guitar chord concepts

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Guitar chord

Ry Cooder plays slide guitar usingan open tuning that allows majorchords to be played by barring the

From Wikipedia, the free encyclopedia

In music, a guitar chord is a set of notes played on a

guitar. A chord's notes are often played simultaneously,

but they can be played sequentially in an arpeggio.

The implementation of guitar chords depends on the guitar

tuning. Most guitars used in popular music have six strings

with the "standard" tuning of the Spanish classical-guitar,

namely E-A-D-G-B-E' (from the lowest pitched string to the

highest); in standard tuning, the intervals present among

adjacent strings are perfect fourths except for the major

third (G,B). Standard tuning requires four chord-shapes for

the major triads. There are separate chord-forms for

chords having their root note on the third, fourth, fifth, and

sixth strings. For a six-string guitar in standard tuning, it

may be necessary to drop or omit one or more tones from

the chord; this is typically the root or fifth. The layout of

notes on the fretboard in standard tuning often forces

guitarists to permute the tonal order of notes in a chord.

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strings anywhere along their length.The playing of conventional chords is simplified by open

tunings, which are especially popular in folk, blues guitar

and non-Spanish classical guitar (such as English and

Russian guitar). For example, the typical twelve-bar blues uses only three chords, each of which

can be played (in every open tuning) by fretting six-strings with one finger. Open tunings are used

especially for steel guitar and slide guitar. Open tunings allow one-finger chords to be played with

greater consonance than do other tunings, which use equal temperament, at the cost of increasing

the dissonance in other chords.

The playing of (3-5 string) guitar chords is simplified by the class of alternative tunings called

regular tunings, in which the musical intervals are the same for each pair of consecutive strings.

Regular tunings include major-thirds tuning, all-fourths, and all-fifths tunings. For each regular

tuning, chord patterns may be diagonally shifted down the fretboard, a property that simplifies

beginners' learning of chords and that simplifies advanced players' improvisation. On the other

hand, in regular tunings 6-string chords (in the keys of C, G, and D) are more difficult to play.

Conventionally, guitarists double notes in a chord to increase its volume, an important technique

for players without amplification; doubling notes and changing the order of notes also changes the

timbre of chords. It can make a possible a "chord" which is composed of the all same note on

different strings. Many chords can be played with the same notes in more than one place on the

fretboard.

Contents [hide]

1 Musical fundamentals

1.1 Intervals

1.1.1 Perfect fifths

1.1.1.1 Cycle of fifths

1.1.1.2 Power chord

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1.2 Chords in music theory

1.2.1 Triads

1.2.1.1 Major

1.2.1.1.1 Progressions

1.2.1.2 Minor

1.2.2 Seventh chords: Major-minor chords with dominant function

1.3 Twelve-bar blues

2 Playing chords: Open strings, inversion, and note doubling

3 Fundamental chords

3.1 Standard tuning

3.1.1 Power chords: Fingerings

3.1.2 Triads

3.1.2.1 Major

3.1.2.2 Minor

3.1.3 Dominant sevenths: Drop two

3.1.4 Other chord inversions

3.2 Alternate tunings

3.2.1 Open tunings

3.2.2 Regular tunings

4 Intermediate chords

4.1 Tertian harmonization

4.1.1 More triads: Diminished and augmented

4.1.2 More sevenths: Major, minor, and (half-)diminished

4.1.3 Chord progression: Circle of fifths

4.2 Specific tunings

4.2.1 Standard tuning: Minor and major sevenths

4.2.2 Major-thirds tuning


5 Advanced chords and harmony

5.1 Sequences of thirds and seconds

5.2 Extended chords

5.3 Alternative harmonies

5.3.1 Scales and modes

5.3.2 Beyond tertian harmony

5.3.2.1 Quartal and quintal harmony

6 See also

7 References

7.1 Footnotes

7.2 Citations

7.3 Bibliography

8 Further reading

8.1 Berklee College of Music

9 External links

Musical fundamentals [edit]The theory of guitar-chords respects harmonic conventions of Western music. Discussions of

basic guitar-chords rely on fundamental concepts in music theory: the twelve notes of the octave,

musical intervals, chords, and chord progressions.

Intervals [edit]Main article: Interval (music)

See also: Major scale

The octave consists of twelve notes. Its natural notes


The chromatic circle lists the twelvenotes of the octave. Consecutive notesdiffer by exactly one semitone.

C major scale

One octave played up and dow n in the cmajor scale on the piano

Problems playing this file? See media help.

A one-octave C major scale.

constitute the C major scale, (C, D, E, F, G, A, B, and C).

The intervals between the notes of a chromatic scale are

listed in a table, in which only the emboldened intervals

are discussed in this article's section on fundamental

chords; those intervals and other seventh-intervals are

discussed in the section on intermediate chords. The

unison and octave intervals have perfect consonance.

Octave intervals were popularized by the jazz playing of

Wes Montgomery. The perfect-fifth interval is highly

consonant, which means that the successive playing of the

two notes from the perfect fifth sounds harmonious.

A semitone is the distance between two

adjacent notes on the chromatic circle,

which displays the twelve notes of an

octave.[1]

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Initial eight harmonics on C, namely(C,C,G,C,E,G,B,C)

Play simultaneously (helpinfo)

Intervals

Number of

semitones

Minor, major, or perfect

intervalsAudio Harmoniousness[2][3]

0 Perfect unison Play (helpinfo) Open consonance

1 Minor second Play (helpinfo) Sharp dissonance

2 Major second Play (helpinfo) Mild dissonance

3 Minor third Play (helpinfo) Soft consonance

4 Major third Play (helpinfo) Soft consonance

5 Perfect fourth Play (helpinfo) Ambivalence


6 Augmented fourth Play (helpinfo) Ambiguous

7 Perfect fifth Play (helpinfo) Open consonance

8 Minor sixth Play (helpinfo) Soft consonance

9 Major sixth Play (helpinfo) Soft consonance

10 Minor seventh Play (helpinfo) Mild dissonance

11 Major seventh Play (helpinfo) Sharp dissonance

12 Octave Play (helpinfo) Open consonance

As indicated by their having been emboldened in the table, a handful of intervalsthirds (minor

and major), perfect fifths, and minor seventhsare used in the following discussion of fundamental

guitar-chords.

