitar
parts when played on the top three strings. They are particularly
effective if the first guitar is finger picking or playing arpeggios
which leaves space for the strummed triads, but they can also
provide decorative fills, answering phrases and even suggest a basis
for soloing.
KEY O = Open String (Play)

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32
Major triads
It is also possible to move a triad shape to a higher position up

the neck without a barre, as long as the bottom strings are muted
or not struck. The root note will determine the name of the new
chord. But it has to be said that these unbarred triads do not
usually sound as satisfying as a ‘proper’ barre chord (see page XX).
If you add the appropriate bass note to a triad this will create
what is known as a slash chord, so called because it is written like
this: G/D (i.e. a G chord with an added D base note). An example
would be the sequence of chords introducing Elvis Costello’s
Accidents Will Happen.
Note that some of the more demanding triads are intended to
be played higher up the fingerboard where the space between the
frets is narrower, requiring less of a stretch for the fingers.
X O O
1 2 3 A
A E A C E
X O O
5 1
A 2
(alternate fingering)
3
A A C E E
X = Open String (Don’t Play)
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33
X X O
1
2 3
B
B D B F
X O O
1
C 2
3
C E G C E

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34
Major triads
X O O
C
(alternate fingering) 1
3 4
C G G E E
X O X
6 1
D
3 4
E B G G

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35
X X O
5 1
D
3 4 (alternate fingering)
D D F A
X O X
6 1
E
3 4
E B G G

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36
Major triads
O O O
1
2 3
E
E B E G B E
O O O
4 1
E
3
4
E E G B B E

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37
O O O
6 1
2 E
E E G E B E
X X
1 1
F 2
3
F A C F

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38
Major triads
O O O
G 1
2 3
G B D G B G
X O X
G
2 3
4
G D B D

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39
X X O
5 1
G
G D B B
X X
1 1
2
3
A C E A

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40
Major Chords: First Inversions

In first inversions, the first letter is the name of the chord. The
second letter denotes the new root. C/E is a C major chord
with an E for its root.
X X O
1
B /D
3 4
D B D F
X X O
1 2
3
B /D
D D F B

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41
X X
B/D
1 1
D F B D
O O O
1
C/E 2
3
E C E G C E

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42
O X O
1
C/E
(alternate fingering) 3 4
E C G C G
O O O
1
3 C/E
4
E C E G C E

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43
X X
1 2
3
D /F
4
F A D F
X X
D/F 1 2
3
4
F A D F

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44
X X
E /G
1 2
3
4
G B E G
X O O
1 E/G
3 4
F E B B E

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45
X X O O
E/G
G B B E
X O
1 1
F/A 2
3
A F A C F

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46
X O
5 1
F/A 2
4
A A C F C
X X
4 1
G /B
2 3
4
B G D G

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47
X O O O X
2 G/B
B D G B
X O O X
G/B 2
3
B D G D

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48
X O O
G/B 1
B D G D G
X X
1 1
A /C
3
C E A C

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49
Major Chords: Second Inversions

As with first inversions, in second inversions the first letter is
the name of the chord, and the second letter is the new root.
Note: The second inversion of E is not illustrated because it is

the same as the normal E major but played without the open
bottom E string.
O O O
1 2 3
A/E
This is the same as the
basic A major triad but
with the addition of the
open E
E A E A C E
X X
1
B /F
2 3 4
F B D F

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50
X X
C/G 1
2 3 4
F B D F
O O
1
2 D/A
3 4
G C E G C E

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51
X O
1
2
C/G
G E G C G
X O O
D/A 1 2
3
A D A D F

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52
X O X
D/A 1
3
A F A D
X O O
5 1
D/A
3 4
A D D F A

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53
X
1 1
2 F/C
3 4 Move this chord one
fret higher to produce
F /C second
inversion
C F A C F
X X O
G/D
1 2
3
D B D G

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54
X O O O
G/D
D D G B G
X X
1 1
A /E
E A C A

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55
Minor chords
All minor chords sound sad, but they should not only be used
to provide contrast with major chords, otherwise the
progression will be predictable. Moves such as C to Am and G
to Em have become clichés of the more formulaic brands of
rock and pop.
Even if you do not intend to write your own songs, you will
need to familiarize yourself with all the minor chords. Learn
Em and Am first, then you’ll have enough to write and play
many of the simpler songs in circulation. If you want to stress
the sadness in a specific chord then chose the first inversion,
which takes the third note in the chord as the root. For an
even more sombre version go for the second inversion.
Where to hear them

Bob Dylan’s Knocking On Heaven’s Door uses
one simple minor and should be easy to learn
even for the beginner. Radiohead
demonstrated how effective a single minor
chord can be when used as a transition
form a major to a minor key in Creep, which
features the progression C, B, C/Cm in the chorus
and G, B, C Em in the verses.

