Introduction to

Chord Theory &Chord Voicing

for the GuitaristVolume One

taught byJohn Miller

Introduction to

Chord Theory &Chord Voicing

for the GuitaristVolume One

taught byJohn Miller

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INTRO TO CHORD THEORY ANDCHORD VOICING FOR THE GUITARIST, VOLUME 1

I. THE MAJOR SCALE

The best place to start in the the study of chord theory is the major scale, for it provides thefoundation for chords. Using the C major scale as an example, we find it is structured:

The most important feature to note in the major scale is its stepwise construction, with whole stepsbetween all of the notes with the exception of the third and fourth notes and the seventh and eighthnotes, which are separated by half-steps. On the guitar, a whole step, or tone, separates notes thatare two frets apart on the same string, while a half-step, or semitone, is the distance between twonotes one fret apart on the same string.

Since all major scales conform to the stepwise formula indicated above, you can construct a majorscale starting on any note simply by applying the stepwise formula and remembering a few simplerules:

• All of the note letter names, A, B, C, D, E, F, and G must appear in a major scale in that order(while still allowing for starting the scale on different notes). The only lettered note that appearstwice in the major scale is the letter that begins and ends the scale, as C does in the C major scale

• Note that natural half-steps occur between E and F and B and C. On the piano, those half-stepswork out so that you have two consecutive white keys with no black key in between them.It just happens that these two natural half-steps coincide with where the half-steps fall in themajor scale, when constructing a major scale off of C, but you will have to take those half-stepsinto consideration and make adjustments to achieve the proper stepwise formula when youconstruct major scales off of notes other than C. To raise a note one-half step you sharp (≥) it,with the sharp sign following the letter of the note being raised, as in C≥. To lower a noteone-half step, you flat (≤) it, with the flat sign similarly following the letter of the note beingflatted, as in B≤.

In the course of constucting scales, you will notice that the same pitch, for example the note onehalf-step above C, may end up being named differently, depending on which scale you areconstructing. Thus the note one-half step above C ends up being called a D flat when encounteredin the A flat major scale, as opposed to C sharp when encountered in the D major scale. The twodifferent spellings for the same pitch are referred to as enharmonic spellings of the same pitch, oralternate ways of naming the same pitch, depending on the context in which the pitch is found.

You now have enough information to do some exercises on major scale construction. Let’s getstarted!

C D E F G A B C

1 q1 1 1 1 q

3

1. Write down the notes in a D flat major scale, in order.

2. Write down the notes in an E major scale, in order.

3. Write down the notes in an F major scale, in order.

4. The seventh note in the B major scale is ____.

5. The third note in the E flat major scale is ____.

6. The fourth note in the B flat major scale is ____.

7. Re-name the note F sharp, using an enharmonic spelling ____.

8. Re-name the note E sharp, using an enharmonic spelling ____.

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II. INTERVALS

An interval is the musical distance between two notes. Once again, referencing the structure of themajor scale provides a helpful context in which to begin to understand the defining characteristicsof the different intervals.

If you look at the distance from C to D in the C major scale, that distance, one whole step, is a majorsecond. Likewise, the distance from C to E, two whole steps, is a major third; the distance from C toA, four-and-a-half steps, is a major sixth; and the distance from C to B, one half-step down from theupper C in the scale, is a major seventh.

Any major interval in which the pitch of the upper note is lowered by one half-step produces a minorinterval of the same type. Thus, if C-E is a major third, C-E flat is a minor third. Similarly, C-D flat is aminor second, C-A flat is a minor sixth and C-B flat is a minor seventh. Additionally, a minor seventhin which the seventh is lowered an additional half-step produces a diminished seventh, which in thecontext we have set up would work out to be B flat flat, or B double flat.

If we look now at the distance from the C at which the scale starts to F, that interval, two-and-a halfsteps, is termed a perfect fourth. Similarly, the distance from C to G, three-and-a-half steps, is termeda perfect fifth. Other perfect intervals are the unison, which is two notes of the same pitch, and theoctave, which is the distance from the C that starts the scale to the C at the end of the scale. Any perfectinterval in which the pitch of the second note is lowered by one half-step is said to be diminished;thus C-G flat is a diminished fifth. Any perfect interval in which the pitch of the second note is raisedone half-step is said to be augmented; thus C-F sharp is an augmented fourth. Unisons, fourths, fifthsand octaves are never spoken of as major or minor. Rather they are described as perfect, diminishedor augmented. In common usage, the term flat five is synonomous with diminished fifth as is the termsharp five with the augmented fifth.