As already stated, the perfect-fifths (P5) interval is the most harmonious, after the unison and

octave intervals. An explanation of human perception of harmony relates the mechanics of a

vibrating string to the musical acoustics of sound waves using the harmonic analysis of Fourier

series. When a string is struck with a finger or pick (plectrum), it vibrates according to its harmonic

series. When an open-note C-string is struck, its harmonic series begins with the terms

(C,C,G,C,E,G,B,C). The root note is associated with a sequence of intervals, beginning with the

unison interval (C,C), the octave interval (C,C), the perfect fifth (C,G), the perfect fourth (G,C),

and the major third (C,E). In particular, this sequence of intervals contains the thirds of the C-major

chord {(C,E),(E,G)}.[4]

"With a note of music, one strikes the fundamental, and, in addition to the root note,

other notes are generated: these are the harmonic series.... As one fundamental note

contains within it other notes in the octave, two fundamentals produce a remarkable

array of harmonics, and the number of possible combinations between all the notes


array of harmonics, and the number of possible combinations between all the notes

increases phenomenally. With a triad, affairs stand a good chance of getting severely

out of hand."

Robert Fripp, Denyer (1992, p. 114)

Perfect fifths [edit]

The perfect-fifth interval is featured in guitar playing and in sequences of chords. The sequence of

fifth intervals built on the C-major scale is used in the construction of triads, which is discussed

below.[5]

Cycle of fifths [edit]

Concatenating the perfect fifths ((F,C), (C,G), (G,D), (D,A), (A,E), (E,B),...) yields the sequence offifths (F,C,G,D,A,E,B,...); this sequence of fifths displays all the notes of the octave.[6] This

sequence of fifths shall be used in the discussions of chord progressions, below.

Power chord [edit]

Main article: Power chord

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disabled or does not have any supported

player.

You can download the clip or download a

player to play the clip in your browser.


The Who's Peter Townshendoften used a theatrical "windmill"strum to play "power chords"aroot, fifth, and octave.

Main article: Power chord

The perfect-fifth interval is called a power chord by guitarists,

who play them especially in blues and rock music.[7][8]

The Who's guitarist, Peter Townshend, performed

power chords with a theatrical windmill-strum.[7][9]

Power chords are often played with the notes repeated in

higher octaves.[7]

Although established, the term "power chord" is inconsistent

with the usual definition of a chord in musical theory, which

requires three (or more) distinct notes in each chord.[7]

Chords in music theory [edit]

A brief overview

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][11] are discussed. These basic

chords arise in chord-triples that are


C Major (C,E,G) beginswith the major third (C,E).

C Minor (C,E,G) beginswith minor third (C,E).

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

conventional in Western music, triples that

are called three-chord progressions. After

each type of chord is introduced, its role in

three-chord progressions is noted.

Intermediate discussions of chords derive

both chords and their progressions

simultaneously from the harmonization of scales. The basic guitar-chords can be constructed by

"stacking thirds", that is, by concatenating two or three third-intervals, where all of the lowest notes

come from the scale.[12]

Triads [edit]

Major [edit]

Both major and minor chords are examples of musical triads, which contain three distinct notes.

Triads are often introduced as an ordered triplet:

the root;

the third, which is above the root by either a major third (for a major chord) or a minor third (for

a minor chord);

the fifth, which is a perfect fifth above the root; consequently, the fifth is a third above the third

either a minor third above a major third or a major third above a minor third.[13][14] The major

triad has a root, a major third, and a fifth. (The major chord's major-third interval is replaced by

a minor-third interval in the minor chord, which shall be discussed in the next subsection.)

Major chords

Chord Root Major third Fifth

C C E G


C C E G

D D F A

E E G B

F F A C

G G B D

A A C E

B[15] B D F

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

The three notes of a major triad have been introduced as an ordered triplet, namely (root, third,

fifth), where the major third is four semitones above the root and where the perfect fifth is seven

semitones above the root. This type of triad is in closed position. Triads are quite commonly

played in open position: For example, the C-major triad is often played with the third (E) and

fifth (G) an octave higher, respectively sixteen and nineteen semitones above the root. Another

variation of the major triad changes the order of the notes: For example, the C-major triad is often

played as (C,G,E), where (C,G) is a perfect fifth and E is raised an octave above the perfect third

(C,E). Alternative orderings of the notes in a triad are discussed below (in the discussions of chord

inversions and drop-2 chords).

In popular music, a subset of triads is emphasizedthose with notes from the three major-keys (C,

G, D), which also contain the notes of their relative minor keys (Am, Em, Bm).[16]

Progressions [edit]


Stacking the C-major scale with thirds creates a chordprogression Play (helpinfo), traditionally enumerated with the

Roman numerals I, ii, iii, IV, V, vi, viio. Its major-key sub-progression C-F-G (I-IV-V) is conventional in popular music. Inthis progression, the minor triads ii-iii-vi appear in the relativeminor key (Am)'s corresponding chord progression.

Elvis Presley's "Hound Dog" usedthe I-IV-V chord progression.

The major chords are highlighted by

the three-chord theory of chord

progressions, which describes the

three-chord song that is archetypal in

popular music. When played

sequentially (in any order), the chords

from a three-chord progression sound

harmonious ("good together").[17]

The most basic three-chord

progressions of Western harmony have only major chords.

In each key, three chords are designated with the Roman

numerals (of musical notation): The tonic (I), the

subdominant (IV), and the dominant (V). While the chords

of each three-chord progression are numbered (I, IV, and

V), they appear in other orders.[17][18]

Basic three-chord progressions[17][19]

Key Tonic (I) Subdominant (IV) Dominant (V)

C C F G

D D G A

E E A B

G G C D

A A D E

In the 1950s the I-IV-V chord progression was used in


An A-minor scale has the samepitches as the C major scale, becausethe C major and A minor keys arerelative major and minor keys.

Play (helpinfo)

"Hound Dog" (Elvis Presley) and in "Chantilly Lace" (The Big Bopper).[20]

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, iii, IV, V, vi, viio; its sub-progression C-F-G (I-IV-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 minor third creates the dominant

seventh chord, which shall be discussed after minor chords.

Minor [edit]

A minor chord has the root and the fifth of the

corresponding major chord, but its first interval is a minor

third rather than a major third:

Minor chords

Chord Root Minor third Perfect fifth

Cm[15] C E G

Dm D F A

Em E G B

Fm[15] F A C

Gm[15] G B D

Am A C E

Bm[15] B D F

Minor chords arise in the harmonization of the major scale in thirds, which was already discussed:


The minor chords have the degree positions ii, iii, and vi.

Minor three-chord progressions[18][23]


Cm Cm Fm G7

Dm Dm Gm A7

Em Em Am B7

Gm Gm Cm D7

Am Am Dm E7

Minor chords arise as the tonic notes


Major and minor keys that share the same key signature arepaired as relative-minor and relative-major keys.

