• E/Am-shape
• A-shape
• D-shape
• D7-shape
• Dm-shape
• Partial F-shape
• Top-major shape
• F-shape

• Bottom major shape
• Bottom minor shape
• Bottom diminished shape
• Middle minor shapes
• Middle D shape
• Bottom Triangle
• Top Triangle

E/Am-shape

We can start with what we might call the E/Am shape (they are easier to remember if you give them names). If you play the shape on strings 6-5-4 or 5-4-3 (E-major), you have a major chord in second inversion. These two major chords are a fourth apart (and an inverted fourth is a fifth, meaning that they can be regarded as a fifth apart, depending on how you count). If you make the E chord (strings 5-4-3) the root, then the chord on strings 6-5-4 will be one fourth below, which is the same chord as the one you will find one fifth above the root. This is the V chord, a B if you just move the E-major across to the lower strings. If you define the B as root, then the E will be one fourth above, making it the IV chord of that key (but still it is an E-major chord). I am sure you have played the Am - E change. When I learned to play guitar, back in the 60's, the Donovan hit Donna Donna was on every beginner guitarists repertoire - and it utilizes that Am - E change. E-major is the V chord of harmonic A-minor (minor keys are more complicated than major keys, with three different minor scales). You could also turn it around and say that Am could be the iv of E, but this will not work that well. A minor root (I) and major dominant (V) is a strong harmonic relation. A major root (I) and a minor subdominant (IV) does not work so well. If you continue to strings 4-3-2, you get a minor in second inversion - that is the good old Am chord. If you move to strings 3-2-1, you get a strange fellow that we have not met so far. It has a restless sound, but is not unpleasant. This is an ">augmented chord, usually noted as Xaug or X+.

Major 2. inversion		Major 2. inversion		Minor 2. inversion		Aug

Listen to a recording of the chords (MP3)

The augmented chord consists of two major thirds. If you add one more major third on top of an augmented chord, you get back to the root note. I am not sure that one can use the word symmetrical when there are three parts. But I'll take the risk. The augmented chord is symmetrical in the sense that it divides the chromatic scale in three equal parts. This also means that you can make any of the three notes the root. But the spelling of the notes might be a bit complicated. If you play the chord on first and second fret, you can make the A (second fret, third string) the root. The other notes will then be C# and E#. But if you add another major third on top of the E#, it should be some kind of a G, not an A. (A is three steps above, making it some kind of a fourth). It will be a double sharpened G, which is spelled Gx. But you do not have to worry these theoretical questions. If you play this Aaug and then goes to D, you will hear that Aaug may substitute A7 in the key of D. As a Faug (which contains the same notes) it should also work as a substitution for F7 in Bb, and substitute C#7 in F# (or Db7 in Gb), but in my ears, this particular voicing of the aug chord does not sound as good with Bb or F#.

Listen to a recording of the chords (MP3)

A-shape

If we look at the "A-shape", we get a major in second inversion on strings 4-3-2, and a minor in first inversion on strings 3-2-1. This creates a shift from major to the parallel minor chord, if you just move across on the same frets. And this is a change that is often used. You can go to the parallel from each point of departure. If you are playing in A-major, you can go to F#m, and if you are playing in F#m you can go to A-major. If you move the shape to the two bottom sets of strings, you will get a chord that can be labeled a sus4 chord in second inversion. The sus4 chord is a popular chord, and is prominent in the opening of The Who's "Tommy", and in the 60's hit "Needles and pins". And not to forget: John Lennon's Happy X-mas (War is over). It is a chord that asks to be resolved into the major chord it has been derived from. But in my ears, a sus4 chord does not sound very good at the lower strings. It may work as a Esus4 on strings 5-4-3, but it sounds muddy on strings 6-5-4. In some contemporary music, one can also hear harmony built on fourths instead of the traditional thirds. But I will not go into that.