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56
Minor Chords
X O O
1
Am 2 3
A E A C E
X O
5 1 1
Am
(half barred)
3
A A C E A

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57
X O
8 1
2 Am
A C E A C
X X
Bm 1
2
3 4
F B D F

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58
Minor Chords
X X
Cm
1
2
3 4
G C E G
X X O
1
2 Dm
4
D A D F

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59
X X O
5 1
2 Dm
3 (alternate fingering)
D D F A
X X O
10 1 1
Dm
D F A D

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60
Minor Chords
O O O O
Em 3 2
E B E G B E
O O O O
5 1
Em
3
E E G G B E

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61
X X
1 1
Fm
3
F A C F
X X
F m 1 1
F A C F

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62
Minor Chords
O O X
1
Gm
3 4
G B D G D
X X
Am
1 1
A C E A

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63
Minor Chords: First Inversions
X O
1
2 3 Am/C
4 Move this shape up one
fret and mute the top E
string to produce
B m/D first inversion
C E A C E
X X O
Bm/D 1
2
3
D B D F

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64
X X O
7 1 1
Bm/D
D D F B
X X O
1 2
4
Cm/E
E G C G

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65
X X O
1
2 3
D m/F
Move this shape up one
fret and mute the top E
string to produce
D m/D first inversion
F A D F
X X
1
Dm/F 2
3 4
F A D F

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66
O O O
2 3
Em/G
4
G B E G B E
X X O O O
5 2
Em/G
G G B E

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67
X O
1 1
F m/A
A F A C F
X X
5 1
F m/A 2
3 4
A C F A

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68
X O O
1
GM/B
3 4
B D G D G
X
4 1 1
G m/B
3
4
B G B D G

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Minor Chords: Second Inversions
O O O
1
2 3 Am/E
E A E A C E
X X
1
B m/F 2
3 4
F B D F

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70
1 1
Bm/F 2
3 4
F B F B D F
O X X
1
Cm/G
3 4
G C E G

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71
X O O
1
Dm/A
2
4
A D A D F
X O O
5 1
Dm/A 2
3
A D D F A

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72
X
1 1
2
E m/Bb
3
4
B E B E G
X O O O
2 3 Em/B
B E G B E

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73
O O O
5 1
Em/B
3 4
B E G G B E
X
1 1
Fm/C
3 4
C F A C F

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74
X X O
Gm/D
1 1
D B D G
X O
A m/E
1 2
3 4
E A C C A

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75
Basic Barre Chords
Everything that has been said relating to the capo in the
introduction, also applies to barre chords. To play these
moveable chords, hold down the strings behind the chord
shape with your index (first) finger so that it serves as a
temporary capo. Barre chords have all the advantages of a
chord played using a capo but are more flexible because they
are in effect using a temporary capo. You can then play other
chords in a progression below where your capo finger had
been, which you wouldn’t have been able to do if you had
fitted the guitarist’s flexible friend. You will see the advantages
of this if you play a barred G major chord followed by an
‘open’ D minor for example. The G benefits from the fuller
sound but the D minor doesn’t need the bass notes to
produce the required effect.
Barre chords are more demanding to play on acoustic
guitars, which generally have wider necks and a higher action
(the gap between the strings and the fingerboard). And to
make matters more difficult, acoustic guitarists usually favour
thicker strings, which require more strength to hold down
when making chord shapes. But it is essential for all guitarists
to learn the more frequently used barre chords for the
reasons already stated, plus one that is guaranteed to convince
you to keep practising – that is, when you learn one barre
chord you are really learning twelve, as the shape can be
shifted up the fingerboard to produce eleven more chords. An
E major, for example, will give you E , F, F , G, G , A, A , B,
B , C, C , D, D and E!
If you find them too difficult at first, you could start with
half barre chords. These require the first finger to hold down
only three strings and no other fingers to make the shape.
Examples are Dmaj7 (see page XX) and A6 (see page XX).
When using a capo in place of the first finger, the other fingers
change as follows: 2 becomes 1, 3 becomes 2 and 4 becomes
3.

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76
Basic Barre Chords
1 1
2
F major
3 4
This basic E shape can
be moved up the neck
one fret at a time to
produce the following
chords: F (as shown
here), F , G, G , A, B ,
B, C , C, C , D, E , E.
F C F A C F
1 1 B
This basic A shape can
be moved up one fret
at a time to produce a
2 3 4
pregressive sequence
of major chords (C, D,
E etc).
B F B D F

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77
1 1
Bm
2
This basic Am shape can
3 4 be moved up and down
the fingerboard to
create a sequence of
minor chords beginning
with A m one fret lower
than shown.
F B F B D F
1 1
Fm
This basic Em shape 3 4
can be moved up the
fretboard in a
progressive sequence
to produce F m, Gm
etc).
F C F A C F

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Augmented Chords
These are neither major nor minor and as such are best used
as a transition from one ‘conventional’ chord to another. They
could be thought of as musical ‘special effects’ and are to be
used sparingly or they will lose their novelty appeal. Written as
B+, G+ etc, they are created by raising the fifth note of a
major triad by one semitone.
X O
1
2 3
A+
4
A F A C F
X O
1
2
Bb+
3 4
B D B D F

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79
X O O
1
2 B+
4
B D G B G
X X
1 1
C+ 2
Slide this up one fret
to produce C + 3
C E G C

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80
Augmented Chords
X X O
D+ 1
2 3
D A D F
X X O O
1
E+
4
E G B G

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81
O O
1 2
3 E+
4
E B E G B E
X X
1
F+ 2 3
Slide this up one fret
to produce G ,+ 4
F A C F

