Guitarchords

In music, a guitar chord is a gear up of notes played on a guitar. A chord's notes are often played simultaneously, only they can be played sequentially in an arpeggio. The implementation of guitar chords depends on the guitar tuning. Most guitars used in pop music take 6 strings with the "standard" tuning of the Spanish classical guitar, namely Eastward–A–D–Thousand–B–E' (from the lowest pitched cord to the highest); in standard tuning, the intervals present amongst side by side strings are perfect fourths except for the major third (K,B). Standard tuning requires four chord-shapes for the major triads.

There are dissever chord-forms for chords having their root note on the third, quaternary, fifth, and sixth strings. For a six-string guitar in standard tuning, information technology may be necessary to drib or omit one or more than 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 case, the typical twelve-bar blues uses merely three chords, each of which can be played (in every open tuning) past fretting 6 strings with one finger. Open up tunings are used specially 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 culling 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 exist diagonally shifted down the fretboard, a belongings that simplifies beginners' learning of chords and that simplifies advanced players' improvisation. On the other manus, in regular tunings 6-string chords (in the keys of C, 1000, and D) are more difficult to play.

Conventionally, guitarists double notes in a chord to increase its book, an important technique for players without amplification; doubling notes and changing the order of notes too changes the timbre of chords. It can make a possible a "chord" which is equanimous of the all same note on unlike strings. Many chords tin 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 bones 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 circumvolve lists the twelve notes of the octave, which differ by exactly one semitone.

1-octave C major calibration

	Ane octave played up and down in the c major scale on the piano
Bug playing this file? See media assist.

Initial eight harmonics on C, namely (C,C,G,C,Eastward,Grand,B ♭ ,C)

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

The intervals betwixt the notes of a chromatic scale are listed in a table, in which merely the emboldened intervals are discussed in this commodity'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 ways 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]

Intervals

Number of semitones	Modest, major, or perfect intervals	Audio	Harmoniousness[1] [2]
0	Perfect unison	Play(assistance·info)	Open up consonance
1	Small 2nd	Play(help·info)	Sharp dissonance
two	Major 2d	Play(help·info)	Mild racket
3	Pocket-sized third	Play(help·info)	Soft consonance
iv	Major 3rd	Play(help·info)	Soft consonance
v	Perfect fourth	Play(help·info)	Ambiguity
6	Augmented fourth	Play(assistance·info)	Ambiguous
7	Perfect 5th	Play(help·info)	Open consonance
8	Small sixth	Play(assist·info)	Soft consonance
9	Major sixth	Play(help·info)	Soft consonance
10	Small-scale seventh	Play(assistance·info)	Mild racket
eleven	Major seventh	Play(help·info)	Sharp noise
12	Octave	Play(help·info)	Open consonance

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

As already stated, the perfect-fifths (P5) interval is the well-nigh harmonious, after the unison and octave intervals. An caption of human perception of harmony relates the mechanics of a vibrating string to the musical acoustics of sound waves using the harmonic assay of Fourier series. When a string is struck with a finger or selection (plectrum), information technology vibrates according to its harmonic serial. When an open-notation C-cord is struck, its harmonic series begins with the terms (C,C,Yard,C,Eastward,K,B ♭ ,C). The root annotation is associated with a sequence of intervals, commencement with the unison interval (C,C), the octave interval (C,C), the perfect fifth (C,Grand), the perfect fourth (G,C), and the major third (C,E). In detail, this sequence of intervals contains the thirds of the C-major chord {(C,E),(E,Chiliad)}.^[3]

With a note of music, one strikes the fundamental, and, in addition to the root annotation, other notes are generated: these are the harmonic serial.... Equally one central note contains inside information technology other notes in the octave, 2 fundamentals produce a remarkable array of harmonics, and the number of possible combinations between all the notes increases phenomenally. With a triad, affairs stand up a good run a risk of getting severely out of hand.

Perfect fifths [edit]

The perfect-5th interval is featured in guitar playing and in sequences of chords. The sequence of fifth intervals built on the C-major calibration is used in the construction of triads, which is discussed below.^[b]

Cycle of fifths [edit]

Concatenating the perfect fifths ((F,C), (C,G), (Thousand,D), (D,A), (A,E), (Due east,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.

The perfect-fifth interval is called a ability chord by guitarists, who play them peculiarly in blues and rock music.^{[7] [8]} The Who'south guitarist, Peter Townshend, performed ability chords with a theatrical windmill-strum.^{[7] [9]} Power chords are oftentimes 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

C Major (C,E,Thou) begins with the major third (C,Due east).

C Small (C,E ♭ ,Grand) begins with minor 3rd (C,E ♭ ).

Major and minor triads contain major-third and pocket-sized-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 bones chords ascend in chord-triples that are conventional in Western music, triples that are called iii-chord progressions. Later on each type of chord is introduced, its part 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 synthetic past "stacking thirds", that is, by concatenating two or three 3rd-intervals, where all of the lowest notes come from the scale.^{[12] [13]}

Triads [edit]

Major [edit]

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

• the root;
• the tertiary, which is above the root by either a major third (for a major chord) or a modest third (for a small chord);
• the fifth, which is a perfect 5th in a higher place the root; consequently, the fifth is a tertiary above the third—either a modest 3rd higher up a major third or a major third above a minor third.^{[fourteen] [15]} The major triad has a root, a major 3rd, and a fifth. (The major chord's major-3rd interval is replaced by a minor-third interval in the pocket-size chord, which shall be discussed in the next subsection.)

