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7/25/2020 46 Chord Shapes You Must Know: The Ultimate Guide to Chord Substitutions | GuitarPlayer

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46 Chord Shapes You Must Know: The Ultimate Advertisement

Guide to Chord Substitutions


By Guitar Player Sta April 08, 2020

Must know guitar chord shapes

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There are many ways to vary almost any basic chord.

But in order to do this spontaneously, you need to have a fully stocked


folder in your brain’s ling cabinet, one containing heaps of chord types
that can be used as replacements for a basic progression’s “stock” chord.
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Access to these alternate voicings will allow you to experiment on the y no
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To this end, we’ve cobbled together a collection of chord frames beginning
with a familiar “starting” chord—an open-position C—and following it up
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with popular substitute voicings.

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After you read this post, put the chords to work in the C–G–Am–F
progression used in this lesson, grouping together chords those that share
the same note on top (e.g. Cmaj7–Gsus4–A7sus4–F6/9 from FIGURES 1–4).
This technique is the key ingredient for jangly modern rock sounds.

To outline C–G–Am–F changes with barre-chord variations, you’ll need to


transpose the C chord ngerings to t G and F chords. Keep working like
this, and you’ll have an awesome arsenal of shapes in no time.

OPEN-CHORD COLORING
In FIGURES 1–4, ubiquitous chords like C, G Am and the standard F barre
shape are run through the tone-coloring mill by adding suspensions
(Csus4, Gsus4, A7sus4), 2nds (Cadd2, Gadd2, Am[add2]), and 6ths (C6,
F6/9). In other instances, they’re morphed into prettier-sounding 7th
(Cmaj7, Fmaj7) and extended chords (G9, Am9, Fmaj9).
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FIGURE 1

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FIGURE 3

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FIGURE 4

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In modern/indie rock and pop, the sound of strummed or arpeggiated


open-position 7th chords is fairly common. However, the “darker” sound of
fully fretted 7ths is relatively rare; they’re primarily reserved for R&B, blues
and jazz.

By adding a #4 (among other tones) to an open major-chord shape, you’re


instantly rewarded with an exotic, Led Zeppelin–like voicing‚ such as the
Csus2add#4, G5add#4 and Fmaj7#11 avors depicted in FIGURE 5. This
gure also illustrates how adding a 6th to a minor chord can create spicy
sounds, like Am13.

FIGURE 5

(Image credit: Future)

BARRE CHORD BONANZA

In FIGURE 6, a C chord (C–E–G) with a 6th string root is jacked up with the
addition of a 2nd (D) and 6th (A), yielding Cadd2/add9 (C–D–E–G) and C6 (C–
E–G–A) types.

FIGURE 6

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FIGURE 7 follows suit with an Am barre (A–C–E ), generating Am(add2) (A–


B–C–E) and Am6 (A–C–E–F#) shapes, while FIGURE 8 explores similar
sounds with root-on-5th-string voicings.

FIGURE 7
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FIGURE 8

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Or course, a rock chord lesson wouldn’t be complete without studying


movable shapes used with open strings. FIGURE 9 demonstrates what
happens when the C barre shape of FIGURE 6 is unbarred (don’t fret strings
1–2) and shifted along the neck to outline a C–G–Am–F progression: The
ringing open E and B strings create Cmaj7, G6, Am(add2) and Fmaj7#11
chord names.

FIGURE 9

(Image credit: Future)

FIGURE 10 shows a similar approach with stripped-down versions of the


chords used in FIGURE 8.

FIGURE 10

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