1

Table of Contents

Introduction: Theory, Triads and Terminology ………………………………. 3

Understand the building blocks of chords. Learn the often inconsistent jargon associ-
ated with playing “jazz” chords.

Section 1: Functional Literacy ……………………………………………….. 17

Start with the open position chords you learned when you first started; add some ba-
sic bar chords, a couple of major sevenths and a few diminished chords. Soon you
can play most of the songs you’ve ever heard.

Section 2: The CAGED System ……………………………………………… 26

The time honored approach to adding chords to your vocabulary: Learn how the C,
A, G, E, and D chords combine to cover one octave on the guitar neck; build exten-
sions on those chords and suddenly instead of two ways to play a given chord, you
have 5.

Section 3: Building Chords on String Sets …………………………………… 47

Look at the 6 stings of the guitar in groups of 4. Build basic chords on these 4-string
groups and you go from 5 ways to play most chords to 16!

Interlude: Terminology; Drop 2 and Drop 3 Voicing ………………………… 57

More droppings? An explanation of some common terms.

Section 4: Seeing all the Possibilities ………………………………………… 58

Stop thinking like a guitar player and start thinking like a musician. Play some fairly
sick versions of “House of the Rising Sun” to make my point.

Section 5: Reprise: More Fun With Triads …………………………………… 68

What can I say? I have this thing for symmetry. End where we began but with a whole
new set of tools to use.

Appendix: Photo-op Chords……………………………………………………74

A must have for any guitarist who doesn’t want to be memorialized on film (or pixels)
playing a simple E minor chord.

© 2008 - 2010, Randy Wimer

2

Foreword

First, this book is for everyone who has made it through the beginning phases of learning guitar. If
you’re ready to expand your chord vocabulary, this book is for you.
Second, this book is not meant to be worked through in a month or three. The material in each sec-
tion should be learned and then incorporated into the guitarist’s everyday playing before proceeding to the
next section. If you’re just starting out, work through the ‘Functional Literacy’ section and live with it for a
while. Apply those new chords to songs you know. Learn some new songs you couldn’t play before. When
that material is easy for you, when you’ve internalized the ideas, then move on to the ‘CAGED’ chapter.
What I’ve tried to do in this slender volume is to chronicle the normal evolutionary cycle of guitarists
who develop a truly deep understanding of harmony applied to the guitar fretboard. It’s the path I went
down over the course of many years. It’s the same or very similar to the paths that many of my friends and
colleagues have followed. And yet I’ve never seen the material presented in this fashion. Hopefully this will
provide some markers on the trail for aspiring guitarists.

© 2008 - 2010, Randy Wimer

3

© 2008 - 2010, Randy Wimer

4
The Whole Chord Thing

Introduction

Shredders get all the attention. But even they know in their heart of hearts that real mastery of the in-
strument is shown through a clear understanding of chords and how they work on the guitar fretboard.
Working through this book will allow you to accomplish two things: 1) you will acquire a firm grasp of
chord theory along with the basic chord shapes to get you through most playing situations - whether you’re
playing in a 3-piece rock band or a 17-piece jazz ensemble; 2) you will acquire the tools to define your own
‘chord voice’. Joe Pass played chords differently from Barney Kessel. Alan Holdsworth plays chords dif-
ferently than Frank Gambale. If you really want to master the guitar, your chordal style needs to be as per-
sonal as your improvisation style.
In the introductory section of this book we’ll look at the rules of music theory that govern chord build-
ing; we’ll take a detailed look at triads; and we’ll try to unravel the sometimes arcane and conflicting termi-
nology that applies to chords.

Basic Theory
The space between two notes is called an interval. The smallest space you can have between two notes
is a half-step, one fret on the guitar. I like to think about note relationships, and eventually chords, spatially.
Start with the chart below listing the notes of a one-octave chromatic scale from C to C. Each box repre-
sents a single half-step.
C C# D D# E F F# G G# A A# B C
Db Eb Gb Ab Bb

To understand the way we name the intervals we must first look at a major scale. Below we’ve re-
moved the sharps and flats and we’re left with the notes of a C major scale.

C D E F G A B C

Intervals are named with numbers. If we want to know the interval between a C and an E, we simply
count: C, D, E; 1, 2, 3; the interval is a third. How far is it between C and A? C, D, E, F, G, A; 1, 2, 3, 4, 5,
6; This interval is a sixth. What is the interval between D and F? It’s another third. But notice it’s farther
from C to E than from D to F.

C D E D E F

There are 4 half-steps between C and E and 3 half-steps between D and F. The larger interval is called a
major 3rd and the smaller is a minor 3rd. The chart below shows the interval name and the associated num-
ber of half-steps between C and all the notes in the octave above C.
C Db D Eb E F Gb G Ab A Bb B C

0 1 2 3 4 5 6 7 8 9 10 11 12

unison Minor Major Minor Major Perfect dimin- Perfect Minor Major Minor Major Perfect
2nd 2nd 3rd 3rd 4th ished 5th 6th 6th 7th 7th octave
5th

© 2008 - 2010, Randy Wimer

5

TMI Warning
If you get a good handle on the information so far, that’s really most of what you need to understand
how chords are built. So…..this next bit may come under the heading of too much information. If you be-
gin to bog down in the rest of the material on intervals, don’t worry. Skip it for now and come back to it
after you’ve had a chance to digest for a while.

Notice that the sharps have been removed from the preceding chart. There are other considerations be-
sides the number of half-steps when identifying intervals: C to D# is not the same as C to Eb. Yes, D# and
Eb are the same pitch, but when identifying intervals you also have to consider the letter names of the notes.
Count the letters from C to D# - it’s still C, D; 1, 2 - a second of some kind even though it’s a D#. We call
that space an augmented second. The chart below uses the sharps and the alternate names of the intervals.

C C# D D# E F F# G G# A A# B C

0 1 2 3 4 5 6 7 8 9 10 11 12

unison Aug- Major Aug Major Perfect Aug 4th Perfect Aug5th Major Aug 6th Major Perfect
mented 2nd 2nd 3rd 4th 5th 6th 7th octave
unison

So, you’ve got this interval thing covered, right. Not quite. There is one (only one, I promise) more
thing to consider when naming intervals: mixed accidentals - the use of sharps in a flat key signature (or
vice-versa). Consider the following:

The first note is an F sharp (note the key signature) and the second is an A
flat. That’s a distance of 2 half-steps, or one whole step. But, again, we
have to consider the letter names of the notes, F and A. That’s F, G, A; 1,
2, 3, so the interval has to be a kind of third. A major third is 4 half-steps, a
minor third is 3 half-steps. This new beast is called a diminished third. I tend to relate this stuff back to the
intervals derived from the major scale. In the C major scale, C to A is a major sixth; C to A flat is a minor
sixth. We can make that interval smaller (diminished, get it?) by either raising the the C to a C sharp or low-
ering the A flat to an A double-flat. Either case would be called a diminished sixth. Will you need to under-
stand diminished intervals to complete your knowledge of chords? Not really - where it becomes relevant is
in formal music theory study, generally within the first couple of college music theory. It that’s not your
path then consider it knowledge for knowledge’s sake. Not a bad thing.

© 2008 - 2010, Randy Wimer

6

Using Intervals to Build Chords: Triads

Start with two basic rules: Chords are built in
thirds; and chords must contain at least 3 dif-
ferent tones.
There are two types of thirds (that we deal

Major Third
with here), major 3rds (4 half-steps) and minor
Minor Third

Major Third 3rds (3 half-steps). To the left are the possible

combinations of thirds in simple 3-note chords,
called triads.

