by Ulf G. Anslund Back Pocket guitar U.S. $2.95ABOUT THE AUTHOR we rT He teaches, composes, arranges, plays the guitar. He teaches guitar teachers at the Royal Academy of Music in Stockholm, Sweden. He has his own deas about how to teach music and the guitar. His deas have made him what he is. Once he was a miner in the far north of Sweden, beyond the Arctic Circle. There was no one to teach him music, so he taught himself. Then he went to a music academy, became a concert soloist, studied top-level music, lectured, played chamber music, composed. Today UIf Goran Ahslund is known internationally as a superb teacher at the most sensitive of all levels—the very beginning. He is a star on both ‘Swedish and British TV. His TV course ‘Play Guitar’ attracted a mass public. Why? Because to learn from Ulf Goran is like play: ing a game. And the viewers—all sorts of viewers—switched on to watch. Soon hundreds of thousands of them were holding guitars in their hands, saying ‘Look, I've made it!’Bac t 5500 GUITAR CHORDS guitar by Ulf G. Anslund This chord dictionary shows you how to take a few basic chord shapes and move them up and down the neck to derive new chords. Many new chords can be played from variations on the simple openposition chords, such as E, G,C, A, 0, that you alteady know. This book will give you aocess to over 5500 guitar chords. | hope it will give you both the principles and the inspiration to explore the Qa, 4 Regd CONTENTS 2 DIAGRAM WITH CHORD 26 22 716 32 95 ais SYMBOLS AND FRET NUMBER 13 me 23 Maj 7 34 925 @ 139 4 HOW TO READ THE DICTIONARY 14 6/9 24 m Maj 7 35 316 ben 5 HOW TOUSE THIS DICTIONARY 15 7 25 Mal 7-5 36 Maj 9 ‘44 FROM MOVABLE CHORD. 8 NOTES OF THE FRETBOARD. 18 m7 26 sim 37 +8 (-10) SHAPES TO ZEHO-POSITION 7 Major 17 susy 289 45 EXAMPLES OF CHORO-SHAPES 8 Minor 1875 29 95,045 IN ZERO-POSITION 9 Sus mrs 309 46 CONSTRUCTION OF CHORDS 10 +5 B75 Bt moFretand postion numbers DIAGRAM WITH CHORD SYMBOLS FINGERING AND FRET NUMBER F ...-choeymooi..-- E ee Go o5en tings Postion 1 CSpostion eo) T 11. . ee fee eas 7 AN garg DIAGRAM MOVABLECHORD-SHAPES —_OPENCHORDS =victeresnowngine — “Cenerd-shapesthatcanbe. (chor afl postion zoo) avin andtots Tmovedalonginetretboas =chors-atapesuning open tes, tte tar neck woot ating isoeslsopege #645) ‘your fingeringLEFT HAND FINGERING “4=fourth orl finger These left-hand fingering numbers are written inside the black dots and squares ofthe diagram, or else Immediately beneath the diagram, as alternative fingerings. ~ = Barré, One finger simultaneously presses ‘down two ormore strings. Barré ad lib, Chord-shepes with or without barre. The barre curve indicates the number of strings to be Dressed down by the bare finger. Not al these strings are necessarily sounded (soe below), SOUNDING AND DAMPED STRINGS. Only strings marked by the following signs must be heard in ‘hecho: oe¢ 0 @ ‘The other strings-elther marked with an x or left unmarked are not played or simply dampened by theleft hand, NB: In this context the barre chord is not regarded es @ marking, POSITION oman numerals indicate the position of the diagram on the fingerboard. A lV nxt to the diagram indicates that the first fret shown in the diagram would be the Ath fet fon the fingerboard Position number 0 (s pages.44-48), @ -n00T- ‘The note which gives a chord ite basic name 1 called ite ‘root’ In this book itis indicated by a black or white dia: ‘mond, (See also page 47), CChore-shapes having no root ae indicated by the abbrevia- tion nr. (no rect), * (See page 5 under”’Selecting chors-shapes"”)HOW TO READ THE DICTIONARY ‘The example