Minor chords arise as the tonic notes

of minor keys that share the same key

signature with major keys. From the

major key's I-ii-iii-IV-V-vi-viio

progression, the "secondary" (minor)

triads ii-iii-vi appear in the relative

minor key's corresponding chord

progression as i-iv-v (or i-iv-V or i-iv-

V7): For example, from C's vi-ii-iii

progression Am-Dm-Em, the chord Em

is often played as E or E7 in a minor

chord progression.[24] Among basic

chords, the minor chords (D,E,A) are

the tonic chords of the relative minors

of the three major-keys (F,G,C):

Key

signature

Major

key

Minor

key

B F major D minor

C major A minor

F G major E minor

The technique of changing among relative keys (pairs of relative majors and relative minors) is a

form of modulation.[25] Minor chords are constructed by the harmonization of minor scales in

triads.[26]


The previously noted chord progression with a dominantseventh Play (helpinfo). The dominant seventh (V7) chordG7=(G,B,D,F) increases the tension with the tonic (I) chord C.

Seventh chords: Major-minor chords with dominant function [edit]

Adding a minor seventh to a major

triad creates a dominant seventh

(denoted V7). In music theory, the

"dominant seventh" described here is

called a major-minor seventh,

emphasizing the chord's construction

rather than its usual function.[27]

Dominant sevenths are often the

dominant chords in three-chord progressions,[18] in which they increase the tension with the tonic

"already inherent in the dominant triad".[28]

Dominant seventh chords

Chord Root Major third Perfect fifth Minor seventh

C7 C E G B

D7 D F A C

E7 E G B D

F7[15] F A C E

G7 G B D F

A7 A C E G

B7 B D F A

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

Three-chord progressions[18][31]


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

Three-chord progressions[18][31]


C C F G7

D D G A7

E E A B7

G G C D7

A A D E7

An A-major I-IV-V7 chord progression A-D-E7 was used by

Paul McCartney in the song "3 Legs" on his album Ram.[32]

These progressions with seventh chords arise in the

harmonization of major scales in seventh chords.[33][34]

Twelve-bar blues [edit]

Be they in major key or minor key, such I-IV-V chord-

progressions are extended over twelve bars in popular musicespecially in jazz, blues, and rock

music.[35][36] For example, a twelve-bar blues progression of chords in the key of E has three sets

of four bars:

E-E-E-E7

A-A-E-E

B7-A-E-B7;

this progression is simplified by playing the sevenths as major chords.[35] The twelve-bar blues

structure is used by McCartney's "3 Legs",[32] which was noted earlier.


Playing chords: Open strings, inversion, and note doubling [edit]See also: Open string (music), Inversion (music) and Voicing (music)

The implementation of musical chords on guitars depends on the tuning. Since standard tuning is

most commonly used, expositions of guitar chords emphasize the implementation of musical chords

on guitars with standard tuning. The implementation of chords using particular tunings is a defining

part of the literature on guitar chords, which is omitted in the abstract musical-theory of chords for

all instruments.

For example, in the guitar (like other stringed instruments but unlike the piano), open-string notes

are not fretted and so require less hand-motion. Thus chords that contain open notes are more

easily played and hence more frequently played in popular music, such as folk music. Many of the

most popular tuningsstandard tuning, open tunings, and new standard tuningare rich in the

open notes used by popular chords. Open tunings allow major triads to be played by barring one

fret with only one finger, using the finger like a capo. On guitars without a zeroth fret (after the

nut), the intonation of an open note may differ from then note when fretted on other strings;

consequently, on some guitars, the sound of an open note may be inferior to that of a fretted

note.[37]

Unlike the piano, the guitar has the same notes on different strings. Consequently, guitar players

often double notes in chord, so increasing the volume of sound. Doubled notes also changes the

chordal timbre: Having different "string widths, tensions and tunings, the doubled notes reinforce

each other, like the doubled strings of a twelve-string guitar add chorusing and depth".[38] Notes

can be doubled at identical pitches or in different octaves. For triadic chords, doubling the third

interval, which is either a major third or a minor third, clarifies whether the chord is major or

minor.[39]

Unlike a piano or the voices of a choir, the guitar (in standard tuning) has difficulty playing the


Johnny Marr is known for providingharmony by playing arpeggiatedchords.

In the standard guitar-tuning, onemajor-third interval is interjected amid

chords as stacks of thirds, which would require the left hand to span too many frets,[40] particularly

for dominant seventh chords, as explained below. If in a particular tuning chords cannot be played

in closed position, then they often can be played in open position; similarly, if in a particular tuning

chords cannot be played in root position, they can often be played in inverted positions. A chord is

inverted when the bass note is not the root note. Additional chords can be generated with drop-2

(or drop-3) voicing, which are discussed for standard tuning's implementation of dominant seventh

chords (below).

When providing harmony in accompanying a melody,

guitarists may play chords all-at-once or as arpeggios.

Arpeggiation was the traditional method of playing chords

for guitarists for example in the time of Mozart.

Contemporary guitarists using arpeggios include Johnny

Marr of The Smiths.

Fundamental chords [edit]

Standard tuning [edit]

A six-string guitar

has five musical-

intervals between

its consecutive

strings. In standard

tuning, the

intervals are four

perfect-fourths and


major-third interval is interjected amidfour perfect-fourth intervals.

In standard tuning, the C-majorchord has three shapes because of theirregular major-third between the G-and B-strings.

one major-third,

the comparatively

irregular interval

for the (G,B) pair. Consequently, standard tuning requires

four chord-shapes for the major chords. There are

separate chord-forms for chords having their root note on

the third, fourth, fifth, and sixth strings.[41] Of course, a

beginner learns guitar by learning notes and chords,[42]

and irregularities make learning the guitar difficult[43]

even more difficult than learning the formation of plural

nouns in German, according to Gary Marcus.[44]

Nonetheless, most beginners use standard tuning.[45]

Another feature of standard tuning is that the ordering of

notes often differs from root position. Notes are often

inverted or otherwise permuted, particularly with seventh

chords in standard tuning,[46] as discussed below.

Power chords: Fingerings [edit]

As previously discussed, each power chord has only one

interval, a perfect fifth between the root note and the

fifth.[7] In standard tuning, the following fingerings are

conventional:


E5

G5

G5

Triads [edit]

Triads are usually played with doubled notes,[47] as the

following examples illustrate.

Major [edit]

Commonly used major-chords are convenient to play in

standard tuning, in which fundamental chords are available


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

C major chord in openposition

in open position, that is, the first three frets and additional

open strings.

For the C major chord (C,E,G,), the conventional left-hand

fingering doubles the C and E notes in the next octave; this

fingering uses two open-notes, E and G:

E on the first string

C on the second string

G on the third string

E on the fourth string

C on the fifth string

Sixth string is not played.[48]

For the other commonly used chords, the conventional fingerings also double notes and feature

open-string notes:


A Major Chord

D Major Chord

E Major Chord

G Major Chord

Besides doubling the fifth note, the conventional E-major chord features a tripled bass-note.[47]

The B major and F major chords are commonly played as barre chords, with the first finger

depressing fivesix 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 up the

fretboard. The F major chord is the same shape as E major but it is located one fret further up the

fretboard.