Major chords

Chord	Root	Major tertiary	Fifth
C	C	E	G
D	D	F ♯	A
E	E	G ♯	B
F	F	A	C
M	Thousand	B	D
A	A	C ♯	E
B[e]	B	D ♯	F ♯

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

The three notes of a major triad have been introduced as an ordered triplet, namely (root, third, 5th), where the major tertiary is 4 semitones above the root and where the perfect fifth is vii semitones higher up the root. This type of triad is in closed position. Triads are quite ordinarily played in open position: For instance, the C-major triad is often played with the third (E) and 5th (G) an octave higher, respectively sixteen and 19 semitones above the root. Some other variation of the major triad changes the society of the notes: For case, the C-major triad is oftentimes played as (C,G,East), where (C,1000) is a perfect fifth and E is raised an octave to a higher place the perfect third (C,E). Alternative orderings of the notes in a triad are discussed below (in the discussions of chord inversions and drop-ii chords).

In pop 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 pocket-sized keys (Am, Em, Bm).^[sixteen]

Progressions [edit]

Stacking the C-major scale with thirds creates a chord progression,

traditionally enumerated with the Roman numerals I, ii, iii, IV, 5, vi, vii ^o . Its major-key sub-progression C–F–G (I–4–V) is conventional in popular music. In this progression, the minor triads ii–three–six appear in the relative minor key (Am)'southward 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 pop music. When played sequentially (in whatever order), the chords from a 3-chord progression sound harmonious ("proficient together").^[f]

The most basic three-chord progressions of Western harmony have merely major chords. In each key, three chords are designated with the Roman numerals (of musical annotation): The tonic (I), the subdominant (Iv), and the ascendant (5). While the chords of each iii-chord progression are numbered (I, IV, and Five), they appear in other orders.^{[f] [18]}

Basic 3-chord progressions^{[f] [xix]}

Primal	Tonic (I)	Subdominant (IV)	Dominant (V)
C	C	F	Yard
D	D	1000	A
Due east	E	A	B
G	One thousand	C	D
A	A	D	E

In the 1950s the I–Iv–V chord progression was used in "Hound Canis familiaris" (Elvis Presley) and in "Chantilly Lace" (The Big Bopper).^[xx]

Major-chord progressions are constructed in the harmonization of major scales in triads.^[21] For example, stacking the C-major scale with thirds creates a chord progression, which is traditionally enumerated with the Roman numerals I, ii, 3, Four, Five, vi, vii ^o ; its sub-progression C–F–G (I–4–V) is used in popular music,^[22] as already discussed. Further chords are constructed by stacking additional thirds. Stacking the dominant major-triad with a modest third creates the ascendant 7th chord, which shall exist discussed after pocket-size chords.

Minor [edit]

An A-minor scale has the same pitches as the C major scale, because the C major and A modest keys are relative major and modest keys.

A minor chord has the root and the fifth of the corresponding major chord, but its get-go interval is a small 3rd rather than a major third:

Minor chords

Chord	Root	Minor third	Perfect fifth
Cm[e]	C	E ♭	Grand
Dm	D	F	A
Em	E	Thou	B
Fm[eastward]	F	A ♭	C
Gm[e]	G	B ♭	D
Am	A	C	E
Bm[e]	B	D	F ♯

Modest chords arise in the harmonization of the major calibration in thirds, which was already discussed: The minor chords have the degree positions ii, iii, and half dozen.

Minor iii-chord progressions^{[18] [23]}

Cardinal	Tonic (I)	Subdominant (IV)	Dominant (V)
Cm	Cm	Fm	G7
Dm	Dm	Gm	A7
Em	Em	Am	B7
Gm	Gm	Cm	D7
Am	Am	Dm	E7

Major and pocket-sized keys that share the same primal signature are paired equally relative-minor and relative-major keys.

Minor chords arise every bit the tonic notes of minor keys that share the aforementioned key signature with major keys. From the major cardinal'due south I–ii–iii–IV–5–half-dozen–vii ^o progression, the "secondary" (small) triads ii–3–vi announced in the relative pocket-sized fundamental's respective chord progression as i–four–v (or i–iv–V or i–4–V7): For instance, from C's vi–ii–three progression Am–Dm–Em, the chord Em is often played equally E or E7 in a minor chord progression.^[24] Among basic chords, the minor chords (D,E,A) are the tonic chords of the relative minors of the iii major keys (F,G,C):

Key signature	Major primal	Pocket-sized central
B ♭	F major	D minor
	C major	A minor
F ♯	Grand major	E small

The technique of changing amongst relative keys (pairs of relative majors and relative minors) is a form of modulation.^[25] Pocket-sized chords are constructed by the harmonization of minor scales in triads.^[26]

7th chords: major–pocket-size chords with ascendant function [edit]

