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- Minor
Guitar chord diagrams and chord theory. This is the Chord Section of Olav Torvund's Guitar Site.
Modified: Jan 8 2008 - Minor
Guitar chord diagrams and chord theory. This is the Chord Section of Olav Torvund's Guitar Site.
Modified: Jan 8 2008 - 6
Guitar chord diagrams and chord theory. This is the Chord Section of Olav Torvund's Guitar Site.
Modified: Jan 4 2008 - Sonic shapes
Guitar chord diagrams and chord theory. This is the Chord Section of Olav Torvund's Guitar Site.
Modified: Jan 4 2008 - Major
Guitar chord diagrams and chord theory. This is the Chord Section of Olav Torvund's Guitar Site.
Modified: Jan 4 2008
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Bb6 |
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Bb6
Find chord shapes
| C6 | C#6/Db6 | D6 | D#6/Eb6 | E6 | F6 | F#6/Gb6 | G6 | G#6/Ab6 | A6 | Bb6 | B6 |
The Gm7 has the notes G-Bb-D-F, and the Bb6 has the notes Bb-D-F-G. These are the same notes, and the Bb6 is the Gm7 (realtivet minor) in first inversion and Gm7 is the Bb6 (relative major) in third inversion. Usually I am note able to tell the difference, and as the Gm and Bb often can substitute each other, it might a matter of preferences when it comes to notation. But I have included voicings sith omitted 5th for the m7 chords. If we invert these notes, we will end up with the 1-5-6 in the 6th chord, and it does not really get the character of a major chord. So these m7-voicings does not really work as relative major 6 chords. And if we try to do the same with the Bb6, we end up with a plain Gm chord.
| Closed four-note positions -Root position(=Gm7 in 1. inversion) | |||||||
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5 fr | ![]() |
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8 fr | ||
| Closed four-note positions - 1. inversion (=Gm7 in 2. inversion) | |||||||
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11 fr | ||
| Closed four-note positions - 2. inversion (=Gm7 in 3. inversion) | |||||||
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12 fr | ![]() |
7 fr | ![]() |
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| Closed four-note positions - 3. inversion - (= Gm7 in Root position | |||||||
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3 fr | ![]() |
10 fr | ![]() |
5 fr | ||
| Closed five-note positions | |||||||
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3 fr |
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10 fr |
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12 fr | ![]() |
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| These two are in root position, and you can easliy see the relation with the barré positions. | The next two are both in first inversion. | ||||||
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8 fr |
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8 fr |
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8 fr |
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8 fr |
| Here I have not grouped them according to inversion. But you see that they are all derived from the same basic shape. | |||||||
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5 fr |
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3 fr |
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| Barré chord positions | |||||||
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10 fr |
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10 fr |
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3 fr |
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3 fr |
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8 fr | ||||
| These are hard to play, particulary the second one, where you have to make a barré with your first finger, and then another small barré with your 2nd finger on 6th and 5th fret. | |||||||
| Skip-string voicings - Root position (=Gm7 in 1. inversion) | |||
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5 fr | ![]() |
12 fr |
| Skip sting voicing - 1. inversion | Skip sting voicing - 2. inversion | ||||||
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8 fr | ![]() |
3 fr |
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11 fr | ![]() |
6 fr |
| Skip-string fingerings - 3. inversion(= Gm7 Root position) | |||||||
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10 fr | ![]() |
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8 fr | ||
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