Introduction to

Chord Theory &

Chord Voicing
for the Guitarist
Volume One
taught by

John Miller

INTRO TO CHORD THEORY AND

CHORD 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 the
foundation 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 steps
between all of the notes with the exception of the third and fourth notes and the seventh and eighth
notes, which are separated by half-steps. On the guitar, a whole step, or tone, separates notes that
are two frets apart on the same string, while a half-step, or semitone, is the distance between two
notes one fret apart on the same string.
Since all major scales conform to the stepwise formula indicated above, you can construct a major
scale starting on any note simply by applying the stepwise formula and remembering a few simple
rules:
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 appears
twice 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-steps
work 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 the
major scale, when constructing a major scale off of C, but you will have to take those half-steps
into consideration and make adjustments to achieve the proper stepwise formula when you
construct 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 note
one-half step, you flat () it, with the flat sign similarly following the letter of the note being
flatted, as in B.
In the course of constucting scales, you will notice that the same pitch, for example the note one
half-step above C, may end up being named differently, depending on which scale you are
constructing. Thus the note one-half step above C ends up being called a D flat when encountered
in the A flat major scale, as opposed to C sharp when encountered in the D major scale. The two
different spellings for the same pitch are referred to as enharmonic spellings of the same pitch, or
alternate 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. Lets get
started!
2

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 ____.

II. INTERVALS
An interval is the musical distance between two notes. Once again, referencing the structure of the
major scale provides a helpful context in which to begin to understand the defining characteristics
of 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 major
second. Likewise, the distance from C to E, two whole steps, is a major third; the distance from C to
A, four-and-a-half steps, is a major sixth; and the distance from C to B, one half-step down from the
upper 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 minor
interval of the same type. Thus, if C-E is a major third, C-E flat is a minor third. Similarly, C-D flat is a
minor second, C-A flat is a minor sixth and C-B flat is a minor seventh. Additionally, a minor seventh
in which the seventh is lowered an additional half-step produces a diminished seventh, which in the
context 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 half
steps, is termed a perfect fourth. Similarly, the distance from C to G, three-and-a-half steps, is termed
a perfect fifth. Other perfect intervals are the unison, which is two notes of the same pitch, and the
octave, which is the distance from the C that starts the scale to the C at the end of the scale. Any perfect
interval 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 raised
one half-step is said to be augmented; thus C-F sharp is an augmented fourth. Unisons, fourths, fifths
and octaves are never spoken of as major or minor. Rather they are described as perfect, diminished
or augmented. In common usage, the term flat five is synonomous with diminished fifth as is the term
sharp five with the augmented fifth.
The way that intervals are named presumes that each interval has a different letter name relative
to the letter name of the note that is serving as the frame of reference. For example, the second of
C, whether major or minor, must always be a D of some type, the third of C must be an E of some
type, the fourth of C must be an F of some type and so on. Thus, even though G sharp and A flat
describe the same pitch, only A flat may be said to be a minor sixth above C, because no G of any type
can ever be a sixth above C. Lest this seem like pointless hair-splitting, it really is not, because the
different intervals function differently and mis-spellings of notes and chords cloud meaning in a way
that can cause confusion and misinterpretations of musical intent. As usual, it is best to get in the habit
of doing things right at the outset, if possible.
Lets do some interval exercises to develop fluency with figuring out and naming the various interval
types.

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 ____

III. TRIAD STRUCTURE

AND

DIATONIC TRIADS

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

TRIAD STRUCTURE TABLE

Type

Structure

Major

major 3rd,
perfect 5th
minor 3rd,
perfect 5th
minor 3rd,
diminished 5th
major 3rd,
augmented 5th

Minor
Diminished
Augmented

If we can re-cap briefly the presentation on the DVD pertaining to the major scale and its diatonic
triads, the diatonic triads are the triads formed off of each successive note of the major scale, using
only 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 triad
types for each place in the scale as demonstrated in the C major scale. In the diagram below, the
diatonic triad types are indicated numerically below each successive note of the scale. A Roman
numeral indicates a major triad, a lower case numeral indicates a minor triad, and a lower case
numeral followed by a small circle indicates a diminished triad.