The previously noted chord progression with a ascendant seventh Play(help·info) . The dominant seventh (V7) chord G7=(Thou,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 "ascendant seventh" described here is called a major–minor seventh, emphasizing the chord's construction rather than its usual function.^[27] Dominant sevenths are ofttimes the dominant chords in three-chord progressions,^[xviii] in which they increment the tension with the tonic "already inherent in the ascendant triad".^[28]

Dominant 7th chords

Chord	Root	Major third	Perfect fifth	Pocket-size seventh
C7	C	East	G	B ♭
D7	D	F ♯	A	C
E7	E	M ♯	B	D
F7[eastward]	F	A	C	E ♭
G7	1000	B	D	F
A7	A	C ♯	East	Grand
B7	B	D ♯	F ♯	A

The dominant seventh discussed is the nearly commonly played 7th chord.^{[29] [xxx]}

Paul McCartney used an A-major I–IV–V7 chord progression in "3 Legs", which is also an example of the twelve-bar dejection.

Three-chord progressions^{[18] [31]}

Key	Tonic (I)	Subdominant (IV)	Dominant (Five)
C	C	F	G7
D	D	Yard	A7
E	E	A	B7
G	One thousand	C	D7
A	A	D	E7

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

These progressions with seventh chords arise in the harmonization of major scales in seventh chords.^{[33] [g]}

Twelve-bar blues [edit]

Exist they in major key or minor key, such I–IV–Five chord progressions are extended over twelve confined in popular music—specially in jazz, dejection, and stone music.^{[36] [37]} For example, a twelve-bar blues progression of chords in the central of E has three sets of four confined:

East–East–Eastward–E7

A–A–East–E

B7–A–E–B7;

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

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

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

For example, in the guitar (similar other stringed instruments but unlike the piano), open-cord notes are non fretted then require less manus-move. Thus chords that contain open notes are more hands played and hence more oft 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 exist played by barring one fret with simply ane finger, using the finger like a capo. On guitars without a zeroth fret (later the nut), the intonation of an open annotation may differ from then note when fretted on other strings; consequently, on some guitars, the sound of an open annotation may be inferior to that of a fretted notation.^[38]

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

Unlike a piano or the voices of a choir, the guitar (in standard tuning) has difficulty playing the chords every bit stacks of thirds, which would crave the left hand to span too many frets,^[41] particularly for ascendant seventh chords, as explained below. If in a particular tuning chords cannot exist played in closed position, then they often can be played in open up position; similarly, if in a particular tuning chords cannot be played in root position, they tin often be played in inverted positions. A chord is inverted when the bass note is not the root notation. Additional chords can exist generated with drop-ii (or drop-3) voicing, which are discussed for standard tuning's implementation of ascendant 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 instance in the time of Mozart. Contemporary guitarists using arpeggios include Johnny Marr of The Smiths.

Fundamental chords [edit]

Standard tuning [edit]

In the standard guitar 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 half dozen-cord guitar has 5 musical-intervals between its consecutive strings. In standard tuning, the intervals are four perfect fourths and one major third, the insufficiently irregular interval for the (Chiliad,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 6th strings.^[42] Of course, a beginner learns guitar past learning notes and chords,^[43] and irregularities brand learning the guitar difficult^[44]—even more hard than learning the germination of plural nouns in German, according to Gary Marcus.^[45] Yet, almost beginners utilise standard tuning.^[46]

Another feature of standard tuning is that the ordering of notes often differs from root position. Notes are ofttimes inverted or otherwise permuted, particularly with 7th chords in standard tuning,^[47] as discussed beneath.

Ability chords: fingerings [edit]

As previously discussed, each power chord has only one interval, a perfect 5th between the root annotation and the fifth.^[seven] In standard tuning, the following fingerings are conventional:

• 

  E5

• 

  G5

• 

  G5

Triads [edit]

Triads are ordinarily played with doubled notes,^[48] equally the post-obit examples illustrate.

Major [edit]

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

C major chord in open position

For the C major chord (C,Eastward,Thou), the conventional left-manus fingering doubles the C and East notes in the side by side octave; this fingering uses two open notes, E and G:

• E on the commencement cord
• C on the second string
• G on the third string
• E on the fourth string
• C on the 5th string
• Sixth string is not played.^[49]

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 way Yard: iii×0033

For the other ordinarily used chords, the conventional fingerings as well double notes and feature open-string notes:

• 

  A Major Chord

• 

  D Major Chord

• 

  E Major Chord

• 

  G Major Chord

Besides doubling the 5th 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 beginning finger depressing five–six strings.

• 

  B Major Chord

• 

  F Major Chord

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

Minor [edit]

Small-scale chords (commonly notated as C-, Cm, Cmi or Cmin) are the aforementioned as major chords except that they have a minor 3rd instead of a major tertiary. This is a difference of one semitone.

To create F modest from the F major chord (in E major shape), the second finger should be lifted and then that the 3rd string plays onto the barre. Compare the F major to F minor:

• 

  F Major Chord

• 

  F Small-scale Chord

The other shapes can be modified besides:

Chord proper noun	Fret numbers
E minor	[0 2 2 0 0 0]
A minor	[X 0 2 ii one 0]
D minor	[X X 0 ii 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

• Due east SUS4 022200
• F SUS4 133311
• One thousand SUS4 355533

These chords are used extensively by My Encarmine Valentine, on the album Loveless. They are also used on the Who vocal "Pinball Magician" and many, many more than songs.