Minor Third
Using C as a starting point, the notes, and for-
mulas for the chords are:
Major: C E G, Root 3 5
Minor: C Eb G, R b3 5
Diminished: C Eb Gb, R b3 b5
Augmented: C E G# R 3 #5
Major Third

Major Third
Minor Third

Minor Third

Major Chord Minor Chord Diminished Augmented

Chord Chord

Let’s actually look at the guitar (and the crowd cheers). If you’re normal (not a
C given, knowing the types who seek out this kind of material), one of the first
chords you learned was a C chord. This is not a triad. It is, however, built from a
x3 2 0 1 0 triad. We know from the chart above that the notes of a C major triad are C, E
and G. In the simple, open C chord to the left, the notes, from 5th string to 1st,
are C, E, G, C and E. We just double the C and E at the octave to give the chord
more fullness. This is the same for most of the open chords we all learn when we
start to play the guitar. A Triad is just the three notes, C, E and G in this case,
with no doubles.
Below are three of the four possible triads that can be built from our basic open
C chord. Notice that the notes are in
their most compact form. These are
called closed voicings, sometimes block
voicings. If the root of the triad is in the
bass (the lowest note), the triad is in root
position; if the third is in the bass the
triad is 1st inversion; and if the fifth is in
Root position 1st inversion 2nd inversion the bass the triad is in 2nd inversion.

© 2008 - 2010, Randy Wimer

7

If we take the middle note of each of the previous

triads and raise it an octave, spreading the notes
over a larger range, we get an open voicing. At left
are the root position, 1st and 2nd inversion, open
voicing triads that are most closely related in struc-
ture to the C chord.

Triads: What Good Are They?

Why should you invest your precious time in learning triads? Three practical and one intellectual rea-
son: 1) there are some truly classic R&B rhythm guitar figures that are based on triads (as well as country
and rock tunes); 2) complex chords can be broken into component triads and those triads can be used to cre-
ate interesting rhythm guitar parts; 3) even though the purpose of this book is to learn chords, some very
cool lead guitar ideas come from triads; and 4) learning and practicing triads will increase your understand-
ing of how music theory works on the guitar fretboard.

Examples of triad use

This example simply takes the I, IV and V triads of the key and arpeggiates them over the pedal D.

This is a common blues figure. After playing the root A note, the player slides an F# minor triad down a
whole step to an E minor triad. The resulting harmonies are A6 sliding into an A9.

© 2008 - 2010, Randy Wimer

8

Learning Triads
We’ll do three different triad exercises. The first will explore the possible closed voicing shapes. The sec-
ond will take those shapes and move them through a harmonized scale. Finally, we’ll move open position
triads through a harmonized scale.
Part 1, Triad Shapes

Major Minor Diminished Augmented

1 3 2 2 3 1 1 3 1 2 3 1

5 R 3 5 R b3 b5 R b3 #5 R 3

3 1 2 2 1 3 3 1 4 2 1 1

3 fr

3 5 R b3 5 R b3 b5 R 3 #5 R

4 3 1 4 2 1 4 2 1 3 2 1

3 fr

R 3 5 R b3 b5 R b3 b5 R 3 #5

2 3 1 3 4 1 2 3 1 3 2 1

4 fr

5 R 3 5 R b3 b5 R b3 #5 R 3

© 2008 - 2010, Randy Wimer

9

Major Minor Diminished Augmented

2 1 1 1 1 1 1 2 2 3 1

3 5 R b3 5 R b3 b5 R 3 #5 R

3 2 1 3 1 1 3 1 3 1 2

R 3 5 R b3 b5 R b3 b5 R 3 #5

2 3 1 3 4 1 2 3 1 3 2 1

5 R 3 5 R b3 b5 R b3 #5 R 3

3 1 1 2 1 1 3 1 2 3 2 1

3 5 R b3 5 R b3 b5 R 3 #5 R

© 2008 - 2010, Randy Wimer

10

Major Minor Diminished Augmented

3 4 1 3 2 1 3 1 2 3 1

R 3 5 R b3 5 R b3 b5 R 3 #5

2 3 4 2 3 1 2 3 1 2 1 1

5 R 3 5 R b3 b5 R b3 #5 R 3

3 1 1 2 1 1 3 1 2 3 2 1

3 5 R b3 5 R b3 b5 R 3 #5 R

4 3 1 4 2 1 4 2 1 3 2 1

R 3 5 R b3 5 R b3 b5 R 3 #5

© 2008 - 2010, Randy Wimer

11

Part 2, Closed Voicing Triads Through a Major Scale

Second inversion

Root position

First inversion

Root position

I’ve given you one selection from each group of strings as an example. The wise student will work through
all 12 keys, using each of the three triad shapes. The unwise student will skim over the material and think,
“I’ve got this - no big deal”. He will later flunk out of the second semester of music theory, ruining his GPA
and any hopes of a college degree and end up as an assistant manager in a What-a-burger in North Dakota.

© 2008 - 2010, Randy Wimer

12

Part 3, Open Voicing Triads Through a Major Scale

For these examples I’ve fingered the triads more in the manner of a classical guitarist. The arpeggiation
should be easily played with either the fingers or a pick.
Root position

Second Inversion

© 2008 - 2010, Randy Wimer

13

First Inversion

Beyond Triads:
Theory and Naming Conventions
For Extended Chords

You know what I’m talkin’ ‘bout; all that G13b9 and D7#9 kind of stuff. All of the ridiculously named,
complex sounding chords start with a simple triad. Remember the basics: chords are built in thirds; there are
two kinds of thirds, major and minor. As we stack another third on top of the triad (extending the chord to
the seventh), we build new chords. Start with a major triad: If I add a major third on top of the G, the high-
est note in the C major triad, the notes of the chord are C, E G and
B, a C major 7 chord (Root, 3, 5 and 7). If I add a minor third, that
added note is a Bb, creating a Dominant 7 chord (Root, 3, 5 and
C Major 7 C7 b7). “What’s this dominant thing,” I hear you asking. “I don’t
swing that way.” No, no, no...not that kind of dominant. You went through
the triad exercises, right? You played the chords built from the successive notes of a major scale, subse-
quently abbreviated, I, ii, iii, IV, V, vi, and vii°. In classic theory each of these chordal positions has a
name: John, Paul, George...once again, forgive me. In order, the names are: I - Tonic; ii - Supertonic (let
your imagination run wild); iii - Mediant; IV - Subdominant; V - Dominant; vi - Submediant; and vii° -
Leading tone. Major triads are on the first (Tonic), fourth (Subdominant) and fifth (Dominant) . Look at the
key of C; on the Tonic, go a third above the 5 (G) and you get a B, an interval of a Major third. As we have
already established, that is a C Major 7 chord. Look at the Subdominant, F. Again, go a third above its 5 (C)
and you get an E, another major third, resulting in an F Major 7. On the fifth chord, a G, the Dominant,
again go a third above its 5 (D) and you get an F, a minor third. Since this arrangement of thirds only occurs
on the V chord, we use its classic title to describe the resulting chord - a dominant 7. The thing to really
remember is that dominant chords are built from a major triad with a b7. Natural 3 and flat 7 =
dominant.

© 2008 - 2010, Randy Wimer

14
Maj 3rd Maj 3rd min 3rd

The tonic, I, C major 7 The Subdominant, IV, F major 7 The Dominant, V, G7

Now that you have a complete understanding of why the real name for a G7 is G dominant 7, you need
to know that in real life no one says “dominant”. They just say “seven”. I don’t know why, but I can sur-
mise (a fancy word for guess). You can see the need to differentiate between the two kinds of 7th chords
built from a major triad. Their sound quality is as different as major and minor. Well, the word ‘major’ has
two syllables, ‘dominant’ has three. Musicians being the taciturn, grouchy creatures they are (from too
many years locked up in small rooms practicing scales), they decided to have the term ‘dominant’ be under-
stood if a chord is named with just a number 7, 9, 11, or 13. When a chord is a ‘major’ 7, that will be
spelled out in the name, with either the word ‘major’ or an abbreviation, ‘maj’, or some symbol that means
‘major’.
The same logic we used with a major triad applies to the minor and diminished triads as well. A minor
triad with an added major 3rd becomes a minor/major 7, sometimes called a minor natural 7. A minor triad
with an added minor 3rd becomes a minor 7.
C minor triad C min/maj 7 Maj 3rd C minor 7 min 3rd

A diminished triad with an added major 3rd becomes a half-diminished 7, also called a minor seven flat
5 (m7b5); add a minor third and you get a diminished 7.