below shows how you can play ‘an Ab chord in position number fourHOW TO USE THIS DICTIONARY ‘Tochoose ‘ORNOTTO CHOOSE; THAT IS THE QUESTION! CHOICE OF CHORD-SHAPE ‘The opposite page shows an example of how, using this dlotionary, you can combine chord-shape with position and chord name. Which choré-shape you will choose will depend on such elements as taste, style, tone colour, technique, voicing et. A solitary chord played alone can have a totally different meaning from one played in a succession of chords. Many chord-shapes are derived trom a “bs 7 is Is an important factor in practical guitar playing. For this reason this dictionary gives many examples of chords derived this way. Chord shapes that “belong together” are grouped and framed with dotted vertical lines (See example on the opposite page) type ‘Two chora-shapes providing a practical supplement to each other's {Qualities are indicated by a *, This helps the interested student to follow any given shapechange from a three-note maior chord to a 13 11 chord, EXPLANATION OF SYMBOLS (See pages 2, 3,6 and pages 44-47NOTES OF THE FRETBOARD MAJOR SCALE For clarity only the notes ofthe C-malor scale are shown on the fretboard below. whore the ther notes lie wll be clear from tho ‘chromatic scale a the bottom afthepage (of isthe sametoneas db otc) (Open strings... String not -9 boo: en (the thinnest) 3 + Ls a d et 8 bool p= tat © bc -e 9 a 9 a -ptc a Hom ow yw ov vk xt xt CHROMATIC SCALE cC chD OE F FAG GA ARB C eetvu 1K x_v vi vil vl x x vi vit vit 1% vi vir vir x x Hom rat Bors An Bro Om Den Fim Gr‘The same +6 chor-shape ca, inthe same postion, be gven moro than one name, depending an wich notes regarded ass oat (og: C¥5, +6, f8) $9] ey vil vrc+ 7 ces 105 Ds De +5 {Eb +5. E45 [Fes Fes 16545 G45 r E45 [Ad+5 Aas i Abss [Bos B45 ivit el =|z]2/>/5| 2 |e | © Ig | 8 a8 8 sisig|cicie sigi2ais|6/9 (Alsocaled 9/6) can (cz6i0 Dee Ese Fae) 81Gb [Seo [Gis Tae Aso Deso i Bba Ageia [peo vi Boo}eas? "haus 7 Deus? CEas? Eben 7 Taos? TGpas? Désus 7 Ene? Fas? FE sus 7 G sus? Ghuss7 Rostspe son cep tn snes Ree ee near conn Hees cae Caan roms v vt Bis 3 a vin“vila 1 u uw 7 v vi W v vr vil Tam 7-5 {Bbm 75 Ami5 ‘Atm 7-5 Gim7-5 BmI5[EbTs 7 e745 Gis Az? +5 B757/6 (Compare with 19) [ere {05776 D761 Dey {E5776 Eve io [Fret Fer 1676 il G6! uw Gin6 {ADE Ww : ave ca (aty/6 | Bb7I6 i vi t Bre | vil(Aisowniten 4) ‘Dba Maj ta cea{Also written m 4)ta o8 {Also writton 4-8) AS AbA-5 Bos Gia-s {pasA diminished chord can be considered a non-root dominant chord with Matted ninth (eo Construction of chords, page 48). Of course the diminished chord can also be thought of as acho dim thts own root, giving tho chord its name (marked@as usual) ‘The same chord-shape can, in the same position, bo given more than one name, depending on ro. When choosing chord shape one usually connects chord symbols and bass tone = C dim chord- shape with © bass and 80.00, ° (Avso writen 0)Tat ow 70 v ur vt 7 <1 v vit 7 ik vit x vu xo x w a urvit vil te ceo 09 £9 Fo Fo Ag Ge Gre FEBS +S |= o|-|=|=]21 >] 5]5] 5) =| : =]>/>}5/s13)+1+| || g}x}x] |ol-|-]=]>]>]5 x|x| Jol -|=|=]>|>|5]5 a || | 18) 2 8 Ag) Bovi vil ° H " Mm Thame Brno Amo Ain® {Bo Bro | Emo Fimo Fimo mo Ginv v vi vir vi vil a} | i319) 1g ol | (8 18 la Jalsgiaiaisg4 Mr eeties23 rs {bos Ao-5vu = six} o|-}-|=|2|>| a le Eb Z J.) Jd Eat * % [Elx|x) Jo|-|=|=l2|>|5|5 : a J 131 |Z} |g & |2 ja | oof) PA ey BR BREE EES SB Slo. es|s <|z1244 vil uw Wv v vi vil Taboi6 Gove Gis Ag {Bove AS0/6 B96(Also written 08)(aaase ° 1 u ul Ww ~v vi vu wut x Ti it ieee ut wt v oe vit vit x ra 3 in uw Iv v vin tpi TAD oO 3 ci