Minor [edit]

Minor chords (commonly notated as C-, Cm, Cmi or Cmin) are the same as major chords except

that they have a minor third instead of a major third. This is a difference of one semitone.

To create F minor from the F major chord (in E major shape), the second finger should be lifted so

that the third string plays onto the barre. Compare the F major to F minor:


F Major Chord

F Minor Chord

The other shapes can be modified as well:

Chord

nameFret numbers

E minor [0 2 2 0 0 0]

A minor [X 0 2 2 1 0]

D minor [X X 0 2 3 1]

Dominant sevenths: Drop two [edit]

As previously stated, a dominant seventh is a four-note

chord combining a major chord and a minor seventh. For

example, the C7 dominant seventh chord adds B to the

C-major chord (C,E,G). The naive chord (C,E,G,B)

spans six frets from fret 3 to fret 8;[49] such seventh chords

"contain some pretty serious stretches in the left hand".[46]

An illustration shows a naive C7 chord, which would be


In standard tuning, the C7 chord hasnotes on frets 3-8. Covering six frets isdifficult, and so C7 is rarely played.Instead, an "alternative voicing" issubstituted.

Dominant seventh chord on C,played on guitar in open position

Play (helpinfo) and as a barrechord Play (helpinfo).

extremely difficult to play,[49] besides the open-position C7

chord that is conventional in standard tuning.[49][50] The

standard-tuning implementation of a C7 chord is a second-

inversion C7 drop 2 chord, in which the second-highest

note in a second inversion of the C7 chord is lowered by

an octave.[49][51][52] Drop-two chords are used for sevenths

chords besides the major-minor seventh with dominant

function,[53] which are discussed in the section on

intermediate chords, below. Drop-two chords are used

particularly in jazz guitar.[54] Drop-two second-inversions are

examples of openly voiced chords, which are typical of

standard tuning and other popular guitar-tunings.[55]

"Alternatively voiced" seventh chords are commonly played

with standard tuning. A list of fret-number configurations for

some common chords follows:

E7:[020100]

G7:[320001]

A7:[X02020]

B7:[X21202] (This B7 requires no barre, unlike the B major.)

D7:[XX0212]

Other chord inversions [edit]

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

also important for playing major chords.

In standard tuning, chord inversion depends on the bass note's string, and so there are three


Chords have consistent shapeseverywhere on the fretboard for each

different forms for the inversion of each major chord, depending on the position of the irregular

major-thirds interval between the G and D strings.

For example, if the note E (the open sixth string) is played over the A minor chord, then the chord

would be [0 0 2 2 1 0]. This has the note E as its lowest tone instead of A. It is often written as

Am/E, where the letter following the slash indicates the new bass note. However, in popular music

it is usual to play inverted chords on the guitar when they are not part of the harmony, since the

bass guitar can play the root pitch.

Alternate tunings [edit]Main article: Guitar tunings Alternative

There are many alternate tunings. These change the way

chords are played, making some chords easier to play and

others harder.

Open tunings each allow a chord to be played by

strumming the strings when "open", or while fretting no

strings.[57][58] Open tunings are common in blues and

folk music,[59] and they are used in the playing of slide

guitar.[60][61]

Drop tunings are common in hard rock and heavy metal

music. In drop-D tuning, the standard tuning's E-string

is tuned down to a D note. With drop-D tuning, the

bottom three strings are tuned to a root-fifth-octave (D-

A-D) tuning, which simplifies the playing of power

chords.[62][63]

Regular tunings allow chord note-forms to be shifted all


regular tuning, for example, major-thirds (M3) tuning.

Chords can be shifted diagonally in regulartunings.

Regular tunings allow chord note-forms to be shifted all

around the fretboard, on all six strings (unlike standard

or other non-regular tunings). Knowing a few note-

patternsfor example of the C major, C minor, and C7

chordsenables a guitarist to play all

such chords.[64]

Open tunings [edit]

Main article: Open tuning

An open tuning allows a chord to be played by

strumming the strings when "open", or while

fretting no strings. The base chord consists of

at least three notes and may include all the

strings or a subset. The tuning is named for

the base chord when played open, typically a

major triad, and each major-triad can be

played by barring exactly one fret.[60] Open

tunings are common in blues and folk

music,[59] and they are used in the playing of

slide and lap-slide ("Hawaiian") guitars.[60][61]

Ry Cooder uses open tunings when he plays

slide guitar.[59]

Open tunings improve the intonation of major

chords by reducing the error of third intervals

in equal temperaments. For example, in the

open-G overtones tuning G-G-D-G-B-D, the


Chords vertically shift.

In major-thirds tuning, chords are inverted by raisingnotes by three strings on the same frets. The

inversions of a C major chord are shown.[56]

Major-thirds tuning repeats its notes after three strings.

(G,B) interval is a major third, and of course

each successive pair of notes on the G- and B-strings is also a major third; similarly, the open-

string minor-third (B,D) induces minor thirds among all the frets of the B-D strings. The thirds of

equal temperament have audible deviations from the thirds of just intonation: Equal temperaments

is used in modern music because it facilitates music in all keys, while (on a piano and other

instruments) just intonation provided better-sounding major-third intervals for only a subset of

keys.[65] "Sonny Landreth, Keith Richards and other open-G masters often lower the second string


slightly so the major third is in tune with the overtone series. This adjustment dials out the

dissonance, and makes those big one-finger major-chords come alive."[66]

Repetitive open-tunings are used for two non-Spanish classical-guitars. For the English guitar the

open chord is C major (C-E-G-C-E-G);[67] for the Russian guitar which has seven strings, G major

(G-B-D-G-B-D-G).[68] Mixing a perfect fourth and a minor third along with a major third, these

tunings are on-average major-thirds regular-tunings. While on-average major-thirds tunings are

conventional open tunings, properly major-thirds tunings are unconventional open-tunings,

because they have augmented triads as their open chords.[69]

Regular tunings [edit]

Main article: Regular tunings

See also: Repetitive tuning

Guitar chords are dramatically simplified by the class of alternative tunings called regular tunings.

In each regular tuning, the musical intervals are the same for each pair of consecutive strings.

Regular tunings include major-thirds (M3), all-fourths, augmented-fourths, and all-fifths tunings.

For each regular tuning, chord patterns may be diagonally shifted down the fretboard, a property

that simplifies beginners' learning of chords and that simplifies advanced players'

improvisation.[70][71][72] The diagonal shifting of a C major chord in M3 tuning appears in a diagram.