The way that intervals are named presumes that each interval has a different letter name relativeto the letter name of the note that is serving as the frame of reference. For example, the second ofC, whether major or minor, must always be a D of some type, the third of C must be an E of sometype, the fourth of C must be an F of some type and so on. Thus, even though G sharp and A flatdescribe the same pitch, only A flat may be said to be a minor sixth above C, because no G of any typecan ever be a sixth above C. Lest this seem like pointless hair-splitting, it really is not, because thedifferent intervals function differently and mis-spellings of notes and chords cloud meaning in a waythat can cause confusion and misinterpretations of musical intent. As usual, it is best to get in the habitof doing things right at the outset, if possible.

Let’s do some interval exercises to develop fluency with figuring out and naming the various intervaltypes.

C D E F G A B C

1 q1 1 1 1 q

5

1. The note an augmented fourth above B flat is ____

2. The note a minor sixth above D is ____

3. The note an augmented fifth above A is ____

4. The note a minor second above B is ___

5. G is a major sixth above ____

6. F sharp is a minor third above ____

7. C is a minor seventh above ____

8. E flat is a perfect fifth above ____

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III. TRIAD STRUCTURE AND DIATONIC TRIADS

Triads are three-note chords consisting of a root and the root’s third and fifth. In a way, triads canbe seen as the result of stacking two thirds on top of each other, root to third and third to fifth. Indescribing the structure of triads, however, one speaks of the intervals from the root to the third andthe root to the fifth, always using the root as the frame of reference for describing intervallic distances.

If we can re-cap briefly the presentation on the DVD pertaining to the major scale and its diatonictriads, the diatonic triads are the triads formed off of each successive note of the major scale, usingonly the notes of the scale (diatonic means using only the notes of the scale).

Thus, the diatonic triads formed off of the various different notes of the C major scale are as follows: • The I triad is C-E-G, a major triad • The II triad is D-F-A, a minor triad • The III triad is E-G-B, a minor triad • The IV triad is F-A-C, a major triad • The V triad is G-B-D, a major triad • The VI triad is A-C-E, a minor triad • The VII triad is B-D-F, a diminished triad

Because all major scales are structurally identical, the diatonic triads will always conform to the triadtypes for each place in the scale as demonstrated in the C major scale. In the diagram below, thediatonic triad types are indicated numerically below each successive note of the scale. A Romannumeral indicates a major triad, a lower case numeral indicates a minor triad, and a lower casenumeral followed by a small circle indicates a diminished triad.

major 3rd,perfect 5th

TRIAD STRUCTURE TABLE

Major

StructureType

minor 3rd,perfect 5th

Minor

minor 3rd,diminished 5th

Diminished

major 3rd,augmented 5th

Augmented

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Using the information from the triad structure table and the discussion of the diatonic triads,complete the following exercises.

1. What notes combine to form a D major triad? ______________a D minor triad? _______ a D diminished triad? _________________a Daugmented triad? __________

2. If you are in the key of F major, what note will be the third of the ii minor triad? ____

3. An F≥ minor triad would be the ii minor triad in what key? ____In what key would the F≥ minor triad be the iii minor triad? ________In what key would the F≥ minor triad be the vi minor triad? ___________

4. The C diminished triad could only be diatonic in what major key? ________

5. As you walk up a major scale, playing the ascending diatonic triads, you come to a place in thescale where you play an E major triad followed by an F≥ major triad. What key are you playingin? ____________

6. True or false: Any major triad can be converted to a diminished triad simply by raising the rootone half-step. __________

7. The major key that includes among its diatonic triads an A flat major triad, an E flat major triadand a B flat major triad is ___________

8. The third of an F minor triad is __________.

C D E F G A B C

1 q1 1 1 1 q

I ii iii IV V vi vii°

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IV. SEVENTH CHORD TYPES AND THE DIATONIC SEVENTH CHORDS

Seventh chords consist of a root and its third, fifth and seventh. The addition of the seventh to thetriad allows for expression of more complex and highly colored sonorities. The table below outlinesthe structural composition of the various seventh chord types.