Dominant sevenths: drop two [edit]

In standard tuning, the C7 chord has notes on frets 3–8. Covering six frets is hard, and so C7 is rarely played. Instead, an "alternative voicing" is substituted.

Equally previously stated, a ascendant 7th is a four-note chord combining a major chord and a minor seventh. For example, the C7 ascendant 7th chord adds B ♭ to the C-major chord (C,E,G). The naive chord (C,E,One thousand,B ♭ ) spans six frets from fret three to fret viii;^[50] such 7th chords "comprise some pretty serious stretches in the left manus".^[47] An illustration shows a naive C7 chord, which would be extremely difficult to play,^[fifty] as well the open-position C7 chord that is conventional in standard tuning.^{[l] [h]} The standard-tuning implementation of a C7 chord is a second-inversion C7 drop 2 chord, in which the second highest annotation in a second inversion of the C7 chord is lowered past an octave.^{[l] [52] [53]} Drop-ii chords are used for sevenths chords likewise the major–modest seventh with dominant part,^[54] which are discussed in the department on intermediate chords, below. Driblet-two chords are used particularly in jazz guitar.^[55] Drib-two second-inversions are examples of openly voiced chords, which are typical of standard tuning and other pop guitar tunings.^[i]

"Alternatively voiced" 7th chords are usually 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, dissimilar the B major.)
• D7:[XX0212]

Other chord inversions [edit]

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

In standard tuning, chord inversion depends on the bass annotation's cord, and so at that place 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 case, if the notation E (the open sixth string) is played over the A pocket-size chord, and so the chord would be [0 0 2 2 1 0]. This has the notation Due east as its everyman tone instead of A. It is oft written as Am/E, where the letter of the alphabet following the slash indicates the new bass notation. Notwithstanding, in popular music it is usual to play inverted chords on the guitar when they are not office of the harmony, since the bass guitar can play the root pitch.

Alternate tunings [edit]

Chords have consistent shapes everywhere on the fretboard for each regular tuning, for example, major-thirds (M3) tuning.

Chords can be shifted diagonally in regular tunings.

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

• Open tunings each permit a chord to exist played by strumming the strings when "open", or while fretting no strings.^{[57] [58]} Open up 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 driblet-D tuning, the standard tuning'due south E-string is tuned downward to a D note. With driblet-D tuning, the bottom three strings are tuned to a root–fifth–octave (D–A–D) tuning, which simplifies the playing of ability chords.^{[62] [63]}
• Regular tunings allow chord note-forms to be shifted all around the fretboard, on all vi strings (different standard or other not-regular tunings). Knowing a few annotation-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 lot'll know hundreds of chords!"</ref>

Open tunings [edit]

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 iii 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 ane 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.^{[threescore] [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 up-G overtones tuning One thousand–One thousand–D–M–B–D, the (M,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 up-string minor-3rd (B,D) induces minor thirds among all the frets of the B-D strings. The thirds of equal temperament have aural deviations from the thirds of but intonation: Equal temperaments is used in mod music because it facilitates music in all keys, while (on a piano and other instruments) just intonation provided better-sounding major-tertiary intervals for only a subset of keys.^[64] "Sonny Landreth, Keith Richards and other open-G masters ofttimes lower the 2nd string slightly and then 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 ii non-Castilian classical-guitars. For the English guitar the open chord is C major (C–E–G–C–E–G);^[66] for the Russian guitar which has seven strings, G major (Grand–B–D–G–B–D–M).^{[67] [68] [69]} Mixing a perfect 4th and a pocket-sized 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, considering they have augmented triads equally their open up chords.^[70]

Regular tunings [edit]

Guitar chords are dramatically simplified past the class of alternative tunings chosen regular tunings. In each regular tuning, the musical intervals are the aforementioned 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.

Major-thirds tuning repeats its notes after three strings.

Farther simplifications occur for the regular tunings that are repetitive, that is, which echo their strings. For case, the Eastward–Thousand ♯ –c–due east–yard ♯ –c' M3 tuning repeats its octave afterwards every 2 strings. Such repetition farther 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.^[74]

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 notation. Chord inversion is particularly simple in M3 tuning. Chords are inverted just by raising ane or 2 notes by iii strings; each raised note is played with the aforementioned finger as the original note. Inverted major and modest chords can exist 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 tin can involve four frets.^[77]

Information technology is a challenge to conform 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 ascendant sevenths—are tertian chords, which concatenate third intervals, with each such tertiary beingness either major (M3) or minor (m3).

More triads: diminished and augmented [edit]

As discussed in a higher place, 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.

Like tertian harmonization yields the remaining two triads:

• the diminished triad concatenates (m3,m3), supplementing m3 with a diminished-fifth interval, and
• the augmented triad concatenates (M3,M3), supplementing M3 with an augmented-5th interval.