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Augmented Chords
X O O
1
G+
3 4
G D G B G
X X
1
2 G+
Dx = a double sharp,
3 i.e. whole tone
4
G B D G

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Diminished Chords
The same could be said for diminished chords as was said for
augmented chords. A diminished is formed when the fifth note
of a minor triad is lowered by a semitone and commonly
appears as a form of 7th chord, the half diminished 7th or the
full diminished 7th. A diminished chord is denoted as B°,
C° etc.
X O X
1 2
3 A°
A E A C
X X
B° 1
Move this shape up
2 3
one fret to create C°
4
B F B D

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Diminished Chords
X O O
C °
1
3 4
C G G E E
X X O
1 1
D°
4
D A D F

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X X
1 1
D °
3 4
F A D F
O O X X
1
3
E°
E B E G

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Diminished Chords
X X O
F° 1
3 4
F C C A
X X
1
2 3
F °
F A C F

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X X
1 F°
2 3 4
G B D G
X O O
F °
2 3 4
G D B B G

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Suspended Chords
These chords are so called because the 3rd has been
suspended or, to be more accurate, replaced. In the case of a
sus2 it has been replaced by a second and in the case of a sus4
by the fourth. As with power chords, suspended chords are
neutral, neither major nor minor and so are perfect for
extended instrumental passages where the soloist(s) can freely
improvise across various exotic scales without the risk of
creating a discord.
Where to hear them

U2 make subtle but effective use of Dsus2 in
the first line of their anthem One to add
poignancy to the words ‘Is it getting better?’
Oasis featured suspended chords at every
possible opportunity to evoke the sound
and style of the Beatles’ early hits. Examples
are Wonderwall, where each second line of the verse
includes Dsus4 and Asus4/7 and again on the chorus
where the words ‘Because maybe…’ are
underpinned by a Dsus chord. A7sus and Dsus are
also used at the end of each chorus in Led
Zeppelin’s Stairway To Heaven after the line ‘and it
makes me wonder…’.

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X O O O
2 3 Asus2
A E A B E
Bsus2 1 1
Move this shape down
one fret to produce
B sus2 or up one to
3 4
produce C sus2
B F B C F

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Suspended Chords
X O O
1
Csus2
3 4
C D G C G
X X O O
1 Dsus2
3
D A D E

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O O O
1 Esus2
3 4
E B F B B E
X X O
1 1
Fsus2
3
F G C F

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Suspended Chords
X X
4 1 1
F sus2
3
4
F C F G
X X X
G sus2
1 one fret to produce
2 B sus2 or up one to
produce C sus2
G A D

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X O O O
1 2 Asus4
4
A E A D E
X
1 1
B sus4
Move up sixth fret to
2 3
create E sus4
4
A E A D E

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Suspended Chords
X O O
Bsus4 1
3 4
B F B B E
X O X
1
Csus4
Move this shape up to
3 4 the fifth fret to create
Asus4
C F G C

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X X O
1 Dsus4
3 4
D A D G
O O O
Esus4 2 3 4
E B E A B E

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Suspended Chords
X X
1 1
Fsus4
Move this shape up one 3 4
fret to create F sus4 or
up to the fourth fret to
create G sus4
F B C F
X O O
1
Gsus4
3 4
G D G C G

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5th/Power Chords
Technically these are not strictly chords, as they comprise just
two notes, although these can be doubled or trebled to
produce a strummable shape. They are almost exclusively used
by rock guitarists for whom full barre chords would be too
muddy when played with even a moderate amount of
distortion and open chords would sound too pretty.
The customary musical term to describe these chords is a
5th (so they are written as A5, B5 etc). This is because the
third note is omitted leaving an interval known as a perfect
fifth. As such they are neither major nor minor, making them
perfect neutral chords for other instruments to embellish, or
for the guitarist to ornament with filler licks or riffs.
To play power chords, use the side of your index finger to
mute the unwanted strings (the ones marked with an X in the
diagram) so that they can’t ring if you hit them accidentally.
Where to hear them

Although power chords are traditionally
associated with hard rock and heavy metal
(one example being AC/DC’s Highway To
Hell), they have been used recently by indie
act Artic Monkeys on their breakthrough hit
I’ll Bet You look Good On The Dancefloor.

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5th/Power Chords
X O X X
A5 2 3
A E A
X O X
5 1 1
A5
3
A A E A

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X X X
1
B5
3 4
B F B
X O X
B5 1
3 4
B F B B

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5th/Power Chords
X X O
1
C5
Move this shape up 3 4
two frets to create
C 5
C G C G
X X
C 5/G
1 1
4 4
G C G C

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X X O X
1 D5
3
D A D
X X O
D5 1
3
D A D A

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5th/Power Chords
X X X
1
D5
3
4
D A D
O X X X
2 3 E5
E B E

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X X O O
1 E5
E B B E
O O O
E5 1 2
E B E B B E

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5th/Power Chords
X X X
1
F5
Move this shape up two 3 4
frets to create F 5
F C F
X X X X
5 1
G5
4
G D

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Major 6th Chords
Major 6ths are so closely associated with early Merseybeat
and the Beatles that they are rarely used today. However, if
used sparingly, they can give a song an unresolved or ‘open’
ending. They are written simply as A6, D6 etc.
X O
1 1
A6
A E A C F
X O O
1 2
A6
A F A C E