major 3rd,perfect 5th,major 7th

SEVENTH CHORD STRUCTURE TABLE

Major

StructureTypeChart

Designation

…, Maj7

major 3rd,perfect 5th,minor 7th

Dominant 7

minor 3rd,perfect 5th,minor 7th

Minor m7

minor 3rd,diminished 5th,minor 7th

Minor 7≤5(Half-diminished) Ÿ7, m7≤5

minor 3rd,diminished 5th,diminished 7th

Diminished —7

minor 3rd,perfect 5th,major 7th

Minor/Major m(…7)

major 3rd,diminished 5th,minor 7th

7≤5 7≤5

major 3rd,augmented 5th,minor 7th

7≥5 7≥5, 7+

In addition to noting the structure of the different seventh chord types listed in the table, notice alsothe symbols that are used to communicate the various seventh chord types in a chord chart or leadsheet. It is important to become conversant with these symbols as they are a short-hand way ofdesignating the chords that has widespread usage. The formal names of the chords are seldomwritten out in full.

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Just as the diatonic triads were formed by figuring out the root, third and fifth of each successivetriad as you ascended the major scale, so can you figure out the diatonic seventh chords. Simply addthe appropriate seventh for each diatonic triad as you ascend the scale.

For the C major scale, the diatonic seventh chords would be as follows: • Starting on C, you have C-E-G-B, a major seventh chord • Starting on D, you have D-F-A-C, a minor seventh chord • Starting on E, you have E-G-B-D, a minor seventh chord • Starting on F, you have F-A-C-E, a major seventh chord • Starting on G, you have G-B-D-F, a dominant seventh chord • Starting on A, you have A-C-E-G, a minor seventh chord • Starting on B, you have B-D-F-A, a minor seven flat five chord

Let’s place these various diatonic seventh chords in the appropriateplaces in the scale, below the diatonic triads. Here goes:

C D E F G A B C

1 q1 1 1 1 q

I ii iii IV V vi vii°… m7 m7 … 7 m7 m7≤5

Using the information from the unit on intervals, the table of seventh chord structures and thediscussion of the diatonic seventh chords, complete the following exercise.

1. The note falling a major seventh above A is ______

2. Name the root, third, fifth and seventh of a B diminished seventh chord _____________

3. A popular song begins with the following progression: Fm7–B≤m7–E≤7–A≤…–D≤….Assuming all of these chords are diatonic, what major key is suggested by the progression?____________

4. Fm7 is the iii m7 chord in what major key? __________

5. Name the root, third, fifth and seventh in an Fº7 chord, using the functionally correct names foreach note. ______________Re-name the notes as necessary, substituting enharmonic spellings to make it more userfriendly.________________

6. Name the root, third, fifth and seventh in an E≤ minor/major seventh chord___________

7. Name the root, third, fifth and seventh in an F7≥5 chord _______________

8. A diatonic B7 chord would occur in what major key? ___________

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V. VOICING TRIADS AND SEVENTH CHORDS OUT OF THE D POSITION

You are now ready to use the information you’ve been learning to figure out how to voice thevarious triads and seventh chord types out of the D position. Look at the diagram below.

It shows a simple grid pattern in which the six vertical lines represent the six strings of the guitar,in standard tuning, with the low E string (sixth string) to the left, and the high E (first string) to theright. The horizontal lines represent the frets, with the top horizontal line representing the nut of theguitar, the next lower horizontal line the first fret, and so on. A D chord at the base of the neck hasbeen diagrammed on the grid. The pitch of each note of the D chord is indicated above the string,and below each string, there is an indication of which voice of the D triad is voiced on that string, withR standing for root, 3 standing for the major third and 5 standing for the perfect fifth.

For our purposes at this time, we will concern ourselves only with voicing the first four strings outof the D position, and we can see that this portion of the shape is voiced root-perfect fifth-root-majorthird, moving from the fourth string to the third, second and first strings. We are now ready to begindiagramming the different triad types out of the D position on the first four strings. Because you willbe diagramming the seventh chord types yourself, we will use the triads as an opportunity to showyou how to work with the D position in the grid to voice chords of different types.

We already have a major triad diagrammed out of the D position, voiced R-5-R-3. How do we needto alter the chord shape to obtain a minor triad shape? Well, the only structural difference betweenthe major triad and the minor triad is in the third, which must change to a minor third for the minortriad; the root and perfect fifth will remain the same. Where is the minor third located relative to themajor third? One half-step lower. Observe the diagrammed minor triad out of the D shape, and notehow the voice designations below the different strings have been altered to describe the differentstructure of the minor triad.