Further simplifications occur for the regular tunings that are repetitive, that is, which repeat their

strings. For example, the E-G-c-e-g-c' M3 tuning repeats its octave after every two strings. Such

repetition further simplifies the learning of chords and improvisation;[71] 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.[73]

A chord is inverted when the bass note is not the root note. Chord inversion is especially simple in

M3 tuning. Chords are inverted simply by raising one or two notes by three strings; each raised


Types of triads: I (helpinfo), i (helpinfo),

io (helpinfo), I+ (helpinfo)

note is played with the same finger as the original note. Inverted major and minor chords can be

played on two frets in M3 tuning.[56][74] In standard tuning, the shape of inversions depends on the

involvement of the irregular major-third, and can involve four frets.[75]

It is a challenge to adapt conventional guitar-chords to new standard tuning, which is based on all-

fifths tuning.[76]

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-chordsmajor and

minor triads and dominant seventhsare

tertian chords, which concatenate third

intervals, with each such third being either

major (M3) or minor (m3).

More triads: Diminished and augmented [edit]

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

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

the minor triad concatenates (m3, M3), supplementing m3 with a P5 interval.

Similar tertian harmonization yields the remaining two triads:

the diminished triad concatenates (m3,m3), supplementing m3 with a diminished-fifth interval,

and


Sevenths chords are constructed bystacking third intervals on the C-majorscale. Fretboard diagrams for major-thirds tuning are shown.

Sevenths via tertian harmonization of major scale on C.mid

the augmented triad concatenates (M3,M3), supplementing M3 with an augmented-fifth

interval.

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

Stacking thirds also constructs the most used seventh-

chords. The most important seventh-chords concatenate a

major triad with a third interval, supplementing it with a

seventh interval:

1. The (dominant) major-minor seventh concatenates

a major triad with another minor third,

supplementing it with a minor-seventh interval.

2. The major seventh concatenates a major triad with

a major third, supplementing it with a major-seventh

interval.

3. The minor seventh concatenates a minor triad with

a minor third, supplementing it with a minor-seventh

interval.

4. The half-diminished seventh concatenates a

diminished triad with a major third, supplementing it

with a diminished-seventh interval.

5. The (fully) diminished seventh concatenates a

diminished triad with a minor third, supplementing it

with a diminished-seventh interval.[77]

Four of these five seventh-chordsall but the diminished

seventhare constructed via the tertian harmonization of


a major scale.[78] As already stated,

the major-minor seventh has the dominant V7 function.

The major seventh plays the tonic (I7) and subdominant (IV7) roles;

the minor seventh plays the ii7, iii7, and vi7 roles.

the half-diminished seventh plays the vii7 role.

While absent from the tertian harmonization of the major scale,

the diminished seventh plays the viio7 role in the tertian harmonization of the harmonic minor

scale.[78]

Besides these five types there are many more seventh-chords, which are less used in the tonal

harmony of the common-practice period.[77]

An approximate "ranking by frequency of the seventh chords in

major".[79]

Play V7 (helpinfo) (Dominant), ii7 (helpinfo) (Minor), vii7 (helpinfo)

(Half-diminished), IVM7 (helpinfo) (Major), vi7 (helpinfo),

IM7 (helpinfo), or iii7 (helpinfo).

When playing seventh chords, guitarists often play only subset of notes from the chord. The fifth is

often omitted. When a guitar is accompanied by a bass, the guitarist may omit the bass note from

a chord. As discussed earlier, the third of a triad is doubled to emphasize its major or minor quality;

similarly, the third of a seventh is doubled to emphasize its major or minor quality. The most

frequent seventh is the dominant seventh; the minor, half-diminished, and major sevenths are also


Sevenths chords arising in thetertian harmonization of the C-majorscale, arranged by the circle of perfectfifths (perfect fourths). Fretboarddiagrams for major-thirds tuning areshown. FifthsC.mid (helpinfo)

popular.[79]

Chord progression: Circle of fifths [edit]

The previously discussed I-IV-V chord progressions of

major triads is a subsequence of the circle progression,

which ascends by perfect fourths and descends by perfect

fifths: Perfect fifths and perfect fourths are inverse

intervals, because one reaches the same pitch class by

either ascending by a perfect fourth (five semitones) or

descending by a perfect fifth (seven semitones). For

example, the jazz standard Autumn Leaves contains the

iv7-VII7-VIM7-ii7-i circle-of-fifths chord-progression;[80] its

sevenths occur in the tertian harmonization in sevenths of

the minor scale.[81] Other subsequences of the fifths-circle

chord-progression are used in music. In particular, the ii-V-

I progression is the most important chord progression in

jazz music.

Specific tunings [edit]

Standard tuning: Minor and major sevenths [edit]

Besides the dominant seventh chords discussed above, other seventh chordsespecially minor

seventh chords and major seventh chordsare used in guitar music.

Minor seventh chords have the following fingerings in standard tuning:

Dm7: [XX0211]


Em7: [020000]

Am7: [X02010]

Bm7: [X20202]

Fm7: [202220]or ([XX2222] Also an A/F Chord)

Major seventh chords have the following fingerings in standard tuning:

Cmaj7: [X32000]

Dmaj7: [XX0222]

Emaj7: [021100]

Fmaj7: [103210]

Gmaj7: [320002]

Amaj7: [X02120]

Major-thirds tuning [edit]

In major-thirds (M3) tuning, the chromatic scale is arranged on three consecutive strings in four

consecutive frets.[82][83] This four-fret arrangement facilitates the left-hand technique for classical

(Spanish) guitar:[83] For each hand position of four frets, the hand is stationary and the fingers

move, each finger being responsible for exactly one fret.[84] Consequently, three hand-positions

(covering frets 14, 58, and 912) partition the fingerboard of classical guitar,[85] which has

exactly 12 frets.[note 1]

Only two or three frets are needed for the guitar chordsmajor, minor, and dominant sevenths

which are emphasized in introductions to guitar-playing and to the fundamentals of music.[10][86]

Each major and minor chord can be played on exactly two successive frets on exactly three

successive strings, and therefore each needs only two fingers. Other chordsseconds, fourths,

sevenths, and ninthsare played on only three successive frets.[87]


Commonly voiced with only four notes in openposition, ninth and eleventh chords often play adominant (V) role. Play 9th (left) (helpinfo)

Play 11th (helpinfo)

Advanced chords and harmony [edit]

Sequences of thirds and seconds [edit]

The circle of fifths was discussed in the section on intermediate guitar-chords. Other progressions

are also based on sequences of third intervals;[88] progressions are occasionally based on

sequences of second intervals.[89]

Extended chords [edit]

As their categorical name suggests,

extended chords indeed extend seventh chords by

stacking one or more additional third-intervals,

successively constructing ninth, eleventh, and

finally thirteenth chords; thirteenth chords contain

all seven notes of the diatonic scale. In closed

position, extended chords contain dissonant

intervals or may sound supersaturated, particularly

thirteenth chords with their seven notes.

