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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

Previous page:	D#4 / Eb4	Next page:
Previous page: 4	D#4 / Eb4	Next page: 5

D#4 / Eb4

Find chord shapes

The 4-chords are inverted 5-chords. D#4 / Eb4 has the same notes as Ab5. I have included voicings that in my opinion are more D#4 / Eb4 than Ab5, and voicings where you cannot really tell the difference. See the general comments to the 4-chord for my reasons to do so. The list of Ab5 is more complete when it comes to chords with these notes.

Some general comments on chord-voicings and fingerings.

Too many guitarists think of chords as ways to place the fingers, and not as a way to get good sounding harmonies. If you are just strumming the chords, open chord voicings where you play all or almost all strings may be a good choice. To get access to more chords, you supplement with barré-chords. For rhythm guitar, particulary electric rhythm guitar, barré chords will often be a better choice left-hand damping is easier. But still you need to know how to play one chord in more than one position, to facilitate smooth chord changes. (You do not want to jump up and down between 3rd and 10th every time you chage a chord. Three-, four and five note voicings may not work very well in this context. You have to be very precise with your picking hand and/or be able to damp out the strings you do not want to play,and it requires som control. Skip-string voicings requirese precise damping, and are generally not a good choice.

If you are playing solos and chords, you should always know how to play the chord you are soloing over, close to where you are playing the solo. It makes it easier to get home if you are about to get lost in a solo. For more sophisticated fingerpicking, chord soloing and bass-line + chord style playing, it is crucial to know may chords. You should be able to play the right chord over any bass-note played anywhere on the neck, or you should be able to play the melody on top of any seqence of chords. The good chord-soloists play bass-lline, chords and melody – and they even improvise in that style. For this playing you need to know how to voice the chord with the right bass-note at the bottom and the right melody-note on top, without compromizing a sophisticated harmonic structure. Then the skip-string voicings maight become very handy, in addition to the other chords.

If you find some of the fingerings too difficult (they are all playable – I have tried all chords on these pages), go here for some tips on how to work your way around the problems.

Closed three-note positions
	11 fr	6 fr	8 fr

Closed four-note positions
	11 fr	6 fr

Barré or quasi-barré positions These barré positions require left-hand damping and/or long streches, and are not easy to play. But they are not impossible. For power chords you will usually not use barré chords. That is why I have put them at the end.
	4 fr	4 fr	11 fr