D Major Triad

F≥ A D A D F≥

3 5 R 5 R 3

D Minor Triad

x x R 5 R m3

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Let’s move on to the diminished triad out of the D position. How does it differ structurally from theminor triad? They have the root and minor third in common, but the minor triad has a perfect fifth,while the diminished triad has a diminished fifth. Where does a diminished fifth lie relative to a perfectfifth? One half-step lower, so it is necessary to lower the third string, where the perfect fifth has beenvoiced, by one half-step, resulting in the following shape.

D Diminished Triad

x x R ≤5 R m3

Note how the strings are designated according to voice under the diminished triad grid:R-≤5-R-m3.

Let’s go on to the augmented triad. If we go back to our starting point, the major triad as voicedout of the D position, what structural change must be made to diagram the augmented triad? Well,the major and augmented triads both have a root and major third, but the major triad has a perfectfifth, while the augmented triad has an augmented fifth. Where does an augmented fifth lie relativeto a perfect fifth? One half-step higher. Observe how that change is achieved in the diagrammedaugmented triad out of the D position shown below.

Okay, we’ve now voiced the triads out of the D position. It’s important to recognize that all of theseshapes are potentially moveable. All you need to do to make them moveable is finger them in sucha way as to free up your index finger, and use your index finger to walk up the fourth string, wherethe root of the D shape is located, as you move the shapes up the neck. And if you memorize theseshapes, you can reference all the potential places to utilize those shapes simply by knowing thepitches of the different frets on the fourth string, where the root is voiced. An example is in order: Hereis an E major triad voiced out of the D position. Because E is one whole step higher than D (a majorsecond), it is necessary to move the chord shape up two frets from the base of the neck.

D Augmented Triad

x x R ≥5 R 3

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All right, now we are ready to move on to diagramming the seventh chords out of the D shape. Inorder to wind up with moveable seventh chord shapes diagrammed, rather than ones that utilize anopen fourth string, let’s change our frame of reference to the second fret of the fourth string and usethe E major triad out of the D shape that was just diagrammed as our starting point for diagrammingthe seventh chords.

E Major Triad,D Position

x x R 5 R 3

Okay, let’s voice a major seventh chord out of the D shape, at E. What is the structural definitionof a major seventh chord? Root, major third, perfect fifth, and major seventh. As we look at the gridof the E major triad out of the D shape, we can see that we have every voice needed for the majorseventh chord, with the exception of the major seventh note itself. Where does a major seventh notelie, relative to the root? One half-step below it. We have two roots voiced in the E major triad, oneon the fourth string, and one on the second string. Let’s leave the root on the fourth string as is, sothat the chord remains in “root position” with the lowest voice being the root. So, to get our majorseven note, we need to lower the root on the second string by one half-step, giving us the majorseventh shape out of the D position.

E Major Triad,D Position

x x R 5 R 3

Note how the voices beneath each of the first four strings have been altered to reflect the structureof the major seventh chord: R-5-7-3 .

E…, D Position

x x R 5 7 3

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You are now ready to diagram the remaining seventh chord types listed in your seventh chord tableout of the D position. In every instance, leave the root on the fourth string unaltered. We provide itfor each of the chord diagrams as a starting point. Voice the major or minor third, as appropriate, onthe first string, the major, minor or diminished seventh on the second string, and the perfect,diminished or augmented fifth on the third string. After diagramming the shape for each chord, listthe voice for each string, as we’ve done above. Major seven and third notes can simply be described7 and 3, minor seven and third notes, m7 and m3, a diminished seven note, º7, perfect fifths,diminished fifths and augmented fifths, 5, ≤5 and ≥5, respectively.

Okay, you’ve diagrammed all the seventh chords out of the D position now. Take a moment tocomplete the brief exercise on seventh chords out of the D position.

1. In an A≤ major seventh chord played out of the D position, the first, second and third stringswill all be fretted at the the ______ fret.

2. An F≥ m7≤5 chord played out of the D position will be rooted at the 4th fret of the ______ string

3. In a B≤ diminished7 chord played out of the D position, the fourth and second strings will befretted at the ______ fret and the third and first strings will be fretted at the _______ fret.

4. In a 7≥5 chord voiced out of the D position, the ≥5 will be voiced on the _____ string, _____ fretshigher than the root, which is voiced on the fourth string.