Consequently, extended chords are often played

with the omission of one or more tones, especially

the fifth and often the third,[90][91] as already noted

for seventh chords; similarly, eleventh chords often omit the ninth, and thirteenth chords the ninth

or eleventh. Often, the third is raised an octave, mimicking its position in the root's sequence of

harmonics.[90]

Dominant ninth chords were used by Beethoven, and eleventh chords appeared in Impressionist

music. Thirteenth chords appeared in the twentieth century.[92] Extended chords appear in many


Disliking the sound of thirds (inequal-temperament tuning), RobertFripp builds chords with perfectintervals in his new standard tuning.

musical genres, including jazz, funk, rhythm and blues, and progressive rock.[91]

Alternative harmonies [edit]

Scales and modes [edit]

Conventional music uses diatonic harmony, the major and minor keys and major and minor scales,

as sketched above. Jazz guitarists must be fluent with jazz chords and also with many scales and

modes; "of all the forms of music, jazz ... demands the highest level of musicianshipin terms of

both theory and technique".[93]

Whole-tone scales were used by King Crimson for the title track on its Red album of 1974;[94][95]

whole-tone scales were also used by King Crimson guitarist Robert Fripp on "Fractured".[94]

Beyond tertian harmony [edit]

In popular music, chords are often extended also with

added tones, especially added sixths.[96]

Quartal and quintal harmony [edit]

Chords are also systematically constructed by stacking not

only thirds but also fourths and fifths, supplementing

tertian majorminor harmony with quartal and quintal

harmonies. Quartal and quintal harmonies are used by

guitarists who play jazz, folk, and rock music.

Quartal harmony has been used in jazz by guitarists such

as Jim Hall (especially on Sonny Rollins's The Bridge),

George Benson ("Skydive"), Kenny Burrell ("So What"),


and Wes Montgomery ("Little Sunflower").[97]

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".[98]

Quartal and quintal harmonies also appear in alternate tunings. It is easier to finger the chords

that are based on perfect fifths in new standard tuning than in standard tuning. New standard

tuning was invented by Robert Fripp, a guitarist for King Crimson. Preferring to base chords on

perfect intervalsespecially octaves, fifths, and fourthsFripp often avoids minor thirds and

especially major thirds,[99] which are sharp in equal temperament tuning (in comparison to thirds in

just intonation).

Alternative harmonies can also be generated by stacking second intervals (major or minor).[100]

See also [edit]Mel Bay's Deluxe Encyclopedia of Guitar Chords

Voice leading

References [edit]

Footnotes [edit]1. ^ Classical guitars have 12 frets, while steel-string acoustics have 14 or more (Denyer 1992, p. 45).

Electrical guitars have more frets, for example 20 (Denyer 1992, p. 77).

Citations [edit]1. ^ An octave is the interval between one musical pitch and another with double (or half) its frequency.


2. ^ Persichetti (1961, p. 14)

3. ^ Denyer (1992, Playing the guitar: The harmonic guitarist; Intervals: Interval chart, pp. 118-119)

4. ^ Persichetti (1961, pp. 2324)

5. ^ This sequence of fifths features the diminished fifth (b,f), which replaces the perfect fifth (b,f)

containing the chromatic note f, which is not a member of the C-major key. The note f (of the C-

major scale) is replaced by the note f in the Lydian chromatic scale (Russell, "The fundamental

harmonic structure of the Lydian scale", Example 1:7, "The C Lydian scale", p. 5).

Russell, George (2001) [1953]. "Chapter 1 The Lydian scale: The seminal source of the principal

of tonal gravity". George Russell's Lydian chromatic concept of tonal organization. Volume One:

The art and science of tonal gravity (Fourth (Second printing, corrected, 2008) ed.). Brookline,

Massachusetts: Concept Publishing Company. pp. 19. ISBN 0-9703739-0-2.

6. ^ Perfect fifths have been emphasized since the chants and hymns of medieval Christendom,

according to the medieval musical-theory called the organum.

Duarter, John (2008). Melody and harmony for guitarists. p. 49. ISBN 978-0-7866-7688-0.

7. ^a b c d e Denyer (1992, "The advanced guitarist; Power chords and fret tapping: Power chords", p.

156)

8. ^ Kolb (2005, "Chapter 7: Chord construction; Suspended chords, power chords, and 'add' chords",

p. 42)

9. ^ Denyer (1992, "The Guitar Innovators: Pete Townshend", pp. 22-23)

10. ^a b Mead (2002, pp. 28 and 81; compare p. 40)

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11. ^ Denyer (1992) and Schmid & Kolb (2002) each list the same fifteen chords for beginners: Am, A,

A7; B7; C, C7; Dm, D, D7; Em, E, E7; F; G, G7.

Denyer (1992, The beginner, Open chords, The beginner's chord dictionary, pp. 74-75) and Schmid &

Kolb (2002, Chord chart, p. 47).

12. ^ Denyer (1992, pp. 123125)

Kolb (2005, Chapter 6: Harmonizing the major scale, pp. 35-38; Chapter 7: Chord construction, pp.

40-48; and Chapter 8: Harmonizing the minor scale, pp. 49-51)

13. ^ Duckworth (2007, Chapter "11 Triads" and "12 Triads in a musical context")

14. ^ Kolb (2005, Chapter 5: Triads, Major and minor triads, pp. 30-31)

15. â 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; G, G7.

Denyer (1992, The beginner, Open chords, The beginner's chord dictionary, pp. 74-75) and Schmid &

Kolb (2002, Chord chart, p. 47).

16. ^ Griewank (2010, p. 5)

17. â b c Roman numeral analysis: Denyer (1992, "The beginner: The three-chord theory, Chords built

on the major scale in five common keys", p. 76)

18. â b c d Denyer (1992, "The Beginner, The three-chord theory, Chord progressions based on the

three-chord theory", p. 77)

19. ^ Kolb (2005, Chapter 6: Harmonizing the major scale, Diatonic triads, Figure3, Harmonized major

scales (triads), p. 38)

20. ^ Everett (2008, p. 35 )

21. ^ Kolb (2005, Chapter 6: Harmonizing the major scale: Diatonic triads, pp. 35-36)

22. ^ Duckworth (2007, p. 239)

23. ^ Kolb (2005, Chapter 8: Harmonizing the major scale, Figure 4, Harmonized minor scales (triads),

p. 50)

24. ^ Denyer (1992, pp. 7778)

25. ^ Duckworth (2007, p. 156)


26. ^ Kolb (2005, Chapter 8: Harmonizing the minor scale, Minor scale triads, pp. 49-50)

27. ^ Kostka, Payne & Almn (2013, Chapter three: Introduction to triads and seventh chords, Seventh

chords, pp. 4041, and Chapter thirteen: The V7 chord, p. 198)

28. ^ Duckworth (2007, p. 245)

29. ^ Kostka, Payne & Almn (2013, Chapter three: Introduction to triads and seventh chords, Seventh

chords, p. 4041, Chapter thirteen: The V7 chord, p. 198, and Chapter 14, The II7 and VII7 chords, p.