Sus4		Sus4		Major 2. inversion		Minor 1. inversion

Listen to a recording of the chords (MP3)

D-shape

The D-shape give us a major chord in second inversion on the top three strings. We know that the interval between string 3 and 2 is not the same as the intervals between the other strings, and that we cannot move a shape with second string across and maintain the chords character. If we move it to strings 4-3-2, we get at diminished chord in second inversion. If you move the shape to the two lower set of strings, you get I kind of chord that I can't name, and that does not sound to pleasing to my ears.

????		????		Dim 2. inversion		Major 2. inversion

Listen to a recording of the chords (MP3)

Allow me a little detour about the dim chord. We have seen that the dim chord have to minor thirds. In C, it will be C, Eb and Gb. If we stack another minor third on top of the Gb, we will add a note to most of us would be an A. Those who want to have everything correct, can note that the correct spelling is Bbb, which is a double flatted B (lowered one whole step). But that is not important. If we then add another minor third, we come back to C. If we expand the dim chord to a dim7 chord, we get a symmetrical chord: The chromatic scale is divided into four equal parts, with all the notes a minor third apart. If you play the D-shape on fret five and six on strings 4-3-2, you get a C#dim in second inversion. But we now know that the C#dim will turn to a A7 if we put an A underneath it. And so we can do on the open 5th string. If you then move the chord down one fret, you will get a Cdim. And now we know that if we add an A to that chord, it becomes a Cdim7 (we do not care about the spelling of the A). And since the chord is symmetrical, every note in the chord can function as root, meaning that a Cdim7 have exactly the same notes as an Adim7. Finally we come to the point: Play that A7, and then slide it down to become a Adim7 (you might add an A on 1st string, 5th fret), and then back to A7. There you have one of the blues giant Robert Johnson's trademark licks in A. Listen to his "Kindhearted Woman" to hear how he treats the change.

D7-shape

The "D7-shape" is a diminished chord in second inversion on the top three strings. On strings 4-3-2 it becomes a minor chord in second inversion. If we continue across to the two lower set of strings, we get a sound that is familiar, but it gives a chord that is hard to name. If you play it on strings 5-4-3, 2nd and 3rd fret, you get the notes C, E and Bb. You can not reorganize these notes into a stack of thirds, meaning that it is not a basic triad. What you get is a fragment of a seventh chord, in this case a C7. The 5th is omitted from the chord, but it still sounds like a C7. If we for some reason we want to or have to omit a note from a chord, the 5th is the first to go. If we omit the C, then the chord has no root. If you start with a 7th chord, you will then get a dim chord, an Edim if you starts with C7 and then omits the C. If you omit the third, you omit the character note that defines it as either major or minor. And if you skip the 7th, then it is no longer a 7th chord. I have to add that if you are playing in a band, other musicians in the band might play the notes you skip. If the bass plays a C, then the band will play a C7 even if you only play the notes E, G and Bb. If you move the chord across to the bottom strings, you will have the same kind of 7th fragment, this time G7 if you stay on the same frets. Look at the connection between a E-chord in E-shape, and a B7 fragment. Both chords are played on strings 5-4-3, on first and second fret. Keep your middle finger on the fifth string, second fret, and do not move. Use first finger on first fret and ring finger on second fret. When you change from E to B7, the first finger moves across from 3rd to 4th string, and the ring finger moves from 4th to 3rd. Then the shift is nice and smooth. And you can fret 1st string, 2nd fret with you pinky and play the open 2nd string, to get a full B7 chord.

7-fragment		7-fragment		Minor 1. inversion		Dim 1. inversion

Listen to a recording of the chords (MP3)

D-minor shape

The "D-minor" shape gives us a minor in second inversion on the top three strings. If we move it across to the nest set of three strings, we get another 7th fragment, with the 5th omitted. This time the root is on top. Examine the relationship with this position and the "D7-shape" fragment. They go nicely together to the good old C7 chord. And note: The most common fingering for a C7 chord is not a full chord - the fifth is omitted! If you continue across to the two bottom sets, you get diminished chords in second inversion.