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

Stacking thirds too constructs the nearly used 7th-chords. The nearly 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 information technology with a pocket-size-seventh interval.
2. The major 7th concatenates a major triad with a major tertiary, supplementing it with a major-7th interval.
3. The modest seventh concatenates a minor triad with a small-scale third, supplementing information technology with a minor-7th interval.
4. The half-macerated seventh concatenates a diminished triad with a major third, supplementing it with a macerated-seventh interval.
5. The (fully) diminished seventh concatenates a macerated triad with a pocket-sized third, supplementing it with a diminished-seventh interval.^[79]

Four of these five 7th-chords—all just the diminished seventh—are synthetic via the tertian harmonization of a major scale.^[80] Every bit already stated,

1. The major-minor seventh has the dominant V^vii role.
2. The major seventh plays the tonic (I7) and subdominant (IV⁷) roles;
3. The minor seventh plays the ii⁷, iii⁷, and six^vii roles.
4. The half-diminished 7th plays the seven ^{ø 7} role.

While absent from the tertian harmonization of the major scale,

• The diminished seventh plays the vii ^{o seven} part in the tertian harmonization of the harmonic small scale.^[eighty]

Besides these 5 types in that location are many more than 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 before, the 3rd of a triad is doubled to emphasize its major or minor quality; similarly, the 3rd of a seventh is doubled to emphasize its major or minor quality. The well-nigh 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, bundled by the circle of perfect fifths (perfect fourths). Fretboard diagrams for major-thirds tuning are shown. FifthsC.mid(help·info)

The previously discussed I–IV–V chord progressions of major triads is a subsequence of the circumvolve 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 past a perfect fourth (v semitones) or descending by a perfect fifth (7 semitones). For example, the jazz standard "Autumn Leaves" contains the iv^seven–VII^vii–VIM^vii–ii ^{ø 7}–i circumvolve-of-fifths chord progression;^[82] its sevenths occur in the tertian harmonization in sevenths of the minor scale.^[83] Other subsequences of the fifths-circle chord progression are used in music. In item, the ii–V–I progression is the well-nigh important chord progression in jazz music.

Chord chart guide for major inversions [edit]

Major inversions for guitar in standard tuning. The depression E is on the left. The A demonstrates three of the dissimilar 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]

Besides the dominant seventh chords discussed above, other seventh chords—peculiarly pocket-sized seventh chords and major seventh chords—are used in guitar music.

Minor 7th chords have the post-obit fingerings in standard tuning:

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

Major seventh chords take 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 3 consecutive strings in four consecutive frets.^{[85] [86]} This iv-fret arrangement facilitates the left-paw technique for classical (Spanish) guitar:^[86] For each hand position of four frets, the hand is stationary and the fingers move, each finger beingness responsible for exactly 1 fret.^[87] Consequently, iii paw positions (covering frets ane–four, 5–8, and 9–12) partition the fingerboard of classical guitar,^[88] which has exactly 12 frets.^[1000]

Just two or 3 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] [92]} Each major and minor chord can be played on exactly two successive frets on exactly three successive strings, and therefore each needs merely two fingers. Other chords—seconds, fourths, sevenths, and ninths—are played on merely three successive frets.^[93]

Advanced chords and harmony [edit]

Sequences of thirds and seconds [edit]

The circle of fifths was discussed in the department on intermediate guitar chords. Other progressions are likewise based on sequences of third intervals;^[94] progressions are occasionally based on sequences of 2d intervals.^[95]

Extended chords [edit]

Equally their chiselled name suggests, extended chords indeed extend 7th chords by stacking i or more than additional 3rd-intervals, successively constructing ninth, eleventh, and finally thirteenth chords; thirteenth chords comprise all seven notes of the diatonic scale. In airtight position, extended chords contain dissonant intervals or may sound supersaturated, especially thirteenth chords with their seven notes. Consequently, extended chords are often played with the omission of one or more tones, particularly the fifth and often the tertiary,^{[96] [97]} equally already noted for seventh chords; similarly, eleventh chords often omit the ninth, and thirteenth chords the ninth or eleventh. Oftentimes, the third is raised an octave, mimicking its position in the root's sequence of harmonics.^[96]

Ascendant 9th 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 correct, low E to high e)

Major ix

• AM9: [XX7454]
• BbM9: [XX8565]
• BM9: [XX9676]
• CM9: [Xx(10)787]
• C#M9: [XX(eleven)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, equally sketched above. Jazz guitarists must be fluent with jazz chords and as well 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 Ruddy for the title track on its Red album of 1974;^{[101] [102]} whole tone scales were also used by Male monarch Ruddy 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 oft extended also with added tones, especially added sixths.^[103]

Quartal and quintal harmony [edit]

Chords are also systematically constructed past stacking not merely thirds but also fourths and fifths, supplementing tertian major–pocket-sized harmony with quartal and quintal harmonies. Quartal and quintal harmonies are used by guitarists who play jazz, folk, and stone music.

Quartal harmony has been used in jazz by guitarists such equally Jim Hall (especially on Sonny Rollins'due south The Span), George Benson ("Skydive"), Kenny Burrell ("So What"), and Wes Montgomery ("Little Sunflower").^[104]

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 besides appear in alternate tunings. Information technology 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 Male monarch Blood-red. Preferring to base chords on perfect intervals—especially octaves, fifths, and fourths—Fripp frequently avoids minor thirds and especially major thirds,^[106] which are sharp in equal temperament tuning (in comparison to thirds in merely intonation).