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Major 6th Cords
X O
A6
1
2 3
4
A F C E A
X O O
6 1
2 3 A6
A A C F E

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X O X
1
A6
3 4 denotes a double sharp
(i.e. a note that has been
raised by a whole tone).
An ‘F ’ is therefore really a
‘G’ but is denoted instead as
a double sharp as the first,
third and fifth notes in a
major chord must always be
a third apart.
A E F C
X O
1 2
3 4
B6
B D G B F

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Major 6th Cords
C6
1
4 4
C G C E A
X O O
7 1
2 3 C6
C A G G E

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X X O O
2 3 D6
D A B F
O O O
D6/F 2 3 4
F A D A B F

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Major 6th Cords
X X O
4 1
D6 2
D B F A
X X
1 1
E6
3 4
E B C G

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O O
1
2 3 4 E6
E B E G C E
O O O
1
E6 2
E C E G B E

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Major 6th Cords
1 1
E6
3 4
E B E B C G
O O O
6 1 2
3 E6
E E G C B E

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O O
1 2 3
4 F6
F A D A C F
X X
1
Gb6 2 3
4
F D A C

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Major 6th Cords
O O O O
G6 2
3
G B D G B E
O O O
1 G6
2
G D E G B E

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O O
G6
1
2
3 4
G D G B B E
X X O
G6
1
2
3
G B D E

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Major 6th Cords
1 1
A6 3
4
A C E A C F

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Minor 6th Chords
These chords (written as Am6, Em6, etc) have a bitter-sweet
character, making them ideal for songs of longing or loss.
X O
1
2 3 4 Am6
A E A C F
X O
Am6
1
4 4
A F C E A

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Minor 6th Chords
X O O
5 1
Am6
A A C F E
X O X
1
3 B m6
4
B F G D

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X O O
1
2 3 Bm6
B D G B F
X
1 1
Cm6 2
3 4
C E A C G

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Minor 6th Chords
X X
D m6
1
2
3
4
D A B F
X X O O
1
2 Dm6
D A B F

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X X O
Dm6
1
3
4
D B F A
X X
1 1
D m6 2
3
D A B F

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Minor 6th Chords
O O O
2 3 4
Em6
E B E G C E
O O O O
1 Em6
E C E G B E

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1 1 Em6
2
3
E B E B C G
X O
1 4 4
Fm6
F D A C F

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Minor 6th Chords
X X
1 1
Fm6
F A D F
O
1
2 4 4 F m6
F A D A C F

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X O O
Gm6
2 3 4
G D B D E
X O
Gm6 1
2 3 4
G E B D E

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Minor 6th Chords
Gm6 1
(alternate fingering) 2 4 4
G E B D G
X X O
2 3 4
A m6/Eb
E A C F

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Major 7th Chords
As its name implies, the major seventh is formed by adding the
seventh note of the scale to blend the major with the
corresponding minor two tones higher. Major 7th chords
(written as Dmaj7 etc) produce a feeling of anticipation,
making them ideal as transitions or what are known as ‘passing
chords’.
Where to hear them

The transitional character of the major seventh
chord is evident in the use of E7 in the
traditional song House of the Rising Sun
recorded by, among others, Bob Dylan and
The Animals. It is also used in John Lennon’s
Imagine to smooth the change from C to F
major in the line ‘Imagine no possessions’. More
recently Metallica used it to superb effect in the
chorus of Nothing Else Matters.
X O O
1
Amaj7 2 3
A E G C E

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Major 7th Chords
X O
1 1
Amaj7
A E A C G
X O
Amaj7
1
2
3 4
A G C E G

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X O
4
1 Amaj7
3
4
A A C E G
X O
1 2
B maj7 3
4
B D A D F

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Major 7th Chords
X O
1
2 3
Bmaj7
4
B D A B F
X O O
1 Cmaj7
2
4
C E B B E

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X O O
Cmaj7
3 4
C G C B E
X
1 1
C maj7
3
4
C E G B E

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Major 7th Chords
X X O
Dmaj7 1 1
D A C F
X X O
5 1
2 Dmaj7
4
D G F A

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X O X
E maj7
1
3
4
E G G D
O O O
4 1
Emaj7
3 4
E D G B B E

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Major 7th Chords
O O O
6 1
2
Emaj7
E E G D B E
O O O
1 2
3 E maj7
E B D G B E

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X X O
1
2 Fmaj7
3
F A C E
X
5 1 1
Fmaj7
3
4
F A C E A

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Major 7th Chords
X X
1
F maj7
Move this shape up one 2
fret to create Gmaj7
3
4
F A C E
O O O
2 1 Gmaj7
3
G B D G B F

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7th Chords
Another type of 7th features a flattened 7th note, i.e. an extra
note added a tone below the root. These chords are written
simply as A7, C7 etc. It combines the characteristics of a major
chord with the diminished chord two tones above it.
X O O O
2 3 A7
A E G C E
X O
1 1
A7
A E A C G

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7th Chords
X
1 1
B7
3 4
B F A D F
X O
1 B7/A
2 3 4
A F B D F

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X O
1
2
C7
3 4 Move this shape up one
fret to create C 7, etc
C E B C E
X O
C7
1
2 3 4
C E B B G