C diminished triad C half dim 7 Maj 3rd C dim 7 min 3rd

Major Third
Major Third

Minor Third
Minor Third

Major Third

Minor Third
Minor Third

Minor Third

Major Third

Major Third

Minor Third

Minor Third
Major Third

Major Third

Minor Third

Minor Third
Minor Third

Minor Third

Major 7 Dominant 7 Minor-natural 7 minor 7 © 2008 - 2010, Randy Wimer

half-diminished diminished7
15
You might be beginning to get a little terrified of the growing complexity of all this as we keep adding
more notes to the chords. Well, fear not. Now that you understand how the process works, I’ll show you the
shortcut that keeps musicians from losing their tentative grip on sanity. We reduce all this stuff to formulae
(formulas, for those of you fortunate enough to have been educated after the collapse of proper English in-
struction). Everything is referenced to the major scale of the root note of the chord. Let’s summarize what
we’ve looked at so far:
Major - 1, 3, 5
Minor - 1, b3, 5
Diminished - 1, b3. b5
Augmented - 1, 3, #5
Major 7 - 1, 3, 5, 7
Dominant 7 - 1, 3, 5, b7
Minor natural 7 - 1, b3, 5, 7
Minor 7 - 1, b3, 5, b7
Half diminished (minor 7 b5) - 1, b3, b5, b7
Diminished 7 - 1, b3, b5, bb7

It seems daunting at first but it’s easier than keeping track of all those thirds.

As we keep adding notes, we just build on the chords we’ve already established: a C9 is just a C7 with
an added 9th; a C major 9 is a C major 7 with the 9th. There are some oddities we need to deal with. In the-
ory, an 11th chord is a 9th with the 11th added. If all those notes are present in the chord it tends to be a bit
dissonant so the 3rd is almost always omitted and often the 5th is left out as well. When we extend to the
13th, the 11th is usually omitted.
You wouldn’t know it by what we’ve talked about so far but sometimes you’ll see some even numbers
as well. Major six chords are the major triad with the added 6th. (Students of theory will try to argue that
the major 6 chord is really a minor 7th chord in first inversion. I usually listen to them politely and then tell
them, yes, I would like fries with that.) Likewise a minor 6 is a minor triad with the added 6th. Suspensions
are notes placed in a chord that are meant to move, to
“resolve”. A suspended 4 chord replaces the third
with the 4th, the 4th eventually moves down to the
3rd, resolving to a major chord.
You will see various uses of the number “2” in chord
names; I’ve seen ‘add 2’, ‘sus 2’, or simply ‘2’.The 2
and sus 2 generally mean a major triad with the 2nd
instead of the third: 1, 2, 5. An add 2 generally means
a 2nd added to a major triad. This chord is more com-
monly called a Major add 9 (the 9th is the same note
as the 2nd, an octave higher).
The other mildly anomalous chord name you will of-
ten encounter is the ‘5’ chord. This is merely the designation
currently used for power chords. A 5 chord is simply the root
and the 5th with the root often doubled at the octave.
One final thing, before I present you with a chart summariz-
ing all this very important info. There is no universally rec-
ognized standard for how chord names are to be abbreviated.
I know that seems odd, but it’s just a fact. There may be sev-
eral symbols and abbreviations that are commonly used for a
single chord. Consider the major 7 chord; it might be M7,
maj7, major7, or Δ7. Trust me, you’ll get used to it.

© 2008 - 2010, Randy Wimer

16
Chord Formula Symbol
Major R35 [none], M, maj

Minor R b3 5 min, m, -
Diminished R b3 b5 dim, °
Augmented R 3 #5 Aug, +
Major 6 R356 6, Maj 6
Minor 6 R b3 5 6 m6, min 6, -6
Suspended 4 R45 sus 4
Suspended 2 R25 sus 2, 2
Major 7 R357 M7, Maj7, Δ7
Dominant 7 R 3 5 b7 7
Minor 7 R b3 5 b7 m7, min7, -7
Minor 7 flat 5 / R b3 b5 b7 m7b5, ±
Half diminished
Diminished 7 R b3 b5 bb7 dim 7, °7
Minor major 7 / R b3 5 7 min maj 7, m§7, -§7
Minor natural 7
Major 6 9 R3569 69, Maj6 add 9, 6 add 9
Major add 9 R359 Add9, Maj add9
Dominant 9 R 3 5 b7 9 9
Minor 9 R b3 5 b7 9 m9, min9, -9
Dominant 11 R 3 5 b7 9 11 11
(usually omit 3)
Minor 11 R b3 5 b7 9 11 m11, min 11, -11
Dominant 13 R 3 5 b7 9 11 13 13
(usually omit 11)

In addition to the above you have to get used to alterations. If you’ve gotten this far the alterations are
pretty easy. A Δ9#11 simply takes a major 9 chord and adds the sharped 11. A 7b9#5 takes a dominant 7
chord and sharps the 5th and adds a flatted 9th. Pretty straightforward. Be aware that usually a ‘+’ indicates
the raised fifth, as in C+7, literally read as C augmented 7. That’s a C7 chord with the 5th sharped. The
same chord can be written as C7#5. However, a C7+9, an abbreviation that is , thankfully, falling out of fa-
vor, means a C7 with a sharped 9, better written as C7#9. Now let’s get on to actually playing some chords.

© 2008 - 2010, Randy Wimer

17

© 2008 - 2010, Randy Wimer

18

Functional Literacy

Not everyone wants or needs the chord knowledge of the late Ted Green. The vast majority of people
who play guitar just want to be able to strum along with their favorite tunes and maybe throw in a lick or
two. It would be great if maybe they could raise or lower the song’s key to better fit their voice.
If that describes your aims on the guitar, this is the section for you.

Review, Basic Open Position Chords

C C7 CΔ7 Cadd9 D Dm
x3 2 0 1 0 x3 2 4 1 0 x 3 20 0 0 x 3 20 4 0 x x 0 1 3 2 x x 0 2 3 1

D7 D2 Dm7 DΔ7 E Em
x x 0 2 1 3 x x 01 3 0 x x 0 2 1 1 x x 0 1 1 1 02 3 1 0 0 02 3 0 0 0

E7 Em7 F/C FΔ7/C G G7

0 2 0 1 0 0 0 2 0 0 0 0 x 3 4 2 1 1 x 3 4 2 1 0 3 2 0 0 0 4 3 2 0 0 0 1

2 1 00 0 3

GΔ7 A Am A7 Am7 AΔ7

3 x 0 0 0 1 x0 2 3 4 0 x0 2 3 1 0 x 0 2 0 3 0 x 0 2 0 1 0 x 0 2 1 3 0

x0 1 2 3 0
A2 B7 Bm/D When a note other than the root is the
x 0 2 3 0 0 x 2 1 3 0 4 x x 0 3 2 1 lowest note played, or bass note, it’s
indicated by placing a slash ( / ) after
the name of the chord, followed by
the bass note. This example would be
read as “B minor with a D bass”.