E7, D Position Em7, D Position Em7≤5, D Position

x x R x x R x x R

Em…, D Position E7≤5, D Position E7≥5, D Position

x x R x x R x x R

Eº7, D Position

x x R

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VI. VOICING TRIADS AND SEVENTH CHORDS OUT OF THE A POSITION

Now that we’ve established an approach for voicing chord shapes and indicating on which stringsthe different voices of the chord fall for the different chord types, we can move a bit faster. Look atthe diagram below of an A chord played at the base of the neck.

Note the pitch of the notes on each string and how the chord is voiced, from the sixth stringascending to the first string, 5-R-5-R-3-5 . For our purposes, we will concern ourselves only with theinterior four strings, the fifth through second strings, which are voiced R-5-R-3, just like a D position,but moved over one string towards the bass.

Let’s convert the A major triad diagram out of the A position to a moveable shape, by moving theposition intact up three frets to C. We can voice all of the triads and seventh chords out of theA position using this frame of reference and figure out the triads and seventh chords as moveableshapes, working in that fashion. As a starting point, here is a diagram of a C major triad out of theA position with the voices indicated below each string.

Using your triad structure table, complete the chord diagrams for the C minor, C dimished and Caugmented triads out of the A shape, and label where the voices fall on the strings for each chord.We’ll provide the root at the third fret of the fifth string as a starting point.

A Major Triad

E A E A C≥ E

5 R 5 R 3 5

C Major Triad,A Position

x R 5 R 3 x

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C Minor Triad,A Position

x R  x

C Diminished Triad,A Position

C Augmented Triad,A Position

x R  x x R  x

Now you are ready to diagram the seventh chords at C, out of the A position. Once again, we willgive you the major seventh chord diagram as an example to start you on your way. I don’t think anyfurther discussion is necessary at this point.

C…, A Position

x R 5 7 3 x

As always, you can see the voices indicated under each of the interior four strings for the majorseventh chord out of the A position. Observe this protocol as you diagram the remaining seventhchord types out of the A position at C. We will provide the root at the third fret of the fifth string asa starting point.

C7, A Position

x R  x

Cm7, A Position

x R  x

Cm7≤5, A Position

x R  x

Cº7, A Position

x R  x

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Cm…, A Position

x R  x

C7≤5, A Position

x R  x

Cm7≥5, A Position

x R  x

Play through the various A position seventh chord shapes you have diagrammed. Note that for thediminished 7 shape, it is necessary to use the second (middle) finger to fret the root on the fifth string,unlike all of the other seventh chord type shapes, for which the index finger is used to fret the rooton the fifth string.

Let’s do a brief exercise on the voicing of triads and seventh chordsout of the A position.

1. For an E≤m7≤5 chord out of the A position, the fifth and third strings will be fretted at the ______ fret and the fourth and second strings will be fretted at the ______ fret.

2. An F… chord played out of the A postion is rooted at the _____ fret of the fifth string.

3. In a B≤º7 played out of the A position, the ______ string will be open

4. True or False? A major seventh chord shape out of the A position is like a dominant seventhchord shape out of the D position, moved one string towards the bass. _______

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VII. VOICING TRIADS AND SEVENTH CHORDS OUT OF THE E POSITION

Moving right along, let’s see how the E position is voiced at the base of the neck of the guitar.

In looking at how the E position is voiced, R-5-R-3-5-R, you should note that on the bottom fourstrings, the position is voiced R-5-R-3, as are the A and D positions. It is useful to think of the E , Aand D positions as comprising a “voicing family,” the “R-5-R-3” family. Chord voicing strategies aregoing to be the same for each of the positions in that family.

Using the same approach that we used for voicing the minor, diminished and augmented triadsout of the A and D positions, diagram those triad types for the E position on the bottom four strings,moved up to the third fret, at G. We will provide the root on the sixth string as a starting point.

E Major Triad

E B E G≥ B E

R 5 R 3 5 R

Now we’re ready to start voicing seventh chords out of the E position. We will use a slightly differentapproach than we did for the A and D positions, where we voiced the chord shapes on fourconsecutive strings, the interior four for the A position and the top four for the D position. It is possibleto voice seventh chords out of the E position on the bottom four strings of the guitar, but the resultingsonorities are a bit bass-heavy, murky, and not particularly flattering to the instrument.

An alternative way of voicing seventh chords out of the E position was conceived by some unknownbrilliant problem solver at some point in the past. This person noted that in the E position, if you lookat all six strings of the guitar, there are fifths voiced on both the fifth and second strings. An idea washatched whereby instead of voicing seventh chords out of the E position on the bottom four strings,the sixth, fourth, third and second strings would be used, with the fifth string going unfretted andunplayed, along with the first string. Observe the re-configured E position depicted below and howit is voiced.