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7th Chords
X X O
1
2 3
D7
D A C F
X X O
5 1 1
D7
4
D C F A

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X X
1
2
E7
3 4
E B D G
O O O O
1
E7 2
E B D G B E

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7th Chords
O O
1
2 3
E7
E B E G D E
X X
1 1
3 F7/E
E A C F

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X X O
1
F7
2
3
F A C E
O O O
1
G7 2
3
G B D G B F

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7th Chords
X X
1 1
3
G7
D G B F

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Minor 7th Chords
Minor 7th chords are pensive rather than sad and therefore
useful when a more subtle quality is needed. This results from
the blending of the minor with the major three semitones
above it. These chords, written as Am7 etc, add the seventh
note a tone below the root.
Where to hear them

The singular quality of the minor seventh can
be heard in Bob Marley’s I Shot The Sherriff in
the line beginning with the lyric ‘for the killing
of a deputy’. It can also be heard used as a
passing chord in the Rolling Stones acoustic
ballad Angie under the words ‘ain’t it time we
said goodbye’.
X O O O
1
Am7 2
A E G C E

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Minor 7th Chords
X O
1
2 3
Am7
A E A C G
X O O
1
2 Am7
4
A E G C G

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X O
1 Bm7/A
2
3 4
A F B D F
Cm7 1 1
2
3
C G B E G

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Minor 7th Chords
X O O
C m7
3 4
C G C B E
X X O
1 2
3 Dm7
D A C F

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X X O
1 2
3
Dm7/C
D A C F
X
6 1 1
D m7 2
3
D A C F A

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Minor 7th Chords
O O O O O
Em7 2
E B D G B E
X X O
Em7/D
1
2
4
D B E G

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1 1
3
Fm7
fret to produce F m7
F C E A C F
X X
1 1
Fm7
E A C F

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Minor 7th Chords
X X O
1 2
F m7
F A C E
Gm7
1 1 Move this shape up
one fret to produce
G m7
3
G D F B D G

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O X
1
Gm7
2 3 4 (alternate fingering)
G B F G D

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Minor/Major
7th Chords
Minor 7th chords are pensive rather than sad and therefore
useful when a more subtle quality is needed. This results from
the blending of the minor with the major three semitones
above it. These chords, written as Am7 etc, add the seventh
note a tone below the root.
X O O
1 2
Am/maj7 3
X O A E G C E
4 1
2 3 Am/maj7
4
A A C E G

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X O O
2 3 Bm/maj7
4
B D A B F
Bm/maj7 1 1
2 3
4
B F A D F

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Minor/Major 7th Chords
X O O
1
Cm/maj7
3 4
C E G B G
X X
Cm/maj7
1 2
3 4
C B E G

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X X
1 1
2
D m/maj7
D F A C
X X O
1
Dm/maj7 2 3
D A C F

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X X
1
2
E m/maj7
3 4
E B D G
O O O O
1
2 Em/maj7
E B D G B E

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O O O
8 1
2 Em/maj7
3
E G B D B E
X X O
1 2
Fm/maj7
4
F A C E

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1 1
F m/maj7 2
3
F C E A C F
X O
1 Gm/maj7
2 3 4
G D B D F

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X X
A m/maj7
1 2 3
4
A G c E

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Diminished
7th Chords
X O
1 2
7 7 7
3 4
E ° F ° GB°
Use this shape with a
muted bottom 5th string
to create C°F G °. Then
move this shape up to the
second fret to create
B °7C °7D °7. The same up
another fret produces
G °7A °
A E A C G
X O X
1
3 4 7
G° C ° D ° 7 7
This shape played with

open 6th/1st string
creates B °7C °7D °7.
A E G G

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X X
1
2 7
A° D° 7
3 4 Move this shape up one

fret to create
A°7D °7E °7
B F A D
X X O O
2 3
7 7
B° F°
D A C F

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Diminished 7th Chords
X X
1 1
7 7 7 2 3
C° D ° E °
F E A C
X X O
1 7
C ° D ° E° 7 7
2 3
G B D F

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1 1 7 7 7
C ° D ° E°
2 3 4 (alternate fingering)
G F B D G
X O X
7 7
D° F°
1 2
G D B F

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9th Chords
X O O O O
A9
(no 3rd) 2
A E G B E
O O O
1 A9
3
4
A C E G B E

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X O O
1 A9
3
4
A G B C E
X O
A9 1 1
2
3
A E B C G

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9th Chords
O O O
A9
1
2 3
A C G G B E
X O
5 1 2
3 A9
4
A G C E B

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X O
2 4 4
B9
B D A C F
X O
4 1
B9 2
3 4
B D C F A

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9th Chords
X
1
B9 2 4 4
B D A C F
X X
6 1
2 3 4 B9
(no 3rd)
B A C F

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1
C9
2 4 4
C E B D G
X O
1
C9
(no 3rd)
2 3 4
C D B C G

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9th Chords
X X
C9
1
2 3 4
C E B D
C9
(no 3rd)
1 1
C G B D G

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O O O
1
2 3 Title
F A D A C E
X O
D9
1
2
3 4
D F C D E

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9th Chords
X X O O
1
2
D9
(no 3rd)
D A C E
X X
1 1
2 E9
3 (no 3rd)
Move this shape up
one fret to create F9
E B D F

