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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)
5 fr 3 fr 8 fr

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Closed four-note positions - 1. inversion (=Gm7 in 2. inversion)
8 fr 3 fr 11 fr

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Closed four-note positions - 2. inversion (=Gm7 in 3. inversion)
12 fr 7 fr

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Closed four-note positions - 3. inversion - (= Gm7 in Root position
3 fr 10 fr 5 fr

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Closed five-note positions

3 fr

10 fr
· 12 fr
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.

8 fr

8 fr
·
8 fr

8 fr
Here I have not grouped them according to inversion. But you see that they are all derived from the same basic shape.

5 fr
·
3 fr

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Barré chord positions

10 fr

10 fr

3 fr

3 fr
8 fr 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.

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Skip-string voicings - Root position (=Gm7 in 1. inversion)
5 fr 12 fr
Skip sting voicing - 1. inversion Skip sting voicing - 2. inversion
8 fr
3 fr
11 fr 6 fr
Skip-string fingerings - 3. inversion(= Gm7 Root position)
10 fr
8 fr

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