217)

30. ^ Kolb (2005, Chapter 6: Harmonizing the major scale, Diatonic seventh chords, pp. 37-38; Chapter

7: Chord construction, Seventh chords, Diminished seventh, dominant seventh SUS4, and

minor(maj7) chords, pp. 44-45; Chapter 8: Harmonizing the minor scale: Minor scale seventh chords,

p. 51)

31. ^ Kolb (2005, Chapter 6: Figure 5, Harmonized major scales (seventh chords), p. 38)

32. ^a b Benitez (2010, p. 29 )

Benitez, Vincent Perez (2010). "The remaking of a Beatle: Paul McCartney as solo artist, 1970-71".

The Words and Music of Paul McCartney: The Solo Years . Praeger. pp. 1935. ISBN 978-0-313-

34969-0.

33. ^ Kolb (2005, Chapter 6: Harmonizing the major scale, Diatonic seventh chords, pp. 37-38)

34. ^ The harmony of major chords has dominated music since the Baroque era (17th and 18th

centuries). (Benward & Saker 2003, p. 100) The Baroque period also introduced the dominant

seventh. (Benward & Saker 2003, p. 201)

Benward; Saker (2003). Music: In theory and practice I (Seventh ed.). ISBN 978-0-07-294262-0.

35. ^a b Denyer (1992, "Playing the guitar: The beginner, The three-chord theory: Blues chord

progressions, p. 77)

36. ^ Kolb (2005, Chapter 10: Blues harmony and pentatonic scales, The 12-bar blues progression", pp.

61-62)

37. ^ LeVan, John (December 2007). "Go Nuts!" . Acoustic Guitar (String Letter Publishing).

(subscription required). Retrieved 24 May 2013.


38. ^ Sethares (2001, pp. 54)

39. ^ Denyer (1992, "The harmonic guitarist: Interval inversions, Triad doubling", p. 123)

40. ^ Clendinning & Marvin (2005, p. 181)

41. ^ Denyer (1992, p. 119)

42. ^ Marcus (2012, p. 46)

43. ^ Marcus (2012, pp. 4043)

44. ^ Marcus (2012, pp. 3940)

45. ^ Marcus (2012, p. 181)

46. â b Kolb (2005, Chapter 6: Harmonizing the major scale: Diatonic seventh chords, p. 37)

47. â b Roche (2004, p. 104)

48. ^ Denyer (1992, p. 75)

49. â b c d Smith (1980, pp. 9293 ): Smith, Johnny (1980). "XVII: Upper structure inversions of the

dominant seventh chords". Mel Bay's complete Johnny Smith approach to guitar. Complete.

Mel Bay Publications. pp. 9297. ISBN 1-5622-2239-2. UPC 796279002707 .

50. ^ The alternative voicing of the C7 chord follows the first seventh-chord diagram of Denyer (1992,

"The harmonic guitarist: Seventh chords: The dominant seventh chords", p. 127)

51. ^ Chapman (2000, p. 6 ): Chapman, Charles (2000). Drop-2 concept for guitar. Mel Bay

Publications, Inc. ISBN 0786644834.

52. ^ Fisher (2002, 'Drop voicing' and '7th chords in drop 2 and drop 3 voicings', pp. 30-33 ) : Fisher,

Jody (2002). "Chapter Five: Expanding your 7 chord vocabulary". Jazz guitar harmony: Take the

mystery out of jazz harmony. Alfred Music Publishing. pp. 2633. ISBN 073902468X.

UPC 038081196275 .

53. ^ Willmott (1994, Chapter 1: Drop 2 type voicings, pp. 813): Willmott, Bret (1994). Mel Bay's

complete book of harmony, theory and voicing. Mel Bay Publications. ISBN 156222994X.

54. ^ Vincent, Randy (2011). "Chapter II: Tweaking drop 2". The drop 2 book. Jazz guitar voicings I.

Sher Music Company. pp. 27. ISBN 1457101378.


55. ^ Closed voicings, which are typical of minor-thirds tuning, are typical also of a keyboard or piano.

Sethares (2001, "The minor third tuning", p. 54).

56. â b Kirkeby (2012, "Fretmaps, major chords: Major Triads" )

57. ^ Roche (2004, "Open tunings", pp. 156159)

58. ^ Roche (2004, "Cross-note tunings", p. 166)

59. â b c Denyer (1992, p. 158)

60. â b c Sethares (2009, p. 16)

61. â b Denyer (1992, p. 160)

62. ^ Roche (2004, pp. 153156)

63. ^ Denyer (1992, pp. 158159)

64. ^ "Learn a handful of chord forms in a regular tuning, and you'll know hundreds of chords!", wrote

William Sethares.

Sethares (2009, p. 2)

65. ^ Gold, Jude (1 December 1 2005). "Just desserts: Steve Kimock shares the sweet sounds of

justly tuned thirds and sevenths" . Guitar Player. Master class. Check date values in: |date=

(help) (subscription required)

66. ^ Gold, Jude (June 2007). "Fender VG Stratocaster" . Guitar Player. Gear: Bench Test

(Product/service evaluation).

67. ^ Hannu Annala, Heiki Mtlik (2007). "Composers for other plucked instruments: Rudolf Straube

(1717-1785)". Handbook of Guitar and Lute Composers (Translated by Katarina Backman ed.). Mel

Bay. p. 30. ISBN 0786658444; ISBN 9780786658442.


68. ^

Ophee, Matanya (ed.). 19th Century etudes for the Russian 7-string guitar in G Op . The

Russian Collection 9. Editions Orphee. PR.494028230.

Ophee, Matanya (ed.). Selected Concert Works for the Russian 7-String Guitar in G open

tuning . The Russian Collection. 10 ("X"). Editions Orphee. PR.494028240.

Timofeyev, Oleg V. (1999). The golden age of the Russian guitar: Repertoire, performance

practice, and social function of the Russian seven-string guitar music, 1800-1850. Duke

University, Department of Music. pp. 1584. University Microfilms (UMI), Ann Arbor, Michigan,

number 9928880.