G Minor Triad,E Position

R    x x

G Diminished Triad,E Position

G Augmented Triad,E Position

R x x R x x

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G Major Triad,Re-configured E Position

R x R 3 5 x

By switching to the re-configured E position, we wind up with a starting point for voicing seventhchords in which the major triad is voiced R-R-3-5. Working from that re-configured E position, let’ssee how the major seventh chord would be voiced out of the E position at G.

Using that major seventh shape as a starting point, diagram the 7, m7, m7≤5, º7, m…7, 7≤5 and 7≥5chords out of the E position, labelling the voices on each string as you go. We will provide the startingroot on the sixth string, third fret, G, and remember that you are voicing the chords on the sixth, fourth,third and second strings.

G…, E Position

G7, E Position Gm7, E Position Gm7≤5, E Position Gº7, E Position

R x x R x x R x x R x x

Gm…, E Position G7≤5, E Position Gm7≥5, E Position

R x x R x x R x x

R x 7 3 5 x

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Once you have diagrammed all of the seventh chord shapes out of the E position, play them. Notethe clean, transparent sound of the voicings, much preferable to the muddy sound of voicing on thebottom four strings. Note, too, that this approach to voicing seventh chords out of the E positioneliminates the need for any barres all the way across the neck, and while these seventh chord shapesderiving from the re-configured E position may presently be unfamiliar, in the long run they are farless fatiguing than are positions that require full barres.

Fingering of the seventh chords out of the E position is more complicated than is fingering seventhchords out of the A and D positions, for in the E position you may have to change the finger you areusing to fret the root on the sixth string, depending on which chord type you wish to play. The followingseventh chord types work best with the index finger fretting the root on the sixth string:

• Major 7, minor/major 7, 7, 7≥5.

The remaining seventh chord types work best with the second (middle) finger fretting the root onthe sixth string:

• Minor 7, 7≤5, m7≤5 and º7.

For the m7 chord, use the third (ring) finger for the partial barre of the second, third and fourthstrings.

Whichever finger you end up using to fret the sixth string root in the E position seventh chords, thatsame finger must serve double duty, by making a light incidental contact with the fifth string andmuting it (NOT fretting it), so that it is possible to strum right across the fifth string without soundingit.

Let’s do a brief exercise on voicing seventh chords out of the E position.

1. The diminished fifth in a Bm7≤5 chord voiced out of the position is fretted at the ______ fretof the _______ string.

2. In an F≥º7 chord out of the E position, the sixth and third strings are fretted at the _______ fretand the fourth and second strings are fretted at the ____ fret.

3. The major third in an A7 chord voiced out of the E position is located at the ____ fret of the ______ string. If you lower it one half-step while keeping all of the other voices the same, youget an A__________ seventh chord.

4. The ≥5 in a C7≥5 chord voiced out of the E position is located at the ____ fret of the ______ string.

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VIII. THE G, C, AND F POSITIONS

We dealt with the D, A and E positions one at a time. Let’s opt for a more global approach to dealingwith the G, C and F positions. Look at the positions diagrammed below, as they are fingered at thebase of the neck.

As we look at how these three positions are voiced, note that the G position is voiced R-3-5-Rstarting on the sixth string and moving up to the third string, the C position is voiced R-3-5-R startingat the fifth string and moving up to the second string, and the F position is voiced R-3-5-R starting onthe fourth string and moving up to the first string. Thus we can see that just as the E, A and D positionsformed the “R-5-R-3 family,” with the lowest roots in those positions voiced on the open sixth, fifth,and fourth strings, respectively, the G, C, and F positions form the “R-3-5-R family,” with the lowestroots in these positions voiced at the third frets of the sixth, fifth and fourth strings, respectively. Thereis order in the universe!

I have made an editorial decision not to concern ourselves with the G position for this introductorycourse, so let’s take a look at the C position. Looking only at the voices that fall on the interior fourstrings, we find a C major triad voiced R-3-5-R. You don’t have to examine matters in great depthbefore determining that fingering a C minor triad out of the C position by lowering the major thirdon the fourth string results in a shape that is very difficult to finger and quite awkward. The Cdiminished triad, voiced as a moveable shape out of the C position, is even worse, to the point of realimpracticability.

The C augmented triad, shown below, is not nearly so problematic.