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X X O
1 2
3
E9
E G D F
X
5 1
E9 2 4 4
Move this shape up
one fret to create F9
E G D F B

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9th Chords
O O O
1
2 3
E9
E B D G B F
O O
1
2 3 E9
4
E B D G D F

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O O
1 E9
2 (no 3rd)
3 4
E B F B D E
O O
6 1
E9 2 3 4
E E G D F E

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9th Chords
O
6 1
E9 2 4 4
E E G D F B
X X
9 1
E9
2
3 4
D F G E

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O O X
2 3 4
F9
F A E G C
X X
F9 1
2 4
3
F A E G

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9th Chords
X
1 1
2 3 4
G9
G B F A D
X O
1
2 3 4 G9
(no 3rd)
G F A D F

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X O O
1
2 G9
G D A B F
X O
1
G9 2
(no 3rd)
3 4
G D A D F

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9th Chords
A9
1 1
2
3 4
A E G C E B

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Major 9th Chords
Major 9th chords (written Amaj9, etc) are sometimes used in
place of the major 7th where its romantic grandeur can add an
epic quality to a passage provided other instruments are used
to accentuate it. It is permissible to drop the 5th if the chosen
shape is too awkward.
X O O O
1
2 Amaj9
(no 3rd)
A E G B E
X O
Amaj9 1 1
3 4
A E B C G

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Major 9th Chords
O O
Amaj9
1
2
3 4
A C G C B E
O O O
4 1
Amaj9/E
3
4
E A A C B G

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X O
5 1
2 3 Amaj9
A G C E B
X O O O
6 2 3
Amaj9
A G C B E

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Major 9th Chords
X O O O
11 1
Amaj9
4
A C G B E
X O
1 2 3
4 B maj9
B D A C F

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X X
1
2 3 Bmaj9
4
B D A C
Bmaj9 1 1
(no 3rd)
2
3
B F A C F

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Major 9th Chords
X X
6 1 2
Bmaj9 3 4
B C F A
X O O O O
Cmaj9
3
C D G B E

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X O
1 Cmaj9
C E B D E
X O
Cmaj9
1 2
3
4
C G B D E

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Major 9th Chords
O O O O
7 1
Cmaj9 2
C E D G B E
O O O
2 3 4 Dmaj9F
F A D A C E

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X X O O
2 3 Dmaj9
(no 3rd)
D A C E
X O
Dmaj9
1
2
3
4
D F C D E

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Major 9th Chords
X O
5 1
Dmaj9 2
3
D A C F E
X O O O
6 2
4 Dmaj9/A
A D C F E

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X X O
1 2
E maj9
4
E G D F
X O O
6 2 3 4
E maj9
E D G F B

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Major 9th Chords
O O
1 2
Emaj9 3 4
E B D G B F
1 Emaj9
4 4
E B F B D G

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Emaj9
1 1
2
3
E D F B E G
O
6 1
Emaj9 2 3
4
E E G D F E

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Major 9th Chords
O O O
2 3
Fmaj9 4
fret and bar across first
frets with index finger to
produce G maj9
F A E G C E
X O O O
1
Fmaj9/A
3
A F G C E

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X X
1 Fmaj9
2 3
F A E G
X O
5 1
Fmaj9
2
3 4
F A C G E

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Major 9th Chords
X O O
1 2
Gmaj9
3
G D A B F
O O O O
1 Gmaj9
2
G A D G B F

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X X
5 1
2 3
A maj9
A C G B

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200
Minor 9th Chords
If you’re after a sadder chord than the minor 7th, look no
further than the minor 9th (written Am9, Dm9 etc). Again, if
the shape you choose is unwieldy you can leave out the fifth
without compromising the quality of the chord.
X O O O
5 2 3
Am9
A G C B E
X O
5 1 1
Am9
A G C E B

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X O
5 1
Am9
4
A C G B
6 1 1
B m9 3 4
to the first fret to
create Fm9 and up to
the 3rd fret to
produce Gm9
B F A D F C

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Minor 9th Chords
X O
Bm9 2 4 4
B D A C F
X O
5 1
2 Bm9
3 4
B D C F A

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X
1
Cm9
3 4 4 Move this shape down
to the one fret to
produce C m9
C E B D G
X O O
4 1
D m9
3
D A E C F

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Minor 9th Chords
X O
8 1
2 3 4
D m9
B C E A F
O O O
1 2
3 Dm9/F
F A D A C E

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X O O O
5 1
3 Dm9/A
A D C F E
X O
5 1 1
Dm9 2
3
D A C F E

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Minor 9th Chords
O O O
Em9 1
3
4
E B F G D E
O O O O
Em9
1
2
E D F G B E

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O
5 1 1
Em9
E D G D F B
O O O
7 2 3 4
Em9
E E D G F B

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Minor 9th Chords
O O
1
2 3 4
F m9
F A E G C E
X O
6 1
2 F m9
3 4
F A C G E

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Add 9ths
Despite its name, this is a comparatively easy ‘advanced’ chord
to get to grips with. It is basically a reinforced major (a Cadd9,
for example features C, E, G and D), but be warned, it has
become so closely associated with American ‘soft rock’ that
you risk compromising your credibility if you use it too
frequently!
Where to hear them