© 2008 - 2010, Randy Wimer

19

You should know most of the chords on the preceding page. Those you don’t know are most likely
only a note or two away from a chord you do know. If you know less than half of them, seriously consider
doing some more beginning study before going too much further in this book.
Let’s start by organizing these chords in key groups. Remember on page 10 I talked about the place-
ment of major, minor and dominant chords within a scale. (We’re going to exclude the seventh chord of the
scale and save it for a later section.) There are two keys where we can get all of the chords and several oth-
ers where we can get most of them:
Key I ii iii IV V vi

C C, CΔ7 Dm, Dm7 Em, Em7 F, FΔ7 G, G7 Am, Am7

D D, DΔ7 Em, Em7 F#m G, GΔ7 A, A7 Bm/D
E E F#m G#m A, AΔ7 B7 C#m
G G, GΔ7 Am, Am7 Bm/D C, CΔ7 D, D7 Em, Em7
A A, AΔ7 Bm/D C#m D, DΔ7 E, E7 F#m
Em Em Am B7
Am Am Dm E7
The highlighted cells indicate chords that aren’t on the preceding page but that we will add shortly. The
chord sequence for minor scales is different from major so I omitted all but the primary chords for those
keys. To start, just play up the scale, I through vi, in C and then G. Think of Dylan’s “How Does it Feel”;
that’s the progression for the verse. Next just play through the I, IV and V in the various keys. Experiment
with the major 7 chords, listen to the different sounds. Play I, vi, IV, V in C, D, and G.

Notice in all of the chords so far, no sharps or flats. The next step in developing your chord knowledge
is to add some “bar” chords so you can play an F# minor, for example. And yes, they are called bar chords
because they were first developed by tiny German troubadours (called mini-singers) as they moved from
inn to inn, or staggered from bar to bar, as it were. No, really they were invented by rogue barristers… Not
buying it? Okay, whenever we use one finger to cover more than one string, that’s called a “bar”. The tradi-
tional way to approach bar chords has been to base them on the ‘E’ and ‘A’ chords, so you have one group
of chords that starts on the 6th string and another that starts on the 5th.

6th String Root Bar Chords

E Em E7 Em7
02 3 1 0 0 02 3 0 0 0 0 2 0 1 0 0 0 2 0 0 0 0

F Fm F7 Em7
1 3 4 2 1 1 1 4 3 1 1 1 1 3 1 2 1 1 1 2 1 1 1 1

© 2008 - 2010, Randy Wimer

20

A Am A7 Am7
x0 2 3 4 0 x0 2 3 1 0 x 0 2 0 3 0 x 0 2 0 1 0

Bb Bbm Bb7 Bbm7

x1 3 3 3 1 x1 3 4 2 1 x 1 3 1 4 1 x 1 3 1 2 1

x1 2 3 4 1
Note may be omitted,
especially if using the
3rd finger bar.

The lovely thing about bar chords is, containing no open strings, they can be moved anywhere on the
neck without affecting their color (major, minor, etc.) The eight chords presented here are in root position;
the lowest note of the chord is the root, or the note that names the chord. So, take the Bbm chord and slide it
up the neck until your first finger is on the fifth fret. What chord do you have? Well, the fifth fret of the
fifth string is a ‘D’ note, and the color doesn’t change so you have a D minor chord. The chart below may
be useful in figuring out the names of the bar chords as you move around the neck.

5th A A#/ B C C#/ D D#/Eb E F F#/Gb G G#/ A

String Bb Db Ab
Fret Open 1st 2nd 3rd 4th 5th 6th 7th 8th 9th 10th 11th 12th
6th E F F#/Gb G G#/ A A#/ B C C#/ D D#/Eb E
String Ab Bb Db

Let’s start by finding the three chords we need to play the chords in the keys of D, E and A, on the pre-
ceding page: F#m, G#m and C#m.

F#m G#m C#m

1 4 3 1 1 1 1 4 3 1 1 1 x1 3 4 2 1
2nd fret 4th fret 4th fret

© 2008 - 2010, Randy Wimer

21

First go back and just play the bar chords with the open chords you already know. Practice moving up
and down your now-completed chord/key chart. Then try playing I vi ii V and I vi IV V through all the
keys. As you start to get comfortable , move to the exercises below.

© 2008 - 2010, Randy Wimer

22
Let’s add two new types of chords, the major seven and the half-diminished (minor seven flat five).
Again, we’ll learn two fingerings for each, one from the sixth string and one from the fifth. Notice on the
two 6th string chords you have to mute the 5th string. To do this, simply let the finger on the 6th string lean
and lightly touch the 5th string. Be careful to not use to much pressure and actually fret the string.

Major 7 Half-Diminished
FΔ7 BbΔ7 (m7b5)
G± B±
1x 3 4 2 x x1 3 2 4 1 2 x 3 4 1 x x 1 3 2 4 x

In a harmonized scale, major seven chords occur on the 1st (Tonic) and 4th (Sub-dominant) notes. The
half-diminished chord occurs on the 7th (Leading tone). In the next set of exercises you’ll start by just
playing up a harmonized scale. Then you’ll play a progression called the diatonic cycle of 4ths. The for-
mula for those exercises is IV vii iii vi ii V I.

© 2008 - 2010, Randy Wimer

23

© 2008 - 2010, Randy Wimer

24

If you’ve ever watched an experienced (read ‘old’) jazz guitarist, you’ve probably noticed that they
don’t use a lot of full bar chords. There are two reasons for this: in most bar chords, at least the root note is
doubled, sometimes the fifth as well. This creates a chord sound that is more idiomatic to rock, country or
folk music. Jazz guitarists tend to strip those unnecessary notes from the chords resulting in a ‘leaner’
sound. The second reason is physical - bar chords put more strain on the hand. The old big band guitarists
played acoustic arch-top guitars with heavy strings. Replacing bar chords with four-note, four-finger chords
made getting through a three-hour gig a bit easier.

Seventh Chord Minor Seventh Chord Major Seventh Chord

1 3 1 2 1 1 1x 2 4 3 x 13 1 1 1 1 2x 3 3 3 x x1 3 2 4 1 x 1 3 2 4 x

Minor Seventh Chord

x1 3 1 2 1 x1 x 2 4 3

© 2008 - 2010, Randy Wimer

25

We’ll add three more chord shapes and that will finish the section on functional literacy. The dimin-
ished seven chord has one characteristic that takes a little while to grasp. Any note in the chord can be its
root. Here’s how it works: remember the structure of a diminished triad - min 3rd, min 3rd. The diminished
7 chord adds yet another min 3rd to the stack. Notice that when we go up another min 3rd from the seventh
(the B double flat) we arrive at our
starting point, an octave higher. So
it doesn’t matter where your start,
the C, the E flat, the G flat or the B
double flat, if you follow the pattern of minor 3rds, you get the same group of notes. So C dim7 , Eb dim7,
Gb dim 7 and A dim 7 are all the same chord. Here are the three most common fingerings for a dim 7. In
the exercises that follow I treat them as if they are in root position (though as I’ve explained any note can be
the root). This is the simplest way to start incorporating them into your playing.
Diminished Seventh Chords
2x 1 3 1 x x2 3 1 4 x xx 1 3 2 4

© 2008 - 2010, Randy Wimer

26

© 2008 - 2010, Randy Wimer

27

Expanding Your Horizons: The CAGED System

What is it with guitar types. First it’s the “dominant” thing - now we’re talking about cages. Well, not
cages, ‘CAGED”, as in a C chord, an A chord, etc. We’ve already built some chords from A and E - two
parts of the “caged” approach. In this section we’ll provide a method for constructing extended chords and
apply it to each of the C, A, G, E, and D chords.

The “Drop Root” System

I first encountered this idea in the old Mickey Baker Jazz Guitar Method. Here’s how it works. Most
standard voicings for major chords include at least 2 root notes. If we take the highest of those and drop it
(lower it) one half-step, that’s the same as adding the seventh to the chord, producing a major seven chord.
Drop it another half-step and you get a dominant seventh, and another will produce a major 6 chord.

X X 1 3 2
Start with a D chord. Name
each note as a degree of
the D scale.

X X R 5 R 3

D Maj7
X X 1 1 1

Remember that there is only a half step between the 7th and
8th notes of a major scale. So, if we lower the highest root
note one fret, it’s the same as adding a 7th to the chord. Root,
3rd, 5th and 7th combine to make a major 7 chord.