69. ^ Sethares (2001, "The major third tuning", pp. 5657 )

70. ^ Griewank (2010, p. 3)

71. â b Kirkeby, Ole (1 March 2012). "Major thirds tuning" . m3guitar.com. cited by Sethares (2012)

and Griewank (2010, p. 1). Retrieved 10 June 2012.

72. ^ Sethares (2001, p. 52)

73. ^ Sethares (2001, p. 58)

74. ^ Griewank (2010, p. 10)

75. ^ Denyer (1992, p. "Triads: Triad inversions", p. 121)

76. ^ Musicologist Eric Tamm wrote that despite "considerable effort and search I just could not find a

good set of chords whose sound I liked" for rhythm guitar. (Tamm 2003, Chapter 10: Postscript )

Tamm, Eric (2003) [1990], Robert Fripp: From crimson king to crafty master (Progressive Ears

ed.), Faber and Faber (1990), ISBN 0-571-16289-4, Zipped Microsoft Word Document , retrieved

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77. â b Kostka, Payne & Almn (2013, pp. 4041)

78. â b Kostka, Payne & Almn (2013, pp. 6162 and 65)

79. â b Kostka, Payne & Almn (2013, p. 217)

80. ^ Kostka, Payne & Almn (2013, pp. 238 and 46)

81. ^ Kolb (2005, p. 51)


82. ^ Peterson (2002, pp. 3637)

83. â b Griewank (2010, p. 9)

84. ^ Denyer (1992, p. 72)

85. ^ Peterson (2002, p. 37)

86. ^ Duckworth (2007, p. 339)

87. ^ Griewank (2010, p. 2)

88. ^ Kostka, Payne & Almn (2013, pp. 430438 and 442446)

89. ^ Kostka, Payne & Almn (2013, p. 475)

90. â b Kostka, Payne & Almn (2013, Chapter twenty six: Materials and techniques, Chord

structures, p. 465)

91. â b Kolb (2005, p. 45)

92. ^ Kostka, Payne & Almn (2013, Chapter twenty six: Materials and techniques, Chord structures,

p. 464)

93. ^ Denyer (1992, p. 101)

94. â b Macon (1997, p. 55)

95. ^ Tamm (1995, p. 85): Tamm, Eric (1995) [1989]. "Chapter 9: Eno's Progressive Rock Music ('Pop

songs')". Brian Eno: His Music and the Vertical Color of Sound (Reprinted ed.). New York: Da

Capo Press. ISBN 0-306-80649-5.

96. ^ Clendinning & Marvin (2005, p. 511)

97. ^ Floyd (2004, p. 4): Floyd, Tom (2004). Quartal harmony & voicings for guitar. Mel Bay

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98. ^ Whitesell (2008, pp. 131 and 202203): Whitesell, Lloyd (2008), The music of Joni Mitchell ,

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99. ^ Mulhern, Tom (January 1986). "On the discipline of craft and art: An interview with Robert Fripp" .

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Kolb, Tom (2005). Music theory. Hal Leonard Guitar Method. Hal Leonard Corporation. pp. 1

104. ISBN 0-634-06651-X.

Kostka, Stefan; Payne, Dorothy; Almn, Byron (2013). Tonal harmony with an introduction to

twentieth-century music (seventh ed.). New York: McGraw-Hill. ISBN 978-0-07-131828-0.

Macon, Edward L. (1997). Rocking the classics: English progressive rock and the

counterculture. Oxford and New York: Oxford University. ISBN 0-19-509887-0.

Marcus, Gary (2012). Guitar zero: The science of learning to be musical. Oneworld.

ISBN 9781851689323.

Mead, David (2002). Chords and scales for guitarists. London: Bobcat Books Limited: SMT.

ISBN 978-1860744327.

Persichetti, Vincent (1961). Twentieth-century harmony: Creative aspects and practice. New

York: W. W. Norton. ISBN 0-393-09539-8. OCLC 398434 .


Peterson, Jonathon (2002). "Tuning in thirds: A new approach to playing leads to a new kind of

guitar" . American Lutherie: The Quarterly Journal of the Guild of American Luthiers (8222

South Park Avenue, Tacoma WA 98408: USA.: The Guild of American Luthiers) 72 (Winter):

3643. ISSN 1041-7176 . Retrieved 9 October 2012.

Roche, Eric (2004). "3 One-man band, 4 Exploring the fingerboard, 5 Thinking outside the

box". The acoustic guitar Bible. London: Bobcat Books Limited, SMT. pp. 74109, 110150,

and 151178. ISBN 186074432X.

Schmid, Will; Kolb, Tom (2002). "Chord chart". Guitar method: Book 1. Hal Leonard Guitar

Method (second ed.). Hal Leonard Corporation. p. 47. ISBN 0-7935-3392-9.

Sethares, Bill (2001). "Regular tunings". Alternate tuning guide (pdf). Madison, Wisconsin:

University of Wisconsin; Department of Electrical Engineering. pp. 5267. Retrieved 19 May

2012.

Sethares, Bill (10 January 2009) [2001]. Alternate tuning guide (pdf). Madison, Wisconsin:

University of Wisconsin; Department of Electrical Engineering. Retrieved 19 May 2012.

Sethares, William A. (18 May 2012). "Alternate tuning guide" . Madison, Wisconsin: University

of Wisconsin; Department of Electrical Engineering. Retrieved 8 December 2012.

Further reading [edit]Bay, William (2008). Deluxe guitar chord encyclopedia: Case-size edition. Mel Bay

Publications. ISBN 978-0-7866-7522-7.

Clendinning, Jane Piper; Marvin, Elizabeth West (2005). The musician's guide to theory and

analysis. Norton. ISBN 0-393-97652-1.

Patt, Ralph (1962). Guitar chord dictionary. H. Adler.

Berklee College of Music [edit]


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Wikimedia Commons hasmedia related toGuitar chords.

Professors at the Department of Guitar at the Berklee College of Music wrote the following books,

which like 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. ISBN 0881885894.

Goodrick, Mick (2003). Mr. Goodchord's almanac of guitar voice-leading: Name that chord.

Mr. Goodchord's almanac of guitar voice-leading: For the year 2001 and beyond 1. Liquid

Harmony Books. ISBN 0971185808.

Goodrick, Mick; Miller, Tim (2012). Creative chordal harmony for guitar: Using generic modality

compression. Berklee Press. ISBN 0876391285.

Peckham, Rick (2007). Berklee jazz guitar dictionary. Berklee College of Music. Ha Leonard.

ISBN 0876390793.

Peckham, Rick (2009). Berklee rock guitar dictionary. Berklee College of Music. Hal Leonard.

ISBN 0876391064.

External links [edit]Guitar at DMOZ

Guitar Lessons at DMOZ

Chords

Chord progressions

Guitars

Categories: Guitar performance techniques Guitar chords


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