C
I

D
ii

E
iii

F
IV

G
V

A
vi

B C
vii

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 the
scale where you play an E major triad followed by an F major triad. What key are you playing
in? ____________
6. True or false: Any major triad can be converted to a diminished triad simply by raising the root
one half-step. __________
7. The major key that includes among its diatonic triads an A flat major triad, an E flat major triad
and a B flat major triad is ___________
8. The third of an F minor triad is __________.

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 the
triad allows for expression of more complex and highly colored sonorities. The table below outlines
the structural composition of the various seventh chord types.

SEVENTH CHORD STRUCTURE TABLE

Type
Major

Dominant

Minor
Minor 75
(Half-diminished)
Diminished

Minor/Major
75

75

Chart
Designation

Structure
major 3rd,
perfect 5th,
major 7th
major 3rd,
perfect 5th,
minor 7th
minor 3rd,
perfect 5th,
minor 7th
minor 3rd,
diminished 5th,
minor 7th
minor 3rd,
diminished 5th,
diminished 7th
minor 3rd,
perfect 5th,
major 7th
major 3rd,
diminished 5th,
minor 7th
major 3rd,
augmented 5th,
minor 7th

, Maj7
7
m7
7, m75
7
m(7)
75
75, 7+

In addition to noting the structure of the different seventh chord types listed in the table, notice also
the symbols that are used to communicate the various seventh chord types in a chord chart or lead
sheet. It is important to become conversant with these symbols as they are a short-hand way of
designating the chords that has widespread usage. The formal names of the chords are seldom
written out in full.
8

Just as the diatonic triads were formed by figuring out the root, third and fifth of each successive
triad as you ascended the major scale, so can you figure out the diatonic seventh chords. Simply add
the 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
Lets place these various diatonic seventh chords in the appropriate
places in the scale, below the diatonic triads. Here goes:

C
I

D E F
ii iii IV
m7 m7

G
V
7

A B C
vi vii
m7 m75

Using the information from the unit on intervals, the table of seventh chord structures and the
discussion 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: Fm7Bm7E7AD.
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 F7 chord, using the functionally correct names for
each note. ______________
Re-name the notes as necessary, substituting enharmonic spellings to make it more user
friendly.________________
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 F75 chord _______________
8. A diatonic B7 chord would occur in what major key? ___________
9

V. VOICING TRIADS

AND

SEVENTH CHORDS

OUT OF THE

D POSITION

You are now ready to use the information youve been learning to figure out how to voice the
various triads and seventh chord types out of the D position. Look at the diagram below.
F A D A D F

D Major Triad

3 5 R 5 R 3

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 the
right. The horizontal lines represent the frets, with the top horizontal line representing the nut of the
guitar, the next lower horizontal line the first fret, and so on. A D chord at the base of the neck has
been 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, with
R 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 out
of the D position, and we can see that this portion of the shape is voiced root-perfect fifth-root-major
third, moving from the fourth string to the third, second and first strings. We are now ready to begin
diagramming the different triad types out of the D position on the first four strings. Because you will
be diagramming the seventh chord types yourself, we will use the triads as an opportunity to show
you 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 need
to alter the chord shape to obtain a minor triad shape? Well, the only structural difference between
the major triad and the minor triad is in the third, which must change to a minor third for the minor
triad; the root and perfect fifth will remain the same. Where is the minor third located relative to the
major third? One half-step lower. Observe the diagrammed minor triad out of the D shape, and note
how the voice designations below the different strings have been altered to describe the different
structure of the minor triad.