X X R 5 7 3

D7
X X 2 1 3

Lower the 7th another half step and the resulting chord
is a Dominant 7, root, 3rd, 5th and b7.

X X R 5 b7 3

© 2008 - 2010, Randy Wimer

28
D6
X X 1 2
Follow this logic and lower the b7 a half step and you’ve
added the 6th to the chord. A major 6 is composed of the
root, 3rd, 5th and 6th.

X X R 5 6 3

In minor chords the 3rd is flatted (lowered a half step). If we lower the third in each of the
chords on the previous page we get a minor, min (maj7), sometimes called a minor natural 7, a
minor 7 and a minor 6.

D min D min§7 D min7 D min6

X X 2 3 1 X X 2 3 1 X X 2 1 1 X X 2 1

X X R 5 R b3 X X R 5 7 b3 X X R 5 b7 b3 X X R 5 6 b3

The next step is to take this logic and apply it to the C A E and D chords. G presents some special cir-
cumstances and will be dealt with separately.

© 2008 - 2010, Randy Wimer

29 From the second row down, all chords are moveable. Name them by determining what the root note is
( the ‘R’) and adding the color. So the first chord in the third row is a C#Maj7; move it up a fret and it’s a
DMaj7; and so on.
D shape
C shape A shape E shape (1st inversion)
X 3 2 0 1 0 X 0 2 3 4 0 0 2 3 1 0 0 2 X 0 3 4 X

R 3 5 R 3 R 5 R 3 5 R 5 R 3 5 R 3 R 5 R

X 4 3 1 2 1 1 3 3 3 1 3 4 2 1 1 2 X 1 3 4 X

R 3 5 R 3 R 5 R 3 R 5 R 3 5 R 3 R 5 R

X 4 3 1 1 1 1 3 2 4 1 1 X 3 4 2 X 2 X 1 3 4 X

R 3 5 7 3 R 5 7 3 5 R 7 3 5 3 R 5 7

X 3 2 4 1 X 1 3 1 4 1 1 X 2 4 3 X 3 X 1 4 2 X

R 3 b7 R R 5 b7 3 R 7 3 5 3 R 5 b7

X 4 2 3 1 X X 2 3 1 4 X 2 X 1 4 3 X 3 X 1 4 1 X

R 3 6 R R 5 6 3 R 6 3 5 3 R 5 6
© 2008 - 2010, Randy Wimer
30

C shape D shape
A shape E shape
(1st inversion)
X 4 1 0 2 X X 0 2 3 1 0 0 2 3 0 0 0 1 X 0 3 4 X

R b3 5 R R 5 R b3 5 R 5 R b3 5 R b3 R 5 R

X 4 2 1 3 X 1 3 4 2 1 1 3 4 1 1 1 2 X 1 3 4 X

R b3 5 R R 5 R b3 5 R 5 R b3 5 R b3 R 5 R

X 4 2 1 1 X 1 4 2 3 1 X 2 1 1 X 2 X 1 3 4 X

R b3 5 7 R 5 7 b3 R 7 b3 5 b3 R 5 7

X 3 1 4 1 X 1 3 1 2 1 2 X 3 3 3 X 2 X 1 4 3 X

R b3 b7 R R 5 b7 b3 5 R 7 b3 5 b3 R 5 b7

X 3 1 2 1 X X 2 4 1 3 X 2 X 1 3 4 X 2 X 1 4 1 X

R b3 6 R R 5 6 b3 R 6 b3 5 b3 R 5 6

© 2008 - 2010, Randy Wimer

31

Notice that in the ‘C’ shape, between the major 7 and the dominant 7 the dropping note changes
strings. This is done to avoid an awkward stretch (don’t worry, awkward stretches await you in coming
chapters). This eliminates the 5th from the dominant 7 and 6 chords but with the root doubled again, the
chord stays full sounding.
We’re going to start with some exercises that work common chord pairings - take these slow and get
your fingers used to the movements. You will use these in many chord progressions.

Notice that the last two exercises offer alternative fingerings. In the first case, many students have diffi-
culty with the first fingering for the C6 - if that’s you, just use the second fingering; the hand moves a bit
more but many students still make the second change more smoothly. The last line offers two pairs for the
same chord change.

© 2008 - 2010, Randy Wimer

32

The next group of exercises expand to four measures. Again, these are chord moves that will repeatedly
show up in tunes.

© 2008 - 2010, Randy Wimer

33

Chords from the ‘G’ shape

The open G chord presents problems to guitarists from the first. How do you finger it - with 1, 2 and 3
or 2, 3 and 4? Or do you try something different entirely? Here are some fingerings I’ve encountered for G
in various methods.
2 1 3 3 2 4 2 1 3 4 2 X 3

The third shape has the advantage of providing an open position Gm and a quick change to a Cadd9.

G minor C major add 9

2 1 3 4 X 2 1 3 4

The difficulty in fitting the G chord into the logic we’ve constructed for the CAGED system arises
from the multiple ‘closed’ fingerings that are built from the G shape.

2 1 3 If we do the same thing to the G that we did to 3 2 1 1 1 4

the C, A, E and D chords, we get the chord at left.
I have occasionally encountered this fingering but
it is not common. There are, however, four subsets
from this fingering that are common and often
used to build other chords.
R 3 5 R 3 R

3 X 1 1 1 X X 2 1 1 1 X X 2 1 1 4 X X X 1 1 1 4

R 5 R 3 3 5 R 3 3 5 R 5 5 R 3 R

© 2008 - 2010, Randy Wimer

34

Here are the 7ths, 6ths, etc., etc. built from our four variations of the G fingering.

Major Dominant 7 Major 6

3 X 1 1 1 X 3 X 4 1 1 X 4 X 3 1 1 X

R 5 R 3 R b7 R 3 R 6 R 3

Major Minor Dominant 7 Minor 7

X 2 1 1 4 X X 2 1 1 4 X X 2 3 1 4 X X 2 3 1 4 X

3 5 R 5 b3 5 R 5 3 b7 R 5 b3 b7 R 5

Major Major 7 Dominant 7 Major 6

X X 1 1 1 4 X X 1 1 1 4 X X 1 1 1 2 X X 1 1 1 1

5 R 3 R 5 R 3 7 5 R 3 b7 5 R 3 6

Minor 7 Minor 6
These two chord shapes could just as easily X X 2 3 1 4 X X 2 3 1 4
be built from the ‘A’ shape. This same type of
overlap occurs between the ‘C’ and the ‘D’
shapes.

5 R b3 b7 5 R b3 6
© 2008 - 2010, Randy Wimer
35

Here are a few exercises that incorporate some of the ‘G’ shapes into some common chord progres-
sions.

© 2008 - 2010, Randy Wimer

36

Extended Chords
As I discussed in the introduction, extended chords simply add one or two notes to chords you already
know. C9, for example, is just a C7 chord with a ‘D’ note (the 9th note of a C scale) added to it.

C7 C9 C7/E C9/E
X 3 2 4 1 X X 2 1 3 3 3
X 2 3 1 4 X X 2 3 1 4 X
5th fr

7th fr

R 3 b7 R R 3 b7 9 5 3 b7 R 5 3 b7 9 5 R

Before I start subjecting you to a deluge of chord forms, let’s discuss how these extended chords work.
Generally, as a rhythm guitarist you have a certain latitude in the chords you choose to play. Chords are
grouped in families, major, minor and dominant, and substitution within families is a common practice. So,
revisit the earlier blues exercises and plug in the 9th chords (above) for the written 7th chords. As you’re
exposed to new chord types, try using them in songs you play. Use 9ths, 11ths and 13ths for 7th chords; use
minor 9ths and minor 11ths for minor or minor 7th chords; use major 9th and 69 (pronounced “six-nine”)
chords for major 6th and major 7th chords. Sometimes an Am9 works great for an Am7, sometimes not. It’s
literally up to you to decide. Keep in mind something else I mentioned in the introduction - it’s important to
develop a chord style. As you experiment with different types of chords and different voicings for chords,
some sounds will grab you and some won’t. As you incorporate the sounds that you like into your daily
playing you are building your chord ’voice’.
To start adding extended chords to your vocabulary I’m returning to the model used in the ‘Functional
Literacy” chapter: You’ll get two fingerings for each chord (to start) one from the 6th string and one from
the 5th string. Let’s start with the two 9th chords we began with.