crit on ‘ben en Fir Fair Gu Gar A Con Bitur wv wuGis TADS tepis AS Bis (Ghia Ais[Daistii erst ois Se cB iu Gres netetseuecoca|aeaeeanneesavi lessen toma % er : Faistit Gist Gis) | i Gass) ART 7 [ast v ABSHT Bist vi ‘Biot | virFROM MOVABLE CHORD: ‘SHAPES TO ZERO-POSITION ‘CONVERTED TO CHORDS IN When tuning movable chord-shapes to zero-posl- tion shapes. the leftshand fingering is changed, either completely or in part. (See example on this page)EXAMPLES OF CHORD-SHAPES IN ZERO-POSITION CChortshapes in positon 0 = chord-shapes using open strings. “Most shapes in position 0 can be changed to movable shapes (compare withthe example on the opposite page) © Oxonenatrings x =thestring does not form part the chord. A B Cc D E G ' (pt tiie io fo ath Ht ee Am Bm Cm Dm Em Gm Tt? tei) tte Di ft | Bl ita Ql leo AT? B7 Cc? D7 €7 G7 ‘ tat) a ' Tey ello [Te {Te} le u L lol! aCONSTRUCTION OF CHORDS “The chord construction below is an example in which the numbering and choice cof notes deriva rom Nate C, which thus becomes the root. \ANO KEYS showing components, ‘of chord analysis Notes includedin each chord [eon ra t cB 6 i CFS : I fers —C augmentea cee 1G 1 far a [e—e 6A {ra { minor stmt oe = ease major sban ade sia Ce er vont . C6 {x71 minor seventh CFG "Opa — ie seventh us four Ce a (G)a8 | seventh at tve ooh ‘Ga-B—'C minor saventh fat a igre 1G poet aagrantes 1] Gs esos aetr | c Seb EA {Gris TC eoventh add sin a Feuis'7—imafor seventy a Cap? FC minor malo savant = E36 Eo Tegmined a ce Ge —— 5 eat rine ce 4 5-5 Cit nine Tat Two — SES "G Nat rine augmented ¢—e 6 8) th Ce aD, Gra C minor cin Ce 0 Gre} ninth atte a {oss fe nin eugmonted fi Ce 2G ABD. Tou jinn added sith! coe Bo Tome —{Gmalornine ee a OF TST es cE 0 Sor ier GF fine eleven Et 16 augmented eleventh Lee ea FAs eines eee ab Ai rar fC invent eer rr Crteerth ws Ce fis mteenin ea gfe €_ eg TA thirteenth Hat i Eee A fea JE augmanied slevont *16=s00 “commentary” on page 47‘THE ELEMENTS OF CHORD SYMBOLS \With the help of note names, numbers and minus signs Its possible to eum marize the notes contained in most chords and turn them Into a chord symm Dol ‘The numbers in the chord symbol number the notes, starting rom the root and proceeding upwards, a8 shown inthe folowing eystem atintervals, NUMBERING FROM THE ROOT C 123 45 67 8 9 oN 213 cp EF G A & ¢ PD Ee F GA CPR ke § AH & R RE § Y= asemitone stop =1 tron the guitar \— = awhole-tone step=2 ets on the gular Compare this example withthe keyboard above, EXPLANATION OF SIGNS. ‘The firstlottrin he chord-symbol= the roto the chord. Numbers. ite numberings (see above). or latted note lowered a semitone). Hore = sharpednote (raised a senitone) addor/ he added nateis writen aftr ‘add’ ora slanting stroke. m inor (the third ofthe chord is lated [3 Major ‘major seventh (Maj 7) dimoro inished chard susoré =the fourth noteis suspended, COMMENTS: ‘The above table shows, schematically, every note contained in each chora, With the hip ofthis table you can choose your notes and blend them to suit your technique, your taste, the particular context etc. 1) Thisis anexample ofhow the notes can be blended. 2) The diminished chord can be considered a non~oot dominant chors witha latted ninth, '8) C+9 (with the note cis sometimes mitten C-10 (wth thenate eb) 4) Inan eleventh chord te thirdis usually omitted 5) The thiteenth chord is often a bone of contention (and may it remain ‘o)). The table shows some alternatives that nevertheless lve, flourish ‘and wock in practice! 6) The eleventh note is usualy omitted from a thirteenth chord with a flatted ninth,[r399 9:0 cco Gi onencde,