D Minor Triad

x x R 5 R m3

10

Lets move on to the diminished triad out of the D position. How does it differ structurally from the
minor 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 perfect
fifth? One half-step lower, so it is necessary to lower the third string, where the perfect fifth has been
voiced, 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.
Lets go on to the augmented triad. If we go back to our starting point, the major triad as voiced
out 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 perfect
fifth, while the augmented triad has an augmented fifth. Where does an augmented fifth lie relative
to a perfect fifth? One half-step higher. Observe how that change is achieved in the diagrammed
augmented triad out of the D position shown below.

D Augmented Triad

x x R 5 R 3

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

11

E Major Triad,
D Position

x x R 5 R 3

All right, now we are ready to move on to diagramming the seventh chords out of the D shape. In
order to wind up with moveable seventh chord shapes diagrammed, rather than ones that utilize an
open fourth string, lets change our frame of reference to the second fret of the fourth string and use
the E major triad out of the D shape that was just diagrammed as our starting point for diagramming
the seventh chords.

E Major Triad,
D Position

x x R 5 R 3

Okay, lets voice a major seventh chord out of the D shape, at E. What is the structural definition
of a major seventh chord? Root, major third, perfect fifth, and major seventh. As we look at the grid
of the E major triad out of the D shape, we can see that we have every voice needed for the major
seventh chord, with the exception of the major seventh note itself. Where does a major seventh note
lie, relative to the root? One half-step below it. We have two roots voiced in the E major triad, one
on the fourth string, and one on the second string. Lets leave the root on the fourth string as is, so
that the chord remains in root position with the lowest voice being the root. So, to get our major
seven note, we need to lower the root on the second string by one half-step, giving us the major
seventh shape out of the D position.

E, D Position

x x R 5 7 3

Note how the voices beneath each of the first four strings have been altered to reflect the structure
of the major seventh chord: R-5-7-3 .
12

You are now ready to diagram the remaining seventh chord types listed in your seventh chord table
out of the D position. In every instance, leave the root on the fourth string unaltered. We provide it
for each of the chord diagrams as a starting point. Voice the major or minor third, as appropriate, on
the 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, list
the voice for each string, as weve done above. Major seven and third notes can simply be described
7 and 3, minor seven and third notes, m7 and m3, a diminished seven note, 7, perfect fifths,
diminished fifths and augmented fifths, 5, 5 and 5, respectively.
E7, D Position

Em75, D Position

Em7, D Position

x x R

x x R

Em, D Position

x x R

x x R

E75, D Position

x x R

E7, D Position

x x R

E75, D Position

x x R

Okay, youve diagrammed all the seventh chords out of the D position now. Take a moment to
complete 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 strings
will all be fretted at the the ______ fret.
2. An F m75 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 be
fretted at the ______ fret and the third and first strings will be fretted at the _______ fret.
4. In a 75 chord voiced out of the D position, the 5 will be voiced on the _____ string, _____ frets
higher than the root, which is voiced on the fourth string.
13

VI. VOICING TRIADS

AND

SEVENTH CHORDS

OUT OF THE

A POSITION

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

A Major Triad

5 R 5 R 3 5

Note the pitch of the notes on each string and how the chord is voiced, from the sixth string
ascending to the first string, 5-R-5-R-3-5 . For our purposes, we will concern ourselves only with the
interior 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.
Lets convert the A major triad diagram out of the A position to a moveable shape, by moving the
position intact up three frets to C. We can voice all of the triads and seventh chords out of the
A position using this frame of reference and figure out the triads and seventh chords as moveable
shapes, working in that fashion. As a starting point, here is a diagram of a C major triad out of the
A position with the voices indicated below each string.

C Major Triad,
A Position

x R 5 R 3 x

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

14

C Minor Triad,
A Position

x R

C Diminished Triad,
A Position

x R

C Augmented Triad,
A Position

x R

Now you are ready to diagram the seventh chords at C, out of the A position. Once again, we will
give you the major seventh chord diagram as an example to start you on your way. I dont think any
further 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 major
seventh chord out of the A position. Observe this protocol as you diagram the remaining seventh
chord types out of the A position at C. We will provide the root at the third fret of the fifth string as
a starting point.