Two things to notice: first, this is the first exercise in the book with a specific rhythm. It’s a very easy,
and common, rhythm, strum on the one and the and of two. Second, notice on the Bb 9 the chord I have dia-
grammed is a Bb9/D. Inversions can almost always be used, even when they are not specifically called for.

© 2008 - 2010, Randy Wimer

37

More Extensions: Maj 9, min 9, min 11 and 13th

Major 9 Minor 9
1 X 2 3 1 4 X 2 1 3 4 X 2 X 3 3 3 4 X 2 1 3 4 X

R 7 3 5 9 R 3 7 9 R b7 b3 5 9 R b3 b7 9

Minor 11 13
2 X 3 4 1 X X 2 X 3 4 1 1 X 2 3 4 X X 2 1 3 3 4

R b7 b3 11 R b7 b3 11 R b7 3 13 R 3 b7 9 13

© 2008 - 2010, Randy Wimer

 38

Sus4, 7sus4, and 11ths

We discussed suspensions in the first chapter of this book. A suspended 4 chord takes the 3rd of a ma-
jor chord and raises it a half-step to the 4th. Generally this note ‘resolves’ by returning to the third. I give
you a couple of sus 4 fingerings below. A 7sus4 applies the same logic to a dominant 7th chord. The 11th
chord is often a very good substitute for the 7sus4. It resolves to a dominant 9th.

Sus4 Resolves to Major Sus4 Resolves to Major

1 3 3 3 1 1 1 3 4 2 1 1 X 1 3 3 4 1 X 1 3 3 3 1

R 5 R 4 5 R R 5 R 3 5 R R 5 R 4 5 R 5 R 3 5

7Sus4 Resolves to 7 7Sus4 Resolves to 7

1 3 1 4 1 1 1 3 1 2 1 1 X 1 3 1 4 1 X 1 3 1 4 1

R 5 b7 4 5 R R 5 b7 3 5 R R 5 b7 4 5 R 5 b7 3 5

11 Resolves to 9 11 Resolves to 9
3 X 4 2 1 X 3 X 4 2 1 X X 2 X 3 4 1 X 2 X 3 4 1

R b7 9 11 R b7 9 3 R b7 9 11 R b7 9 3

© 2008 - 2010, Randy Wimer

39 Applying Chords to a I vi ii V Progression
The following chords illustrate a common trick to make chords flow from one to another gracefully, the
use of a common tone in the upper voice. Play across each row, letting the chords ring for 2 or more beats.

I vi ii V

C6 Am7 Dm7 G11

X 4 2 3 1 0 2 X 3 4 X X X 3 1 4 X X 3 X 4 2 1 X

R 3 5 R 3 R 5 R 3 5 R 5 R 3 5 R 3 R 5 R

CΔ9 Am11 Dm7 G7

X 2 1 4 3 X 2 X 3 4 1 X X 3 1 4 1 X 1 X 2 4 3 X

R 3 7 9 R b7 b3 11 R b3 b7 R R b7 3 5

CΔ7 Am7 Dm9 G13

X 1 3 2 4 X 2 X 3 3 3 X X 2 1 3 4 X 1 X 2 3 4 X

R 5 7 3 R b7 b3 5 R b3 b7 9 R b7 3 13

CΔ7 Am7 Dm11 G7

1 X 3 4 2 X 1 3 1 1 4 X X 2 X 3 4 1 1 3 1 2 1 1
5 3 3
8

R 7 3 5 R 5 b7 b3 b7 R b7 b3 11 R 5 b7 3 5 R

© 2008 - 2010, Randy Wimer

40

Inversions and Alterations

Within the CAGED Structures
You know what an inversion is - when the lowest note of chord is something other than the root. If you
take music theory you'll learn a system of notating inversion using numbers that describe the interval struc-
ture in inverted chords: 6/3 for first inversion, 6/4 for second inversion. It’s an old and useful system - just
not for writing chord charts. With chords, when we want a note other than the root in the bass, we use the
‘slash’ form, C/G for example. This would be read, “C with a G bass.” You will eventually get fast enough
at all this to automatically know that G is the 5th of C so C/G is a second inversion. The slash notation has
the advantage of including non-chordal tones. The old tune “Green Dolphin Street” moves a major triad
against a static or ‘pedal’ bass note: A | C/A | B/A Bb/A | A |.
The ‘D’ shape (pages 29 & 30) and some of the ‘G’ shapes (page 33 & 34) are first inversion forms.
Second inversion fingerings are easily constructed from the ‘C’, ‘A’, and ‘E’ shapes.

Root Position 2nd Inversion Root Position 2nd Inversion

X 4 3 1 2 1 X 4 3 1 2 1 1 3 3 3 1 3 3 3

R 3 5 R 3 5 3 5 R 3 R 5 R 3 5 5 R 3

Root Position 2nd Inversion

1 3 4 2 1 1 X 3 4 2 1 1

R 5 R 3 5 R 5 R 3 5 R
In addition to 1st and 2nd inversion chords, there are 3rd inversion forms. These place the 7th in the
bass and can be easily constructed from the ‘C’ and ‘G’ shapes.

Root Position 3rd Inversion Root Position 3rd Inversion

X 4 3 1 2 1 X 2 X 1 3 1 4 X 1 1 1 X 2 X 1 1 1 X

R 3 5 R 3 b7 5 R 3 R 5 R 3 b7 5 R 3

© 2008 - 2010, Randy Wimer

41

© 2008 - 2010, Randy Wimer

42

A7

© 2008 - 2010, Randy Wimer

43

Altered Dominant Chords

Any chord can have one or more of it’s tones raised or lowered, but it is much more common with
dominant chords. When we talk of an altered dominant, we mean the root, third and flat-seven of a normal
dominant seven chord with the addition of any of the following, a sharped or flatted 5th or a sharped or flat-
ted ninth, G7b5 or D7#9 for example. The easiest way to deal with these chords is to build the part of the
chords that doesn’t change, R, 3 and b7, and then locate the positions of the altered tones relative to that
structure.

R b7 3 R 3 b7

Most times, when a tune calls for an altered dominant, a 7b9 for example, other altered dominants will
work as well. Instead of the 7b9 from the 6th string, I’ll usually try a 7#5b9, because it’s an easier finger-
ing. If my ear tells me it works, fine, if not I go for the written chord. Below are some common altered
dominant chords you should have readily under your fingers.

7#5 7b5 7#5b9 7#5#9

1 X 2 3 4 X 2 X 3 4 1 X 1 X 2 3 3 3 1 X 2 3 3 4

R b7 3 #5 R b7 3 b5 R b7 3 #5 b9 R b7 3 #5 #9

7b9 7#9 7b5#9 7#5b9

X 2 1 3 1 X X 2 1 3 4 X X 2 1 3 4 1 X 2 1 3 1 4

R 3 b7 b9 R 3 b7 #9 R 3 b7 #9 b5 R 3 b7 b9 #5

© 2008 - 2010, Randy Wimer

44

#11
Another common alteration you’ll see is the #11. The astute observers among the readers will realize
that the #11 is the same named pitch as the b5, however, a #11 implies the presence of a natural 5 in the
chord. This is important from an improvisational perspective as well as a chordal one. Raised 11ths are also
used on Major 7 type chords as well as dominants. You can substitute a 7b5 for a 7#11. Below are a few
#11 voicings I use regularly.