G Major Triad,G Position

G B D G B G

R 3 5 R 3 R

C Major Triad,C Position

G C E G C E

5 R 3 5 R 3

F Major Triad,F Position

C F A C F

x 5 R 3 5 R

C Augmented Triad,C Position

R 3 ≥5 R

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Fortunately, it is not essential that you become adept at fingering the minor and diminished triadsout of the C position, because in the A position, rooted like the C position on the fifth string, thesepositions are relatively easy to play. Just for the practice of it, diagram the minor, diminished andaugmented triads out of the C position below, bearing in mind that we have moved the position uptwo frets, to D on the fifth string, so that moveable shapes result. We’ll provide the root and you providethe other voices.

We will be adopting a different approach for voicing seventh chords out of the C position than weused for the E, A, and D positions. In the C shape, it ends up being impractical to voice all the seventhchords by lowering the upper root to get sevenths. Adopting this approach soon ends up with a lefthand stretched to a very uncomfortable degree. So it is that in the C shape we will voice our seventhnotes on the third string, raising the fifth that starts out there to get the various sevenths the differentseventh chord structrures require. Giving up the fifth is not a serious problem for the seventh chordtypes that employ a perfect fifth. For those chords, the major 7, 7, minor/major 7 and the minor 7,sacrificing the perfect fifth is not too injurious, and you can end up with chords voiced on the interiorfour strings, R-3-7-R.

What of the chords that include altered fifths in their structure? If you want to add fifths, eitherperfect, diminished or augmented, to 7th chords voiced out of the C position, here is a way to thinkabout it. The perfect fifth of C is G, and at the bass of the neck you have the open G string in the Cshape. You also, though, have easily accessible G notes at the third fret of the sixth and first strings.What some players working out of the C position choose to do is to voice the fifth of the chords onthe sixth string, leave the fifth string unplayed and damped, voice the third of the chord on the fourthstring, the seventh of the chord on the third string, and the root of the chord on top, on the secondstring.

Let’s look at how a major seventh chord would be voiced out of the C shape, at D, so we end upwith a moveable shape. Note that both the fifth on the sixth string and root on the fifth string areindicated as being voiced; in practice, you can choose to voice one or the other.

D Minor Triad,C Position

x R x

D Diminished Triad,C Position

D Augmented Triad,C Position

x R x x R x

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You may wonder at the basis of how the location of the major seven note on the third string wasdetermined. In the major scale there are two whole steps from the V note to the major seven note;hence the major seven note is four frets higher than the perfect fifth would be. I believe this voicingto be under-utilized by guitarists. It has a very distinctive sound, voicing the major seventh and upperroot on adjacent strings when they are only a minor second apart from each other in pitch. That closeinterval almost gives the chord a humming sort of tone. I think the chord does sound better with thefifth in the bass than with the root in the bass.

Working from the model of the major seventh chord voicing, use the blank grids below to voice the7, m7, m7≤5, º7, m… (minor/major 7), 7≤5 and 7≥5 chords out of the C position at D. We will spotyou the root at the fifth fret of the fifth string to get you started. For the m7≤5, º7, 7≤5 and 7≥5 chords,voice the fifth of the chord as the lowest voice, on the sixth string.

D…, C Position

5 R 3 7 R x

D7, C Position Dm7, C Position Dm7≤5, C Position

R x

Dm…, C Position D7≤5, C Position D7≥5, C Position

Dº7, C Position

R x R x R x

R x R x R x

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A couple of notes about the fingering of these chords: • All of the voicings in which the third is minor require a partial barre with the index finger, which

ends up fretting the third of the chord on the fourth string and the root of the chord on the secondstring.

• The sound of the 7≥5 chord voiced with the ≥5 as the lowest voice in the chord, on the sixth string,is not ideal. You may find it preferable for that chord to voice the ≥5 on the first string, or voicethe chord out of the A shape, where you can get all the voices you want in root position.

• the m7≤5 chord voiced out of the C position with its diminished fifth in the bass is a particularbeauty, very dark, and it resolves beautifully to the dominant seventh chord out of the E shaperooted one half-step lower than the diminished 5 note in its bass.

Let’s move on to the F position. The first point that should be made is that the F position is not simplyan upper partial of the E shape; when you look how it operates on the top five strings of the guitar,it is a separate shape in its own right. You voice triads and seventh chords out of the F position justas you did out of the C position. We have moved the diagram for the F major triad out of the F positionup two frets to G. Use the blank grids following the grid with the major triad to voice the minor,diminished and augmented triads out of the F position at G. We provide the root on the fourth stringin every instance.