C7, A Position

x R

Cm75, A Position

Cm7, A Position

x R

x R

15

C7, A Position

x R

Cm, A Position

x R

C75, A Position

x R

Cm75, A Position

x R

Play through the various A position seventh chord shapes you have diagrammed. Note that for the
diminished 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 root
on the fifth string.

Lets do a brief exercise on the voicing of triads and seventh chords

out of the A position.
1. For an Em75 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 B7 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 seventh
chord shape out of the D position, moved one string towards the bass. _______

16

VII. VOICING TRIADS

AND

SEVENTH CHORDS

OUT OF THE

E POSITION

Moving right along, lets see how the E position is voiced at the base of the neck of the guitar.
E B E G B E

E Major Triad

R 5 R 3 5 R

In looking at how the E position is voiced, R-5-R-3-5-R, you should note that on the bottom four
strings, the position is voiced R-5-R-3, as are the A and D positions. It is useful to think of the E , A
and D positions as comprising a voicing family, the R-5-R-3 family. Chord voicing strategies are
going 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 triads
out 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.
G Minor Triad,
E Position

x x

G Diminished Triad,
E Position

x x

G Augmented Triad,
E Position

x x

Now were ready to start voicing seventh chords out of the E position. We will use a slightly different
approach than we did for the A and D positions, where we voiced the chord shapes on four
consecutive strings, the interior four for the A position and the top four for the D position. It is possible
to voice seventh chords out of the E position on the bottom four strings of the guitar, but the resulting
sonorities 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 unknown
brilliant problem solver at some point in the past. This person noted that in the E position, if you look
at all six strings of the guitar, there are fifths voiced on both the fifth and second strings. An idea was
hatched 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 and
unplayed, along with the first string. Observe the re-configured E position depicted below and how
it is voiced.
17

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 seventh
chords in which the major triad is voiced R-R-3-5. Working from that re-configured E position, lets
see how the major seventh chord would be voiced out of the E position at G.

G, E Position

R x7 3 5 x

Using that major seventh shape as a starting point, diagram the 7, m7, m75, 7, m7, 75 and 75
chords out of the E position, labelling the voices on each string as you go. We will provide the starting
root on the sixth string, third fret, G, and remember that you are voicing the chords on the sixth, fourth,
third and second strings.
G7, E Position

R x

R x

Gm, E Position

R x

Gm75, E Position

Gm7, E Position

R x

G75, E Position

R x

18

G7, E Position

R x

Gm75, E Position

R x

Once you have diagrammed all of the seventh chord shapes out of the E position, play them. Note
the clean, transparent sound of the voicings, much preferable to the muddy sound of voicing on the
bottom four strings. Note, too, that this approach to voicing seventh chords out of the E position
eliminates the need for any barres all the way across the neck, and while these seventh chord shapes
deriving from the re-configured E position may presently be unfamiliar, in the long run they are far
less fatiguing than are positions that require full barres.
Fingering of the seventh chords out of the E position is more complicated than is fingering seventh
chords out of the A and D positions, for in the E position you may have to change the finger you are
using to fret the root on the sixth string, depending on which chord type you wish to play. The following
seventh chord types work best with the index finger fretting the root on the sixth string:
Major 7, minor/major 7, 7, 75.
The remaining seventh chord types work best with the second (middle) finger fretting the root on
the sixth string:
Minor 7, 75, m75 and 7.
For the m7 chord, use the third (ring) finger for the partial barre of the second, third and fourth
strings.
Whichever finger you end up using to fret the sixth string root in the E position seventh chords, that
same finger must serve double duty, by making a light incidental contact with the fifth string and
muting it (NOT fretting it), so that it is possible to strum right across the fifth string without sounding
it.

Lets do a brief exercise on voicing seventh chords out of the E position.

1. The diminished fifth in a Bm75 chord voiced out of the position is fretted at the ______ fret
of the _______ string.
2. In an F7 chord out of the E position, the sixth and third strings are fretted at the _______ fret
and 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, you
get an A__________ seventh chord.
4. The 5 in a C75 chord voiced out of the E position is located at the ____ fret of the ______ string.