Δ7#11 Δ9#11 9#11 9#11

2 X 3 4 1 X X 2 1 4 3 1 2 1 3 1 1 4 X 2 X 3 4 1

R 7 3 #11 R 3 7 9 #11 R 3 b7 9 #11 R R b7 9 #11

69 and Add 9 chords

These are self-explanatory chords. A 69 (six-nine, please resist the all-too-easy sixty-nine jokes) is sim-
ply a major triad with the 6th and 9th tones added. They are interesting because the normal guitar voicing
(R 3 6 9 5) results in a series of perfect 4ths in the upper structure. Add 9 chords add the 9th to a major or
minor triad. These are some common fingerings.
I’ll finish the section on the CAGED system with a long series of exercise based on the I vi ii V pro-
gression. These will feature common tones, diatonic and chromatic movement in the upper voice of the
chords to provide continuity.
69
2 1 1 1 3 3 X 2 1 1 3 4

R 3 6 9 5 R R 3 6 9 5

Maj add 9 Maj add 9 Min add 9 Min add 9

1 3 4 2 1 1 X 1 2 4 3 1 1 3 4 1 1 1 X 1 3 4 2 1

R 5 9 3 5 R R 5 9 3 5 R 5 9 b3 5 R R 5 9 b3 5

© 2008 - 2010, Randy Wimer

45

The first exercises are in the key of C. The second page switches to the key of G. The first three lines
utilize chromatic movement in the top voice of the chord. The final two use diatonic movement. Don’t take
the rhythm slashes literally - try strumming each chord just once and letting it ring for 2 or 4 beats. Practice
each line separately.

© 2008 - 2010, Randy Wimer

46

© 2008 - 2010, Randy Wimer

47

© 2008 - 2010, Randy Wimer

48

Building Chords on String Sets

You now have somewhere between 2 and 5 ways to play most chords that are thrown your way. Build-
ing chords on string sets will triple that. Here’s the premise: We start with 4-note chords, 7ths and 6ths.
Choose a group of 4 strings; 6, 4, 3, and 2; 5, 4, 3, and 2; 5, 3, 2, and 1; and 4, 3, 2, and 1. Structure the
chords on the selected string group in each inversion. Here’s a C7 as an example:

2nd Inversion 3rd Inversion Root Position 1st Inversion

3 X 2 4 1 X 2 X 1 1 1 X 1 X 2 4 3 X 3 X 1 4 2 X
5 fr 8 fr 10 fr

5 3 b7 R b7 5 R 3 R b7 3 5 3 R 5 b7

From here, it’s a simple matter to build the Maj 7, m7, m7b5, 6, and m6.
Major 7 Minor 7
3 X 2 4 1 X 3 X 2 4 1 X 3 X 2 4 1 X 3 X 1 4 1 X

5 3 b7 R 5 3 7 R 5 3 b7 R 5 3 b7 R
Major 6 Minor 7 m7b5
3 X 2 4 1 X 4 X 2 3 1 X 3 X 1 4 1 X 2 X 1 4 1 X

5 3 b7 R 5 3 6 R 5 b3 b7 R b5 3 b7 R
Major 6 Minor 6 On the next four pages I’ll lay out the different
chords on the string sets mentioned above. You’ll
4 X 2 3 1 X 3 X 1 2 1 X
notice some repetition of forms - A C6 contains the
same notes as an Am7; A Cm6 contains the same
notes as an Am7b5. I list them separately because the
root notes occur in different places and that’s the cru-
cial thing for you to be able to use the chord cor-
rectly. Exercises will follow.
5 3 6 R 5 b3 6 R

© 2008 - 2010, Randy Wimer

 49 2nd Inversion 3rd Inversion Root Position 1st Inversion
3 X 2 4 1 X 2 X 1 1 1 X 1 X 2 4 3 X 3 X 1 4 2 X
Dom 7

5 3 b7 R b7 5 R 3 R b7 3 5 3 R 5 b7
3 X 2 4 1 X 3 X 1 1 1 X 1 X 3 4 2 X 2 X 1 3 4 X
Major 7

5 3 7 R 7 5 R 3 R 7 3 5 3 R 5 7
3 X 1 4 1 X 4 X 2 3 1 X 2 X 3 3 3 X 2 X 1 4 3 X
Minor 7

5 b3 b7 R b7 5 R b3 R b7 b3 5 b3 R 5 b7
2 X 1 4 1 X 3 X 1 2 1 X 2 X 3 4 1 X 2 X 1 3 4 X
m7b5

b5 b3 b7 R b7 b5 R b3 R b7 b3 b5 b3 R b5 b7
4 X 2 3 1 X 2 X 3 3 3 X 2 X 1 4 3 X 3 X 1 4 1 X
Major 6

5 3 6 R 6 5 R 3 R 6 3 5 3 R 5 6
3 X 1 2 1 X 2 X 3 4 1 X 2 X 1 3 4 X 2 X 1 4 1 X
Minor 6

5 b3 b7 R 6 5 R b3 R 6 b3 5 b3 R 5 6
© 2008 - 2010, Randy Wimer
 50 Root Position 1st Inversion 2nd Inversion 3rd Inversion
X 1 3 1 4 X X 2 3 1 4 X X 2 3 1 4 X X 2 4 1 3 X
Dom 7

R 5 b7 3 3 b7 R 5 5 R 3 b7 b7 3 5 R
X 1 3 2 4 X X 2 4 1 3 X X 2 3 1 4 X X 3 4 1 2 X
Major 7

R 5 7 3 3 7 R 5 5 R 3 7 7 3 5 R
X 1 3 1 2 X X 2 3 1 4 X X 2 3 1 4 X X 2 3 1 4 X
Minor 7

R 5 b7 b3 b3 b7 R 5 5 R b3 b7 b7 b3 5 R
X 1 3 2 4 X X 2 4 1 3 X X 2 3 1 4 X X 2 3 1 4 X
m7b5

R b5 b7 b3 b3 b7 R b5 b5 R b3 b7 b7 b3 b5 R
X 2 3 1 4 X X 2 3 1 4 X X 2 3 1 4 X X 1 3 1 2 X
Major 6

R 5 6 3 3 6 R 5 5 R 3 6 6 3 5 R
X 2 4 1 3 X X 2 3 1 4 X X 2 3 1 4 X X 1 3 2 4 X
Minor 6

R 5 6 b3 b3 6 R 5 5 R b3 6 6 b3 5 R
© 2008 - 2010, Randy Wimer
 51 Root Position 1st Inversion 2nd Inversion 3rd Inversion
X 1 X 1 4 1 X 3 X 1 4 2 X 3 X 2 4 1 X 2 X 1 3 1
Dom 7

R b7 3 5 3 R 5 b7 5 3 b7 R b7 5 R 3
X 1 X 2 4 1 X 2 X 1 4 3 X 3 X 2 4 1 X 3 X 1 2 1
Major 7

R 7 3 5 3 R 5 7 5 3 7 R 7 5 R 3
X 1 X 2 4 3 X 2 X 1 4 3 X 3 1 4 1 X 3 X 2 4 1
Minor 7

R b7 b3 5 b3 R 5 b7 5 b3 b7 R b7 5 R b3
X 2 X 3 4 1 X 2 X 1 4 3 X 2 X 1 4 1 X 3 X 1 4 1
m7b5

R b7 b3 b5 b3 R b5 b7 b5 b3 b7 R b7 b5 R b3
X 2 X 1 4 3 X 3 X 1 4 1 X 3 X 2 4 1 X 1 X 2 4 3
Major 6

R 6 3 5 3 R 5 6 5 3 6 R 6 5 R 3
X 2 X 1 4 3 X 2 1 4 1 X 3 X 1 4 1 X 2 X 3 4 1
Minor 6