G Major Triad,F Position

x x R 3 5 R

Look now at how the major seventh chord position is voiced out of the F shape at G. Just as withthe C position, you raise the interior fifth to get the seventh, and have the option of re-voicing the fifthat the same fret as the lower root , on the fifth string.

G Minor Triad,F Position

G Diminished Triad,F Position

G Augmented Triad,F Position

x x R x x R x x R

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3fr.G…, F Position

x 5 R 3 7 R

G7, F Position Gm7, F Position Gm7≤5, F Position

x R

Gm…, F Position G7≤5, F Position G7≥5, F Position

Gº7, F Position

3fr. 3fr. 3fr. 3fr.

3fr. 3fr. 3fr.

x R x R x R

x R x R x R

Use the blank grids below to voice the 7, m7, m7≤5, º7, m…, 7≤5 and 7≥5 chords out of the F positionat G. In every instance, indicate the location of the appropriate fifth on the fifth string. For the m7≤5,º7, 7≤5 and 7≥5 chords, voice the fifth of the chord as the lowest voice, on the fifth string.

Some notes on fingering for the seventh chords out of the F position: • The major seventh chord voicing makes for quite a stretch by the little finger of the left hand.

You may prefer to voice the chord out of the D shape, or voice it out of the F position, butR-3-5-7 on the top four strings.

• The m7≤5 voicing can be done on either the interior four strings, ≤5-R-m3-m7, or on the fifth,third, second and first strings, ≤5-m3-m7-R.

• The 7≥5 chord is even more problematic out of the F shape than it is in the C shape. It is difficultto finger and ambiguous sounding, painting you into corners with regard to how you resolve it,too. You are probably better off voicing the chord out of the D shape, where you can get all thenecessary voices in root position.

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Let’s do an exercise on the seventh chords voiced out of the C and F positions.

1. In an Eº7 chord voiced out of the C position, the dimished fifth is voiced on the ______ stringat the _______ fret.

2. The minor third of an Am7 chord, voiced out of the F position, can be found on the ____fret ofthe _____ string.

3. The lowest root of an E≤… chord voiced out of the C position can be found at the _____ fretof the ________ string.

4. In voicing seventh chords out of the F position, the seventh will be voiced on the _____ stringand fingered by the ______ finger in the left hand.

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IX. CONCLUSION—CHORD THEORY AND CHORD VOICINGFOR THE GUITARIST, VOLUME 1

Congratulations! If you have made it to this point, completing all the exercises and diagrammingall the chord shapes, you have covered a tremendous amount of material that will enable you to playchords out of a variety of shapes and with different sound characteristics up and down the neck ofyour guitar. Volume 2 of this series will get you using the chord positions you have learned inVolume 1 in various different songs, and seeing how to achieve the most fluid, efficient and musicalresolutions as you move from one chord to the next, up and down the neck. We are including ananswer key for the exercises at the conclusion of this .pdf, but not for the chord diagrams—you haveto do those yourself to get them. Best of luck with your music as you move forward on the guitar!

All best,John M. Miller

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V. The D Position1. 8th2. 4th3. 8th, 9th4. 3rd, 3

VI. The A Position1. 6th, 7th2. 8th3. 3rd4. True

VII. The E Position1. 6th, 2nd2. 2nd, 1st3. 6th, 3rd, minor4. 9th, second

VIII. The C and F Positions1. 6th, 6th2. 5th, 3rd3. 6th, 5th4. 2nd, little finger

X. ANSWER KEY, VOLUME 1

I. The Major Scale1. D≤-E≤-F-G≤-A≤-B≤-C-D≤2. E-F≥-G≥-A-B-C≥-D≥-E3. F-G-A-B≤-C-D-E-F4. A≥5. G6. E≤7. G≤8. F

II. Intervals1. E2. B≤3. E≥4. C5. B≤6. D≥7. D8. A≤

III. Triads and Diatonic Triads1. D-F≥-A, D-F-A, D-F-A≤, D-F≥-A≥2. B≤3. E major, D major, A major4. D≤ major5. B major6. True7. E≤major8. A≤

IV. Seventh Chords and Diatonic Seventh Chords1. G≥2. B-D-F-A≤3. A≤ major4. D≤ major5. F-A≤-C≤-E≤≤, F-A≤-B-D6. E≤-G≤-B≤D7. F-A-C≥-E≤8. E major