Alternative harmonies can too be generated by stacking second intervals (major or minor).^[107]

See also [edit]

• Chord diagram (guitar)
• Mel Bay's Palatial Encyclopedia of Guitar Chords
• Voice leading

References [edit]

Footnotes [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 5th (b,f ♯ ) containing the chromatic note f ♯ , which is non a member of the C-major key. The annotation f (of the C-major calibration) is replaced by the note f ♯ in the Lydian chromatic scale.^[5]

   

3. ^ Perfect fifths have been emphasized since the chants and hymns of medieval Christendom, according to the medieval musical-theory called the organum.^[half-dozen]
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, Due east, E7; F; G, G7.^[xi]
5. ^ ^{a b c d e f} This 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; Thousand, G7.^[xi]
6. ^ ^{a b c} Roman numeral analysis.^[17]
7. ^ The harmony of major chords has dominated music since the Baroque era (17th and 18th centuries).^[34] The Baroque period also introduced the dominant seventh.^[35]
8. ^ The culling voicing of the C7 chord follows the commencement 7th-chord diagram of (Denyer 1992).^[51]
9. ^ Closed voicings, which are typical of minor-thirds tuning, are typical as well of a keyboard or piano.^[56]
10. ^ Musicologist Eric Tamm wrote that despite "considerable try and search I just could non find a expert set of chords whose sound I liked" for rhythm guitar.^[78]
11. ^ Classical guitars take 12 frets, while steel-string acoustics have 14 or more.^[89] Electric guitars have more than frets, for example 20.^[90]

Citations [edit]

