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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
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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
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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
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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
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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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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
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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
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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]
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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
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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:
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The minor chords have the degree positions ii, iii, and vi.
Minor three-chord progressions[18][23]
Key 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
Minor chords arise as the tonic notes
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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]
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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]
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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]
Key Tonic (I) Subdominant (IV) Dominant (V)
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.
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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
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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
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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:
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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
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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:
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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.
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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:
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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]
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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]
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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
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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"),
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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.
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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. ^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; 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. ^a 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. ^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, 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)
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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.
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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. ^a b Kolb (2005, Chapter 6: Harmonizing the major scale:
Diatonic seventh chords, p. 37)
47. ^a b Roche (2004, p. 104)
48. ^ Denyer (1992, p. 75)
49. ^a 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
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54. ^ Vincent, Randy (2011). "Chapter II: Tweaking drop 2". The
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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. ^a b Kirkeby (2012, "Fretmaps, major chords: Major Triads"
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57. ^ Roche (2004, "Open tunings", pp. 156159)
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59. ^a b c Denyer (1992, p. 158)
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61. ^a 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
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65. ^ Gold, Jude (1 December 1 2005). "Just desserts: Steve
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68. ^
Ophee, Matanya (ed.). 19th Century etudes for the Russian
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69. ^ Sethares (2001, "The major third tuning", pp. 5657 )
70. ^ Griewank (2010, p. 3)
71. ^a b Kirkeby, Ole (1 March 2012). "Major thirds tuning" .
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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
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ed.), Faber and Faber (1990), ISBN 0-571-16289-4, Zipped
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78. ^a b Kostka, Payne & Almn (2013, pp. 6162 and 65)
79. ^a b Kostka, Payne & Almn (2013, p. 217)
80. ^ Kostka, Payne & Almn (2013, pp. 238 and 46)
81. ^ Kolb (2005, p. 51)
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82. ^ Peterson (2002, pp. 3637)
83. ^a b Griewank (2010, p. 9)
84. ^ Denyer (1992, p. 72)
85. ^ Peterson (2002, p. 37)
86. ^ Duckworth (2007, p. 339)
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88. ^ Kostka, Payne & Almn (2013, pp. 430438 and 442446)
89. ^ Kostka, Payne & Almn (2013, p. 475)
90. ^a b Kostka, Payne & Almn (2013, Chapter twenty six:
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91. ^a b Kolb (2005, p. 45)
92. ^ Kostka, Payne & Almn (2013, Chapter twenty six:
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93. ^ Denyer (1992, p. 101)
94. ^a b Macon (1997, p. 55)
95. ^ Tamm (1995, p. 85): Tamm, Eric (1995) [1989]. "Chapter 9:
Eno's Progressive Rock Music ('Pop
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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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100. ^ Kostka, Payne & Almn (2013, pp. 470471)
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Bibliography [edit]
Clendinning, Jane Piper; Marvin, Elizabeth West (2005). The
musician's guide to theory and
analysis (First ed.). New York: W. W. Norton and Company. ISBN
0-393-97652-1.
Denyer, Ralph (1992). "Playing the guitar, pp. 65-160, and The
chord dictionary, pp. 225-249".
The guitar handbook. Special contributors Isaac Guillory and
Alastair M. Crawford (Fully
revised and updated ed.). London and Sydney: Pan Books. ISBN
0-330-32750-X.
Duckworth, William (2007). A creative approach to music
fundamentals: Includes keyboard and
guitar insert (ninth ed.). 2005928009: Thomson Schirmer. pp.
1384. ISBN 0-495-09093-X.
Everett, Walter (2008). The foundations of rock: From "Blue
Suede Shoes" to "Suite: Judy
Blue Eyes" . Oxford University Press. pp. 1442. ISBN
978-0-19-531024-5.
Griewank, Andreas (1 January 2010), Tuning guitars and reading
music in major thirds ,
Matheon preprints 695, Rosestr. 3a, 12524 Berlin, Germany: DFG
research center
"MATHEON, Mathematics for key technologies" Berlin, Postscript
file and Pdf file
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 .
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out the HTML to PDF API
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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