19

VIII. THE G, C,

AND

F POSITIONS

We dealt with the D, A and E positions one at a time. Lets opt for a more global approach to dealing
with the G, C and F positions. Look at the positions diagrammed below, as they are fingered at the
base of the neck.
G Major Triad,
G Position

C Major Triad,
C Position

F Major Triad,
F Position

GBDGBG

GCEGCE

CFACF

R 3 5 R 3 R

5 R 3 5 R 3

x 5 R 3 5 R

As we look at how these three positions are voiced, note that the G position is voiced R-3-5-R
starting on the sixth string and moving up to the third string, the C position is voiced R-3-5-R starting
at the fifth string and moving up to the second string, and the F position is voiced R-3-5-R starting on
the fourth string and moving up to the first string. Thus we can see that just as the E, A and D positions
formed 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 lowest
roots in these positions voiced at the third frets of the sixth, fifth and fourth strings, respectively. There
is order in the universe!
I have made an editorial decision not to concern ourselves with the G position for this introductory
course, so lets take a look at the C position. Looking only at the voices that fall on the interior four
strings, we find a C major triad voiced R-3-5-R. You dont have to examine matters in great depth
before determining that fingering a C minor triad out of the C position by lowering the major third
on the fourth string results in a shape that is very difficult to finger and quite awkward. The C
diminished triad, voiced as a moveable shape out of the C position, is even worse, to the point of real
impracticability.
The C augmented triad, shown below, is not nearly so problematic.

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 triads
out of the C position, because in the A position, rooted like the C position on the fifth string, these
positions are relatively easy to play. Just for the practice of it, diagram the minor, diminished and
augmented triads out of the C position below, bearing in mind that we have moved the position up
two frets, to D on the fifth string, so that moveable shapes result. Well provide the root and you provide
the other voices.
D Minor Triad,
C Position

x R

D Diminished Triad,
C Position

x R

D Augmented Triad,
C Position

x R

We will be adopting a different approach for voicing seventh chords out of the C position than we
used for the E, A, and D positions. In the C shape, it ends up being impractical to voice all the seventh
chords by lowering the upper root to get sevenths. Adopting this approach soon ends up with a left
hand stretched to a very uncomfortable degree. So it is that in the C shape we will voice our seventh
notes on the third string, raising the fifth that starts out there to get the various sevenths the different
seventh chord structrures require. Giving up the fifth is not a serious problem for the seventh chord
types 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 interior
four strings, R-3-7-R.
What of the chords that include altered fifths in their structure? If you want to add fifths, either
perfect, diminished or augmented, to 7th chords voiced out of the C position, here is a way to think
about it. The perfect fifth of C is G, and at the bass of the neck you have the open G string in the C
shape. 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 on
the sixth string, leave the fifth string unplayed and damped, voice the third of the chord on the fourth
string, the seventh of the chord on the third string, and the root of the chord on top, on the second
string.
Lets look at how a major seventh chord would be voiced out of the C shape, at D, so we end up
with a moveable shape. Note that both the fifth on the sixth string and root on the fifth string are
indicated as being voiced; in practice, you can choose to voice one or the other.

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D, C Position

5 R 3 7 R x

You may wonder at the basis of how the location of the major seven note on the third string was
determined. 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 voicing
to be under-utilized by guitarists. It has a very distinctive sound, voicing the major seventh and upper
root on adjacent strings when they are only a minor second apart from each other in pitch. That close
interval almost gives the chord a humming sort of tone. I think the chord does sound better with the
fifth 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 the
7, m7, m75, 7, m (minor/major 7), 75 and 75 chords out of the C position at D. We will spot
you the root at the fifth fret of the fifth string to get you started. For the m75, 7, 75 and 75 chords,
voice the fifth of the chord as the lowest voice, on the sixth string.
D7, C Position

Dm75, C Position

Dm7, C Position

Dm, C Position

D75, C Position

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D7, C Position

D75, C Position

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 second
string.
The sound of the 75 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 voice
the chord out of the A shape, where you can get all the voices you want in root position.
the m75 chord voiced out of the C position with its diminished fifth in the bass is a particular
beauty, very dark, and it resolves beautifully to the dominant seventh chord out of the E shape
rooted one half-step lower than the diminished 5 note in its bass.
Lets move on to the F position. The first point that should be made is that the F position is not simply
an 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 just
as you did out of the C position. We have moved the diagram for the F major triad out of the F position
up 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 string
in every instance.