Dim 2. inversion		Dim 2. inversion		7-fragment		Minor 2. inversion

Listen to a recording of the chords (MP3)

Partial F-shape

The next shape, I do not have a good name for. You might think of it as the top three strings of an F-chord, but I will save the term F-shape to another shape. On the top three strings, you have a major chord in first inversion. If you go across to strings 4-3-2, you get another augmented chord. And again it does not make sense to talk about inversions of augmented chords. In first and second fret, it can be caug, G#aug / caug or Caug. Continue to the two bottom sets, and you get a minor chord in first inversion - for instance Am on strings 5-4-3, 2nd and 3rd fret, and Em if you move that across to strings 6-5-4.

Minor 1. inversion		Minor 1. inv		Aug		Major 1. inversion

Listen to a recording of the chords (MP3)

Top-major shape

In lack of a better name, the next shape might be called a top-major shape, referring to it's function as major chord in root position on the top three strings. You will see that this is actually the top of a barré-A-shape chord. As said, it gives you a major chord in root position on the top three strings. Move across to the next set, and you will have that sus4 chord again, a chord that will resolve to the major chord in F-shape. On the two bottom sets, you will have a minor chord in second inversion, with root on the middle string.

Minor 2. inversion		Minor 2. inversion		Sus4		Major Root position

Listen to a recording of the chords (MP3)

F-shape

The F-shape gives us a F-chord in root position on the middle set (strings 4-3-2). Move across to the top set, and you will have nice minor chord, again in root position. You will see that the F-shape and the E/Am shape really are different parts of the same basic chord fingering. If you go to the two bottom sets, you get another augmented chord. If you play it on strings 5-4-3, you can add 2nd string, 1st fret, and you will have a nice Caug with a doubled root note.

Aug		Aug		Major Root position		Minor Root position

Listen to a recording of the chords (MP3)

Bottom-major

If we move what can be called a bottom major-shape to the middle set, we get a kind of chord that does not sound good in my ears, and that I can't name. But if you move on to the top set, you will get a diminished chord in root position.

Major root		Major root		????		Dim root

Listen to a recording of the chords (MP3)

Bottom Minor

The bottom minor chord will give you a diminished chord on the middle set, but does not work well on the top set.

Minor root		Minor root		Dim root

Listen to a recording of the chords (MP3)

Bottom Diminished

The bottom diminished shape will not give you proper chords on higher sets, and it is an awkward fingering.

Dim root		Dim root		Major 2. inversion		Major 2. inversion

Listen to a recording of the chords (MP3)

Middle Minor

The next set might be labelled middle minor shape, again because it gives us a minor chord in first inventions on the middle set of strings. On the bottom sets, it will give a major chord in first inversion. On the top set it could be a sus4 chord that resolves to the major-chord in first inversion on the top strings.

Major 1. inversion		Major 1. inversion		Minor root		Sus4

Listen to a recording of the chords (MP3)

Middle D-shape

I call the next shape middle D-shape, from the fact that you get a D-chord on 2nd to 4th fret, 2nd to fourth string. (I used to call it "mirror D-minor shape", so you might run into this label as well somewhere in the lessons.) On the two bottom sets, you get diminished chords in first inversion. The middle set will give you a major chord in first inversion. On the top set, it will give an odd chord that I have no name for.

Dim 1. inversion		Dim 1. inversion		Major 1. inversion		????

Listen to a recording of the chords (MP3)

Bottom Triangle

The last two shapes both forms long triangles. The first will in my view be standing on the base. On the two bottom sets, it will not give you a proper full chord. It might be seen as a fragment of a min7 chord, a type of chord we have not met so far. On the middle set, it will become a diminished chord in first inversion. On the top set, this too will be some kind of an odd chord. It contains three of the notes of a related 7th chord, the C7 if played on first and third fret. But the root will be omitted, so it is not the best choice for a 7th substitution..

m7 fragment		m7 fragment		Dim 1. inv		7-fragment

Listen to a recording of the chords (MP3)

