MLSD

Before getting into the meat of this entry, I’d like to note that, while the chords discussed in here are geared toward the guitar, the idea of learning the chords discussed are not only essential to the guitar but to all instruments. Although I’ll be placing this entry in the “Guitar” category of this blog, it will include information that can be incorporated into other instruments.

A file containing guitar chords, originally provided in a past entry entitled “A condensed library of guitar chords.“,  has recently received a minor face-lift. All of the same chords are still in the packet, though I have rearranged all of the pages to allow for a more logical and easier chord memorization process. Although the material in the packet is exactly the same, the new page order warrants a new blog entry, just in case anybody visiting this blog doesn’t see the update in that previous entry.

If you have already printed out the chord packet, there is no need to print it out again. If you would like to use the new page order, you can go ahead and download the recent revision (available below) and use that as a reference for the new page order of your previously printed packet.

Otherwise, if you have not printed it yet, and are interested in learning guitar chords – or if you are taking lessons with me, we will definitely go through all of these – this packet will come in handy.

The new order basically approaches 8 common chord types in this order:

1. 5 (power) chords
2. Major chords
3. Minor chords
4. 7th (dominant 7th) chords
5. Minor 7th chords
6. Major 7th chords
7. Sus 2 chords
8. Sus 4 chords

Each chord type is presented on a new page.

There are 3 sections to this packet:

1. The first 8 pages consist of those chord types for A, B, C, and D.
2. The second set of 8 pages consist of those chord types for E, F, G, Ab.
3. The third set of 8 pages consist of those chord types for Bb, Db, Eb, and Gb.

This covers all 12 “keys” (or, more accurately, all 12 available chromatic pitches), which also helps a little in the note memorization process. Though, anybody going through these chords will quickly discover that memorizing the notes – the individual pitches, at least on the instrument – will help tremendously in the chord memorization process.

As far as the order of chords, by letter (note name of the root of each chord), this revision consists of a pretty generic alphabetical order, starting with the “naturals”: A, B, C, D, E, F, G; then alphabetically through the remaining possibilities: Bb, Db, Eb, Gb.

It will be useful to know that the Bb is also A#. Likewise, the Db, Eb, and Gb are also, respectively, C#, D#, and F#. These are “enharmonic equivalents”, which basically means “same pitch, different name”.

You will notice that each chord on each page is presented with variations. For example, on the very first page, a version of A5 is provided starting on the 5th string (A string) and again starting on the 6th string (E string). By saying “starting on” a string, I refer to the lowest pitch in the chord, which is also the root of the chord, at least within this packet. The concept of each chord having variations continues throughout the packet and, as you progress through it, you will see more of a similarity within the chord variations on each page.

The second page of the current revision consists of A, B, C, and D major chords. If you memorize the chords on the previous page (A5, B5, C5, and D5 (power) chords), the memorization process for these chords will be easier.

Here is a sample layout of the chords, using page 2 from the packet:

(”St” = string; “fr” = fret; this is in reference to the lowest pitch – the root, in this case – of the given chord, from which the rest of the chord is built. A chord “shape” refers to the basic open-string version of that chord, only moved around the neck.)

When initially playing through the chords, the idea is to go through them (and memorize) in this order:

1. 1A, 1B, 1C, 1D.
2. 2A, 2B, 2C, 2D.
3. 3C, 3D.
4. 1A, 2A.
5. 1B, 2B.
6. 1C, 2C, 3C.
7. 1D, 2D, 3D.

(”1A” = row 1, column A.)

It helps to practice memorizing these using both short-term and long-term memory. After you initially go through the chords, quiz yourself on them without looking at the chords packet, going for a random order through A, B, C, D major chords starting on string 5 and on string 6. In the early stages of chord memorization it is okay, in fact it is a good thing, to refer back to the chord diagrams for reminders.

When you feel comfortable with the memorization of the chords on this page – or any of the pages, for that matter – go back through the chords later, testing your long-term memory, only do not refer to the chord diagrams in the packet until you have attempted playing all of the previously memorized chords. If some of the chords are still a little “blurry”, spend some extra time on them, though review them in connection to other chords, which are already memorized, that are similar though perhaps only one or two frets higher or lower.

An excellent tool for memorization is the flashcard. If you can get some flashcards, you will need approximately 200. Write a chord name on each flashcard, though be sure to include which string it starts on (for clarity on which chord version to play). Shuffle the flashcards, at least the ones with the chords you currently have memorized, and go through them. When you come across a card with a chord that you either don’t have memorized or only have partially memorized, mark it (an “x”, perhaps), so you know to work on it later, and continue through the rest of the cards. When you have completely memorized it you can check it off or mark it in a way that signifies it is memorized.

As you go through the chords in this packet, gradually memorizing all of them, remember to go back to previously memorized chords and do a quick review through them – this will keep the information fresh.