G Major Triad,
F Position

x x R 3 5 R

G Minor Triad,
F Position

x x R

G Diminished Triad,
F Position

x x R

G Augmented Triad,
F Position

x x R

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

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3fr.
G, F Position

x 5 R 3 7 R

Use the blank grids below to voice the 7, m7, m75, 7, m, 75 and 75 chords out of the F position
at G. In every instance, indicate the location of the appropriate fifth on the fifth string. For the m75,
7, 75 and 75 chords, voice the fifth of the chord as the lowest voice, on the fifth string.
G7, F Position

3fr.

Gm75, F Position

Gm7, F Position

3fr.

3fr.

Gm, F Position

G75, F Position

3fr.

G7, F Position

G75, F Position

3fr.

3fr.

3fr.

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, but
R-3-5-7 on the top four strings.
The m75 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 75 chord is even more problematic out of the F shape than it is in the C shape. It is difficult
to 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 the
necessary voices in root position.

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Lets do an exercise on the seventh chords voiced out of the C and F positions.
1. In an E7 chord voiced out of the C position, the dimished fifth is voiced on the ______ string
at the _______ fret.
2. The minor third of an Am7 chord, voiced out of the F position, can be found on the ____fret of
the _____ string.
3. The lowest root of an E chord voiced out of the C position can be found at the _____ fret
of the ________ string.
4. In voicing seventh chords out of the F position, the seventh will be voiced on the _____ string
and fingered by the ______ finger in the left hand.

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IX. CONCLUSIONCHORD THEORY AND CHORD VOICING

FOR THE GUITARIST, VOLUME 1
Congratulations! If you have made it to this point, completing all the exercises and diagramming
all the chord shapes, you have covered a tremendous amount of material that will enable you to play
chords out of a variety of shapes and with different sound characteristics up and down the neck of
your guitar. Volume 2 of this series will get you using the chord positions you have learned in
Volume 1 in various different songs, and seeing how to achieve the most fluid, efficient and musical
resolutions as you move from one chord to the next, up and down the neck. We are including an
answer key for the exercises at the conclusion of this .pdf, but not for the chord diagramsyou have
to 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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X. ANSWER KEY, VOLUME 1

I. The Major Scale
1. D-E-F-G-A-B-C-D
2. E-F-G-A-B-C-D-E
3. F-G-A-B-C-D-E-F
4. A
5. G
6. E
7. G
8. F

V. The D Position
1. 8th
2. 4th
3. 8th, 9th
4. 3rd, 3
VI. The A Position
1. 6th, 7th
2. 8th
3. 3rd
4. True

II. Intervals
1. E
2. B
3. E
4. C
5. B
6. D
7. D
8. A

VII. The E Position

1. 6th, 2nd
2. 2nd, 1st
3. 6th, 3rd, minor
4. 9th, second
VIII. The C and F Positions
1. 6th, 6th
2. 5th, 3rd
3. 6th, 5th
4. 2nd, little finger

III. Triads and Diatonic Triads

1. D-F-A, D-F-A, D-F-A, D-F-A
2. B
3. E major, D major, A major
4. D major
5. B major
6. True
7. Emajor
8. A
IV. Seventh Chords and Diatonic Seventh Chords
1. G
2. B-D-F-A
3. A major
4. D major
5. F-A-C-E, F-A-B-D
6. E-G-BD
7. F-A-C-E
8. E major

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