A good example of the judicious use of Add 9
chords can be heard in David Gray’s song
Gathering Dust which features Gadd9 and
Cadd9 and on David Bowie’s Changes where
the words ‘Time may change me’ are
supported by a B add9.
X O O
Aadd9 1 2
A E B C E

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Add 9ths
X O
5 1
2
Aadd9
A A C E B
X O O O
6 1
2 Aadd9
A A C B E

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O O
5 1
2 Aadd9
A E A C B E
X O O
7 1
Aadd9/C
3 4
C A E B E

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Add 9ths
X X O
1 1
B add9/D
3
D B C F
X O
5 1
2 3 4 B add9
B D C F B

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X X
1
2 3 4 Badd9
B D C F
X O O
Cadd9 2
3 4
C E G D E

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Add 9ths
X O
Cadd9 1
(alternate fingering) 2 3 4
C E G D G
X O O O
Cadd9
1
C D G E E

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X O O O
8 2 3
Cadd9
C D G G E
X O
Dadd9 1
2
3
4
D F A D E

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Add 9ths
O O O
2 3
Dadd9/F
4
F A D A D E
X X O O
5
Dadd9
3 4
D D F E

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O O O
1
2 Eadd9
E B F G B E
O O
1
Eadd9 2 3 4
E B E G B F

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Add 9ths
X X
1
Fadd9 2
3 4
F A C G
X O
6 1
2 Fadd9
3 4
F A G F C

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X O O
1 Gadd9
2 3
G D A B G
X O O O
Gadd9
1
G D G B A

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Dominant 9th
Finally, an extension of the dominant 7th (7th chord), this
series of chords has a funky quality which was used in early
70s hits by the Godfather of Soul, James Brown.
O
6 1
E9 2 4 4
E E G D F B
X
7 1
2 4 4
F9
F A E G C

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X
1
2 4 4 B9
B D A C F

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222
Major 11th Chords
11th chords have often been called the chords of
sophistication. However, despite their silky characteristic they
are ungainly to play. You may have to drop both the fifth and
the third, but don’t do this without first listening to the full
effect to find out if you can afford to lose both notes.
O O O O
1
Amaj7 3
add11
E A D G C E
O O
Amaj11
1 2
3 4
A D G C B E

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223
O O
7 1 1
A maj7
4 4 add11/E
E A A D G C
6 1 1
2 3
B maj11 4
Move this shape up
the 9th fret to
create D maj11
B E A D F C

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224
Major 11th Chords
X O
1
2 3
Bmaj11
4
B D A C E
X O O
1
2 Bmaj11
add11
4
B D A B E

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O O
7 1
2 3 Bmaj11
4 add11
B F A D B E
X O O O
Cmaj11
add11
2 3
C F G B E

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Major 11th Chords
X O O
1
Cmaj11 2
add11 3
C E G B F
X O
1 2 3 Cmaj11
4
C F B D E

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O O O O
8 2 3
Cmaj11
C F D G B E
X O O
D maj7 1 1
add11 2
3
4
D F C D G

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Major 11th Chords
D maj7
add11
1 1
2
4
D G C F A
O O O O
2 3 Dmaj11/F
F A D G C E

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X O
5 1 1
2 Dmaj11
4
D G C F E
O O
9 1
Dmaj11 2 3
4
D F C G A E

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Major 11th Chords
E maj11
add11 1 1
2
3
4
E G B D A
X O
6 1 2 3 4
E maj11
E A G F B

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231
O O O
2 3
4 Emaj11
to the second fret and
barre the first frets with
the index finger to
produce Fmaj11
E A D G B F
O O
Emaj11
1 1
E A F B D G

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Major 11th Chords
Emaj7
add11
1 1
2
3 4
E D G B D A
X O O
1
Fmaj7
add11/A
3 4
A F B C E

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X O
1
F maj11
2 3 Move this shape up to
the 4th fret and barre
4 the 4th fret with the
index finger to
produce A maj11
F E A B G
X O
1
Gmaj11 2 3
(no 3rd)
4
G D A C F

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Major 11th Chords
X O
Title
1
2
3 4
G F C B A
O O O
1 Gmaj7
add11
2 3
G C D G B F

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Minor 11th Chords
O O O O
Am11
1
A C D G B E
X O O
1
Am11
3
4
A D B C G

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Minor 11th Chords
X O O
Am7
add11 1
3 4
A G C D E
X O O
5 1
Am11
3
4
A G D B C

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237
5 1 1
4 Am11
the 6th fret to create
Bbm11, down to the
3rd fret to create
Gm11 and down to the
1st fret to create Fm11
A D G C E B
X O O
Bm11 2 3 4
B D A C E

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Minor 11th Chords
O O
5 1
Bm11 2
B D A C B E
X O O
7 2 3 4
Bm7
add11
B A D B E

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239
O O
6 1 1
2 Cm11
3 4
C E B D F B
X O O
1
D m7
add11
3 4
D G A C F

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Minor 11th Chords
X O
7 1
2
D m7
add11 3 4
D C E G F
Dm11
1 1 the 4th fret to create
E m11
2 3 4
D F C E G

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241
X O O
Dm7
1 add11/A
3
4
A D C F G
Dm7
add11
1 1
2 3
D F C D G