Top Triangle

The last is the long triangle standing on it's top. On the bottom sets, it does not form a full chord. It might be seen as a fragment of some kind of 7th chord, with root on the lowest string and the 7th note on top. But the chord has not third, and is by that lacking it's character note. So it is neither major nor minor. If it is played on the lowest set of strings on first and third fret ("Fsomething 7"), you can add an Ab on first string, 3rd string, and you have a Fm7. If you play an A on second fret, you have F7. And you see that these are fragments of the barré F7 and Fm7 shapes. On the middle set, it could be either part of a 6th chord with the third missing (part of Eb6 in lowest position), or part of a m7 with the fifth missing. In the same position, it will then be part a Cm7. (A 6th chord contains the same notes as the m7 of the parallel minor chord. A C6 has the notes C, E, G, A in root position. The Am7 has the notes A, C, E, G. So wether it is a 6th or a m7 depends on the harmonic context.) Finally, on the top set, it becomes a diminished chord in second inversion.

?7		?7		m7 fragment		Dim 2. inversion

Listen to a recording of the chords (MP3)

Double tritone shape

The tritone interval divide the octave in two equal halves. I a normal major-scale setting, it would be more precise to say that the octave is divided into one tritone (augmented fourth) and one diminished fifth. But they both consists of six half step, and sounds identical. (A tritone is three whole-steps, while a diminished fifth is two whole and two half steps).

The next shapes consists of an octave on the outer strings, divided in two equal halves by the middle strings as long as we are on the two bottom sets of strings. As always things (and sounds) will be different when the 2nd string is included.

I have mentioned a few set of shapes that creates smooth chord changes. There are many more that could be mentioned. But I will leave that until it can be demonstrated in the context of a common chord progression. It is explained in more detail in the 50's cliche I-vi-IV-V7-I lesson.

You might also ask if it is a point to isolate a fragment of a good old full chord. By doing that, we find harmonic building blocks that can be played all over the fingerboard. Knowing them will make it easier to mix scales and chords in your arrangements and improvisations, and it will make it easier to find your way home to a safe harmonic harbor if you are about to get lost in your improvisation. And to these building blocks, you can add notes to create more complex chords. Before concluding this exploration of sonic triad shapes, I will remind you that there are more three notes shapes. I have only listed shapes that at least on one set of strings creates a proper diatonic triad (major, minor or diminished). Other shapes can create other kinds of harmony, or fragments of a more complex chord. And I have only listed three-note chord shapes on adjacent strings. There are a lot of shapes were you skip a string or two (either not play it, or dampen it out).

Finally a few words about harmony. I have said that some shapes do not produce a nice sound, according to my ears. But:

• First: You shall be guided by you own ears, not by mine. If you like the sound, it is good, even if I and maybe others don't like it.
• Second: You do not always want nice, sweet harmonic sounds. Sometimes you want to create tension, by using dissonant chords. A tension might sound nice if it is released by a following chord, even if it does not sound nice when played in isolation.
• Third: Sometimes you want sounds that are downright unpleasant. For a guitarist, the classic Jimi Hendrix Woodstock recording of Star Sprangled Banner is a good example. One should keep in mind that this was recorded when US still was fighting a war in Vietnam. The message of Jimi Hendrix' playing would not have been the same if he had played with nice, sweet harmonies, instead of the brutal and unpleasant sounds he used in that performance.
• Fourth: Harmony should always be evaluated in context, not in isolation. Even if a chord fragment is lacking some crucial notes, it might work as a full chord when the missing notes are implied by the chords you are coming from and are going to. From the context, the listener ear might "hear" notes that are not played.

Some General Fretboard Navigation - books

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The Art Of Acoustic Blues Guitar: Logic Of The Fretboard Here is a new approach to exploring the fretboard using techniques for "breaking down" chord blocks into smaller "pieces" and connecting them up and down the neck. RefNr: OK65098

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Fretboard Autopsy Level Two Guitar virtuoso Rusty Cooley who is at the fore front of pushing the boundaries of modern guitar playing challenges you to expand on the fretboard visualization and modal knowledge learned in Level 1. RefNr: FR01000

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