1. ^ Persichetti 1961, p. 14.
2. ^ Denyer 1992, Playing the guitar: The harmonic guitarist; Intervals: Interval chart, pp. 118–119.
3. ^ Persichetti 1961, pp. 23–24.
4. ^ Denyer 1992, p. 114.
5. ^ Russell 2001, "The primal harmonic structure of the Lydian calibration", Example i:7, "The C Lydian scale", p. 5.
6. ^ Duarter 2008, p. 49.
7. ^ ^{a b c d eastward} Denyer (1992, "The advanced guitarist; Power chords and fret tapping: Power chords", p. 156)
8. ^ Kolb 2005, "Chapter seven: Chord structure; Suspended chords, power chords, and 'add' chords", p. 42.
9. ^ Denyer 1992, "The Guitar Innovators: Pete Townshend", pp. 22–23.
10. ^ Mead 2002, pp. 28 and 81, compare p. 40.
11. ^ ^{a b} Denyer (1992, The beginner, Open chords, The beginner'south chord dictionary, pp. 74–75) and Schmid & Kolb (2002, Chord chart, p. 47).
12. ^ Denyer 1992, pp. 123–125.
13. ^ Kolb 2005, Chapter 6: Harmonizing the major calibration, pp. 35–38; Chapter vii: Chord construction, pp. 40–48; and Affiliate 8: Harmonizing the small-scale calibration, pp. 49–51.
14. ^ Duckworth 2007, Affiliate 11 "Triads" and Affiliate 12 "Triads in a musical context".
15. ^ Kolb (2005, Affiliate 5: Triads, Major and pocket-sized triads, pp. 30-31)
16. ^ Griewank (2010, p. five)
17. ^ Denyer 1992, "The beginner: The three-chord theory, Chords built on the major calibration in five common keys", p. 76.
18. ^ ^{a b c d} Denyer (1992, "The beginner: The three-chord theory, Chord progressions based on the three-chord theory", p. 77)
19. ^ Kolb 2005, Affiliate half-dozen: Harmonizing the major calibration, Diatonic triads, Figure3, Harmonized major scales (triads), p. 38.
20. ^ Everett 2008, p. 35.
21. ^ Kolb 2005, Chapter six: Harmonizing the major scale: Diatonic triads, pp. 35–36.
22. ^ Duckworth 2007, p. 239.
23. ^ Kolb 2005, Chapter viii: Harmonizing the major scale, Effigy 4, Harmonized minor scales (triads), p. 50.
24. ^ Denyer 1992, pp. 77–78.
25. ^ Duckworth 2007, p. 156.
26. ^ Kolb 2005, Chapter eight: Harmonizing the pocket-size scale, Modest calibration triads, pp. 49–50.
27. ^ Kostka, Payne & Almén 2013, Affiliate three: Introduction to triads and seventh chords, 7th chords, pp. 40–41, and Affiliate 13: The Five⁷ chord, p. 198.
28. ^ Duckworth 2007, p. 245.
29. ^ Kostka, Payne & Almén 2013, Affiliate 3: Introduction to triads and seventh chords, Seventh chords, p. 40–41, Affiliate 13: The V⁷ chord, p. 198, and Chapter 14, The 2^vii and VII⁷ chords, p. 217.
30. ^ Kolb 2005, Chapter 6: Harmonizing the major scale, Diatonic seventh chords, pp. 37–38; Chapter 7: Chord structure, Seventh chords, Diminished 7th, ascendant seventh SUS4, and pocket-sized(maj7) chords, pp. 44–45; Chapter 8: Harmonizing the minor scale: Small-scale scale seventh chords, p. 51.
31. ^ Kolb 2005, Chapter half-dozen: Figure 5, Harmonized major scales (seventh chords), p. 38.
32. ^ ^{a b} Benitez (2010, p. 29)
33. ^ Kolb 2005, Chapter 6: Harmonizing the major scale, Diatonic 7th chords, pp. 37–38.
34. ^ Benward & Saker 2003, p. 100.
35. ^ Benward & Saker 2003, p. 201.
36. ^ ^{a b} Denyer (1992, "The beginner: The three-chord theory: Blues chord progressions, p. 77)
37. ^ Kolb 2005, Chapter 10: Blues harmony and pentatonic scales, The 12-bar blues progression", pp. 61–62.
38. ^ LeVan, John (December 2007). "Go Basics!". Acoustic Guitar. Cord Letter of the alphabet Publishing. ^{[ dead link ]}
39. ^ Sethares (2001, pp. 54)
40. ^ Denyer (1992, "The harmonic guitarist: Interval inversions, Triad doubling", p. 123)
41. ^ Clendinning & Marvin 2005, p. 181.
42. ^ Denyer 1992, p. 119.
43. ^ Marcus 2012, p. 46.
44. ^ Marcus 2012, pp. 40–43.
45. ^ Marcus 2012, pp. 39–xl.
46. ^ Marcus 2012, p. 181.
47. ^ ^{a b} Kolb (2005, Chapter six: Harmonizing the major scale: Diatonic seventh chords, p. 37)
48. ^ ^{a b} Roche (2004, p. 104)
49. ^ Denyer 1992, p. 75.
50. ^ ^{a b c d} Smith (2010, pp. 92–93)
51. ^ Denyer 1992, "The harmonic guitarist: Seventh chords: The dominant seventh chords", p. 127.
52. ^ Chapman 2000, p. half-dozen.
53. ^ Fisher 2002, 'Drib voicing' and '7th chords in driblet two and drop 3 voicings', pp. thirty–33.
54. ^ Willmott 1994, Chapter 1: Drop 2 type voicings, pp. 8–13.
55. ^ Vincent 2011, pp. 2–seven.
56. ^ Sethares 2001, "The small 3rd tuning", p. 54.
57. ^ Roche (2004, "Open up tunings", pp. 156–159)
58. ^ Roche (2004, "Cross-note tunings", p. 166)
59. ^ ^{a b c} Denyer (1992, p. 158)
60. ^ ^{a b c} Sethares (2009, p. 16)
61. ^ ^{a b} Denyer (1992, p. 160)
62. ^ Roche (2004, pp. 153–156)
63. ^ Denyer (1992, pp. 158–159)
64. ^ Gilt, Jude (1 December 2005). "But desserts: Steve Kimock shares the sweet sounds of justly tuned thirds and sevenths". Master class. Guitar Histrion. ^{[ expressionless link ]}
65. ^ Gold, Jude (June 2007). "Fender VG Stratocaster". Gear: Bench Exam (Product/service evaluation). Guitar Player. Archived from the original on 16 Jan 2013.
66. ^ Annala & Mätlik 2007, p. 30.
67. ^ Ophee, Matanya (ed.). 19th Century etudes for the Russian 7-string guitar in G Op. The Russian Collection. Vol. 9. Editions Orphee. PR.494028230. Archived from the original on four July 2013.
68. ^ Ophee, Matanya (ed.). Selected Concert Works for the Russian 7-String Guitar in G open up tuning. The Russian Collection. Vol. 10. Editions Orphee. PR.494028240. Archived from the original on 4 July 2013.
69. ^ Timofeyev 1999, p.^{[ folio needed ]}.
70. ^ Sethares (2001, "The major tertiary tuning", pp. 56–57)
71. ^ Griewank (2010, p. 3)
72. ^ ^{a b} Kirkeby, Ole. "Major thirds tuning". M3 Guitar. Archived from the original on 24 July 2012. Retrieved ten June 2012. Cited by Sethares (2012) and Griewank (2010, p. 1)
73. ^ Sethares (2001, p. 52)
74. ^ Sethares 2001, p. 58.
75. ^ ^{a b} Kirkeby, Ole. "Fretmaps, Major Chords". M3 Guitar. Archived from the original on 25 July 2012.
76. ^ Griewank (2010, p. 10)
77. ^ Denyer (1992, p. "Triads: Triad inversions", p. 121)
78. ^ Tamm 2003.
79. ^ ^{a b} Kostka, Payne & Almén (2013, pp. forty–41)
80. ^ ^{a b} Kostka, Payne & Almén (2013, pp. 61–62 and 65)
81. ^ ^{a b} Kostka, Payne & Almén (2013, p. 217)
82. ^ Kostka, Payne & Almén (2013, pp. 238 and 46)
83. ^ Kolb 2005, p. 51.
84. ^ "Major Chord Inversion Guitar Lesson". thoughtco.com. Archived from the original on fourteen October 2017.
85. ^ Peterson (2002, pp. 36–37)
86. ^ ^{a b} Griewank (2010, p. nine)
87. ^ Denyer (1992, p. 72)
88. ^ Peterson (2002, p. 37)
89. ^ Denyer 1992, p. 45.
90. ^ Denyer 1992, p. 77.
91. ^ Mead 2002, pp. 28 and 81.
92. ^ Duckworth 2007, p. 339.
93. ^ Griewank (2010, p. 2)
94. ^ Kostka, Payne & Almén 2013, pp. 430–438 and 442–446.
95. ^ Kostka, Payne & Almén 2013, p. 475.
96. ^ ^{a b} Kostka, Payne & Almén (2013, Affiliate 26: Materials and techniques, Chord structures, p. 465)
97. ^ ^{a b} Kolb (2005, p. 45)
98. ^ Kostka, Payne & Almén 2013, Chapter 26: Materials and techniques, Chord structures, p. 464.
99. ^ Cranwell, Jim. "Superstrings Guitar Chord Name Finder". Gootar.com. Archived from the original on xix October 2017.
100. ^ Denyer (1992, p. 101)
101. ^ ^{a b} Macon (1997, p. 55)
102. ^ Tamm 1995, p. 85.
103. ^ Clendinning & Marvin 2005, p. 511.
104. ^ Floyd 2004, p. iv.
105. ^ Whitesell 2008, pp. 131 and 202–203.
106. ^ Mulhern, Tom (January 1986). "On the discipline of craft and art: An interview with Robert Fripp". Guitar Role player. 20: 88–103. Archived from the original on 16 February 2015. Retrieved 8 January 2013.
107. ^ Kostka, Payne & Almén 2013, pp. 470–471.