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Minor 11th Chords
X O O
5 1
Dm11 3
D A G F E
O O
8 1
Dm11
2 3 4
D F C G A E

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243
O O O O O
2 Em11
E A D G B F
Em11 1 1
2 3
4
E B F A D G

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Minor 11th Chords
O O O
Em11
1
2 3
E D F G B A
O
5 1 1
Em7
add11
2 3
E E G D E A

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245
O O O O
7 1
Em11
3
E F A G B E
O O
1
F m11 2 3 4
F A E G B F

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246
Minor 11th Chords
X O O
1
F m7
add11/C
3 4
C F A B E
X O O
6 1
2 F m7
add11
F A C B E

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247
X O
1 1
Gm7
3 4 add11
G D B C F
X
1 1
G m7
add11
2 3 4
G F B C F

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248
Moveable Shapes
Major 7th
X X
Diminished

E1DD6727-6378-49C3-8346-A4A9026F358E
249
X X
Augmented
X X
Major 6th

E1DD6727-6378-49C3-8346-A4A9026F358E
250
Moveable Shapes
Minor 6th
Suspended 4th

E1DD6727-6378-49C3-8346-A4A9026F358E
251
Suspended
2nd
X X
Diminished
7th

E1DD6727-6378-49C3-8346-A4A9026F358E
252
Moveable Shapes
7th
Minor 7th

E1DD6727-6378-49C3-8346-A4A9026F358E
253
Minor/
major 7th
X X
Add 9th

E1DD6727-6378-49C3-8346-A4A9026F358E
254
Moveable Shapes
Major 9th
X X
9th

E1DD6727-6378-49C3-8346-A4A9026F358E
255
Final Word
No single book can contain all possible chord

permutations without scaring off the most
accomplished of guitarists. Altogether, there are
more than 2,000 chords, including many
which are theoretically possible but
fiendishly difficult to play and of little
practical use. This book contains all the
chords that the average guitarist will ever need and
more to experiment with. But if you are into free
jazz or Albanian Death Metal, or if you simply can’t
get enough of a good thing, I can recommend the
following internet resources:
www.all-guitar-chords.com
www.e-chords.com
www.iol.ie/~murphypj (a top tablature site
featuring chords to hundreds of popular songs)
www.chordie.com
www.gootar.com/folder/guitar.html
www.ultimate-guitar.com
Remember, practicing is to be enjoyed not endured.

Have fun.
E1DD6727-6378-49C3-8346-A4A9026F358E
256
Gutiar Chords - Foulsham:Guitar Chords - cover 5/7/07 15:38 Page 1
Ideal for beginners, aspiring songwriters and

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400 chords presented as easy-to-read tab
diagrams. Author Paul Roland shows how a
few standard chord sequences can be made
to go a long way, and reveals the secrets of
the most successful songwriters.
Throughout the chord directory the charac-
ter of each major chord group is described
plus there are examples of where to hear
certain chords in well known songs.
Easy to slip into a guitar case and to open

out flat while playing, Guitar Chords provides
easy, on-the-go reference for guitarists who
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This edition printed in 2007

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The Copyright Act prohibits (subject to certain very limited

British Library Cataloguing-in-Publication Data: a catalogue

Author: Paul Roland

Picture Credits: Shutterstock 6, 10, 15, 22, 25, 30

All About Chords

Final Word . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256

opular music in all its myriad forms has developed

P at a remarkable pace since its first primal scream

the right side of 20. But it also fulfils the requirements of

the more complex the chord, the more sophisticated

Author’s Note: For practical purposes it is

hords are the building blocks of music. They

C are the foundation on which a melody can

chords) which can make a song or instrumental

influential ‘Tomorrow Never Knows’ using just one

or those unfamiliar with musical theory it is

F important to know that several chords have more

elow are two sample chord diagrams, the first is

The letters at the bottom of each box indicate the

he simplest chords are called triads because

T they use just three notes. These are the root

adventurous jazz guitarist, you are unlikely to need the

The Three Chord Trick

M songs, but most believe that they will have to

ou don’t have to be a guitar maestro to play

Y songs in ‘difficult’ keys. If, for example, you want

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B diminished 7th (B °7) (which has a distinctive

The Songwriter’s Short-cut

If you play a simple sequence using a capo it will only

Guitarists often complain that commercial

t is not the purpose of this book to teach lead guitar

I techniques such as hammering on, soloing, creating

To Pick or Not To Pick?

across all six strings in a regular rhythm. Don’t worry

Dummy caption copy to follow. Dummy caption copy to follow.

the heart of a song’s appeal. So it is vital that you

One bar in 4.4 time

time 1/2 beat 1 beat 1.5 beat 2 beats

Rests, Muting and Dampening

Not All G Chords Sound The Same

sequencing. The other reason is that the same chord

chords F and G and the barre versions of these chords. I

Where to hear them

KEY O = Open String (Play)

It is also possible to move a triad shape to a higher position up

KEY O = Open String (Play)

X = Open String (Don’t Play)

KEY O = Open String (Play)

X = Open String (Don’t Play)

KEY O = Open String (Play)

X = Open String (Don’t Play)

KEY O = Open String (Play)

Major Chords: First Inversions

X = Open String (Don’t Play)

KEY O = Open String (Play)

X = Open String (Don’t Play)