Although there are “only” 8 chord types in this packet (excluding the final 2 chords on page 25), when you consider the 12 chromatic pitches – listed in the packet as A, B, C, D, E, F, G, Ab, Bb, Db, Eb, Gb – you actually end up with 96 chords.

When you consider the majority of the chords are presented with variations, often chords starting on string 5 and starting on string 6, you immediately double the number of chords – you end up with 195 chords.

Technically, there are 197 chords in total (the entire packet), counting the final 2 chords on page 25. Though those last 2 chords are just freebies, fun chords that serve as an introduction to the next level in learning chords, the more advanced types (altered, extended, and altered extended mostly).

If you are curious, here are the total number of chords per section:

A, B, C, D chords, totaling 72 chords, with an approximate average of 10 chords per page.
E, F, G, Ab chords, totaling 67 chords, with an approximate average of 9 chords per page.
Bb, Db, Eb, Gb chords, totaling 56 chords, with an approximate average of 8 chords per page.

The averages are excluding the sus 2 and sus 4 pages, which generally contain fewer chords.

When looking at those larger numbers, one might think, “72 chords just for A, B, C, and D?”, though remember that there are actually only 8 chord types presented in this packet: 5 (power), major, minor, 7th, minor 7th, major 7th, sus 2, and sus 4.

Once you memorize the string location and fret location of the particular notes (such as pitches A, B, C, D, generally on string 6 and string 5), all you have to do is memorize a chord “shape”. At that point all you have to do is literally “move” that chord shape around the neck, with the lowest note (root, which is also the individual pitch you memorized) taking the place of the given note. That creates the chord based on that note.

An example would be:

The E major chord, starting on string 6, can be moved up 1 fret to produce the F major chord. (The “open string” chord, E, ends up turning into a bar – or “barre” – chord, though is the same shape.)

When you consider this, that seemingly colossal number of chords no longer seems so colossal.

The packet consists of 7 primary chord “shapes”:

1. E major chord shape.
2. E minor chord shape.
3. E7 chord shape.
4. Em7 chord shape.
5. A major chord shape.
6. A7 chord shape.
7. D7 chord shape.

You could actually precede “1.” above with the 5 (power) chord shape. Considering the simplicity of the power chord (only 2 pitches), you could even precede that with one more step, actual note memorization. Memorizing 1 pitch at a time – treating that as the first step toward chord memorization – can lead to memorizing power chords, then major chords, and so on.

The following are examples of relationships between chord shapes and “starting string”:

1. The E major chord shape, starting on St 6, can start on St 5 to produce minor chords.
2. The E minor chord shape, starting on St 6, can start on St 5 to produce sus 2 chords.
3. The E7 chord shape, starting on St 6, can start on St 5 to produce minor 7th chords.
4. The A major chord shape, starting on St 5, can start on St 6 to produce sus 4 chords.
5. The D7 chord shape, starting on St 4, can start on St 5 to produce major 7th chords.

You could actually create chords that are not in the packet by moving more “shapes” to other strings, such as the A7, which starts on string 5; when you move it to string 6 it produces “7 sus 4″ chords. You don’t have to limit yourself to just chords starting on string 6 or string 5. You could move the Em chord shape from string 6 all the way to string 4 to produce the “major 7th sus 2″ (and even “add 11″) chords. The possibilities go on, and on, and on. Though, this is where we actually start getting into the next level of learning chords. If you’re ready for it, let me know! It’s fun stuff.

There are a few “left-over” chords throughout the packet, though mostly open-string chords. Some of the open-string chords are a little unique – while they might require some extra memorization, they are actually generally easier to play.

While several of the chords’ shapes can be played on different strings to produce different chord types, one particular chord – in this packet, at least – pretty much stands on its own (doesn’t really move to other strings that often). The Asus4 chord. While someone could technically move this to other strings, it would actually produce very rare chords, which generally are not that pleasing to the ear. Some of the “left-over” open-string chords are similar to this.

If you memorize the 12 chromatic pitches, then memorize the above-mentioned 7 chord shapes – a total of 19 notes/chords – you will have essentially memorized 84 chords (some of which aren’t even in the packet), and will only need to finalize that memorization through association of the 12 pitches and 7 chord shapes.

Memorizing the individual notes and chord shapes will speed up the memorization process even more when you go through the packet. Or, you can just go through it – as is – without previously memorizing individual notes or chord shapes. The nature of the packet, in the current arrangement, is to actually assist you in learning the individual notes and chord shapes as you progress from page to page.

As I mentioned earlier, the concept of each chord having variations continues throughout the packet and, as you progress through it, you will see more of a similarity within the chord variations on each page. While the memorization process might be a little slower in the beginning, that process will gradually speed up as you are introduced to “new” chords only to discover that you have already played them, at least in their basic structure, in the more fundamental form. All you have to do is associate the chord you already know with the new chord.

Here is the link to the revised guitar chords packet:

Essential Guitar Chords (July 27, 2008 revision)

It is a PDF file, so it should print out with appropriate spacing from page to page. If it does not, please let me know and I can provide another revision.