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• Sethares, William A. (18 May 2012). "Alternate tuning guide". Madison, Wisconsin: University of Wisconsin; Department of Electrical Applied science. Retrieved 8 December 2012.
• Smith, Johnny (2010). "XVII: Upper structure inversions of the dominant seventh chords". Mel Bay's complete Johnny Smith approach to guitar. Consummate series. Mel Bay Publications. pp. 92–97. ISBN978-1-6097-4959-0.
• Tamm, Eric (1995) [1989]. "Chapter nine: Eno's Progressive Rock Music ('Pop songs')". Brian Eno: His Music and the Vertical Color of Sound. New York: Da Capo Press. ISBN0-306-80649-v. Archived from the original on 5 December 2006.
• Tamm, Eric (2003) [1990]. "Affiliate X: Guitar Arts and crafts". Robert Fripp: From crimson male monarch to crafty chief. Faber and Faber. ISBN0-571-16289-four. Archived from the original on 26 October 2011. Retrieved 25 March 2012 – via Progressive Ears. Zipped Microsoft Word Certificate
• Timofeyev, Oleg Five. (1999). The gilded age of the Russian guitar: Repertoire, performance practice, and social function of the Russian seven-string guitar music, 1800–1850 (PhD dissertation). Ann Arbor, MI (published 2006). pp. 1–584. OCLC 936747346.
• Vincent, Randy (2011). "Chapter Two: Tweaking drop two". Jazz guitar voicings. Vol. I. Sher Music Company. ISBN978-1457101373.
• Whitesell, Lloyd (2008). The music of Joni Mitchell. Oxford University. ISBN978-0-xix-530757-3.
• Willmott, Bret (1994). Mel Bay'due south complete book of harmony, theory and voicing. Mel Bay Publications. ISBN156222994X.

Further reading [edit]

• Bay, William (2008). Deluxe guitar chord encyclopedia: Case-size edition. Mel Bay Publications. ISBN978-0-7866-7522-vii.
• Kirkeby, Ole (August 2013). "Welcome to M3 Guitar Version iii.0!". M3 Guitar. Archived from the original on 11 Apr 2015. Retrieved x June 2012.
• Patt, Ralph (1962). Guitar chord dictionary. H. Adler.

Berklee College of Music [edit]

Professors at the Department of Guitar at the Berklee Higher of Music wrote the following books, which similar their colleagues' Chapman (2000) and Willmott (1994) are Berklee-course textbooks:

• Goodrick, Mick (1987). The advancing guitarist: Applying guitar concepts and techniques. Hal Leonard Corp. ISBN0881885894.
• Goodrick, Mick (2003). Mr. Goodchord'due south almanac of guitar vox-leading: Name that chord. Mr. Goodchord's almanac of guitar vocalisation-leading: For the year 2001 and beyond. Vol. 1. Liquid Harmony Books. ISBN0971185808.
• Goodrick, Mick; Miller, Tim (2012). Creative chordal harmony for guitar: Using generic modality compression. Berklee Printing. ISBN978-0876391280.
• Peckham, Rick (2007). Berklee jazz guitar dictionary. Berklee Higher of Music. Ha Leonard. ISBN978-0876390795.
• Peckham, Rick (2009). Berklee rock guitar dictionary. Berklee Higher of Music. Hal Leonard. ISBN978-0876391068.

External links [edit]

• Interactive Guitar Chord Database
• Guitar at Curlie
• Chord Intervals
• Guitar Lessons at Curlie

brownchaketherver.blogspot.com

Source: https://en.wikipedia.org/wiki/Guitar_chord

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