R 6 b3 5 b3 R 5 6 5 b3 6 R 6 5 R b3
© 2008 - 2010, Randy Wimer
 52 1st Inversion 2nd Inversion 3rd Inversion Root Position
X X 2 3 1 4 X X 1 1 1 2 X X 1 2 1 1 X X 1 3 2 4
Dom 7

3 b7 R 5 5 R 3 b7 b7 3 5 R R 5 b7 3
X X 2 4 1 3 X X 1 1 1 4 X X 2 3 1 1 X X 1 3 3 3
Major 7

3 7 R 5 5 R 3 7 7 3 5 R R 5 7 3
X X 1 3 1 4 X X 2 3 1 4 X X 1 1 1 1 X X 1 4 2 3
Minor 7

b3 b7 R 5 5 R b3 b7 b7 b3 5 R R 5 b7 b3
X X 1 4 1 2 X X 1 2 1 4 X X 2 3 1 4 X X 1 3 3 3
m7b5

b3 b7 R b5 b5 R b3 b7 b7 b3 b5 R R b5 b7 b3
X X 2 3 1 4 X X 1 1 1 1 X X 1 4 2 3 X X 1 3 1 4
Major 6

3 6 R 5 5 R 3 6 6 3 5 R R 5 6 3
X X 1 2 1 4 x X 2 3 1 4 X X 1 3 3 3 X X 1 3 1 2
Minor 6

b3 b7 R 5 5 R b3 6 6 b3 5 R R 5 6 b3
© 2008 - 2010, Randy Wimer
53

Okay, now that your head hurts, stop whining about never being able to learn all those chords and lets
start learning all those chords! The best way to get these new fingerings incorporated is to apply them to
tunes you already know. To force yourself to use the new inverted forms, try limiting the bass to these kinds
of movement: static - no movement; step-wise - move up or down a scale; chromatic - up or down a half-
step; fourths - up a fourth (down a fifth).
I’ll give you a couple of examples using some generic chord progressions but the real work is up to
you. Take songs that you are comfortable playing and make yourself uncomfortable. Put restrictions on the
bass; put restrictions on the treble note. If you can’t come up with a half-dozen ways to play it, you’re not
trying.
Another of my favorite games is to limit how much of the neck to use: pick a four or five-fret area of
the neck and play a chord progression without moving outside of that area. Some progressions work easily,
others require the use of many of the newer forms you’ve just been exposed to.

© 2008 - 2010, Randy Wimer

54

I vi ii V

Dm/F

© 2008 - 2010, Randy Wimer

55

© 2008 - 2010, Randy Wimer

56

I could go on like this forever. But that’s not the point. You need to go on like this forever. So...choose
some tunes that you like. Dig in and start working through them. Every different starting chord creates new
choices, new possibilities. Soon you’ll find yourself finding patterns of chords that you like and you’ll start
using them naturally - you’re on your way to finding that unique chord style.
The next section will help you incorporate extensions into the chords you’ve learned with the string
sets. But here’s another way to approach it:

If you look at the highest four notes of the C major 9, you see that it’s the same
notes as an E minor 7. So if you’re playing in a group setting and the bass
player plays ‘C’ and you play Em7, the resulting chord will be a Cmaj9. You
can use this idea even if you’re not in a group setting - just try to keep track of
the original harmony (Or not. Hell, some of my best arrangements get really far away from the original har-
mony.) Here’s the quick and easy formula for this: For a major 9, play a minor 7th from the third; for a mi-
nor 9, play a major 7th from the third; and for a dominant 9, play a m7b5 from the third. For C major 9 play
Em7; for C minor 9 play Ebmaj7; for C9 play Em7b5 (E half-diminished). Additionally, for a C7b9 play E
dim7. And you know that E dim7 is the same as G, Bb, and Db diminished. Cool, eh?

© 2008 - 2010, Randy Wimer

57

Interlude: Terminology
Drop 2 and Drop 3 Voicing

If you study this stuff for a while you will encounter the terms “drop 2” or “drop 3” chords. These refer
not just to guitar chords but are used by arrangers to describe certain voicings. It’s an extension of the idea
we discussed in the section on triads: closed versus open voicings. In an open voiced triad the middle note
is lowered or raised an octave. Well, we can have the same situation with 7th chords.
Here’s our old friend, the G7 chord (root position). This is a closed voicing made of stacked major and
minor thirds. To open this voicing we could choose either the ‘D’ or the ‘B’ notes and lower it an octave.
Since the ‘D’ is the second note down from the top, this is called a drop 2 chord. Similarly, the ‘B’ is the
third note from the top, so when that note is lowered an octave the resulting voicing is called a drop 3.

Drop 2 Drop 3

You already know both of these voicings; the drop 2 is the 2nd inversion on string set 5, 4, 3, 2. The
drop 3 is the 1st inversion on string set 6, 4, 3, 2. So why am I cluttering your head with this stuff? Well,
that’s why I’m calling this section an interlude. You need to know this so you can communicate with other
musicians. The ‘drop’ terminology has become standard and if you extend the system enough you can label
all the chords in the string sets section as one or the other. The key is to apply the process to the inverted
forms.
1st inv. G7 Drop 2 (page 52, 3rd inv.) 1st inv. G7 Drop 3 (page 51, 2nd inv.)

So why didn’t I use this terminology when I presented the material? Simply put, I hate needless com-
plexity. And frankly, thinking of a simple second inversion dominant 7 chord, voiced across the 6th, 4th,
3rd and 2nd strings, as a drop 3 voicing derived from a first inversion seems kinda silly. I understand the
utility of the terminology in arranging - it makes perfect sense when describing how you voice a chord in a
sax section - I question its usefulness in talking about guitar chords.
The easy way to keep the drop 2\3 thing straight, as applied to the chords in this section, is to remem-
ber the chords on contiguous strings (5, 4, 3, 2 and 4, 3, 2, 1) are drop 2 voicings. The ones that skip a string
after the bass note (6, 4, 3, 2 and 5, 3, 2. 1) are drop 3 voicings.

And by the way - don’t confuse drop 2\3 with the “drop root” stuff we talked about in the CAGED sec-
tion of this book. They are completely unrelated (except by the use of the word “drop”, which I have now
typed so much that it has lost all meaning and become just another nonsensical Anglo-Saxon monosyllable.
“Hey, drop you! What the drop?”)

© 2008 - 2010, Randy Wimer

58

© 2008 - 2010, Randy Wimer

59

Seeing all the Possibilities

This idea comes to me from Gene Bertoncini, one of the true harmonic wizards of guitar. Gene’s ar-
rangements are unique, harmonically complex and, most importantly, quite beautiful. This is a process that
is deceptively simple, to the point I have to force many students to take it seriously. But even reluctant stu-
dents admit the benefit or working through it.
What is “it”? Choose a chord type, major, minor or dominant. Choose a root. Go up each individual
string and name each note that fits the desired harmony. Let’s use E major for example.

© 2008 - 2010, Randy Wimer

60

It’s important to say the name aloud - it engages more of your concentration. Don’t just do a couple of
chords and think you’ve got it. Work around the cycle of 5ths. This should help you break out of the “box”
that most guitarists put themselves in.
Here’s another way to look at the information. Don’t let the chart overwhelm you. One way to make
sense of it is to find a familiar chord within it, locate other chordal tones near it and play with sounds you
can make by adding different notes.

X X 1 3 3 3 2 1 1 3 4 9
Note the prox-
imity of other
notes that you
could use to alter
the color of the
chord.
R 5 7 3 3 5 R 5 7 9

So the root position Emaj7 gets easily transformed to a

1st inversion Emaj9. These big, six-string chords are more
typically used in solo or trio settings. They cover so much
harmonic landscape that it’s easy to create turf wars with pi-
ano players if you use them too much. And in a turf war with
the pianist, the guitarist always looses: they have ten fingers
and 7 1/3 octaves; we have four fingers and 3 1/2 to 4 oc-
taves.
You need to explore the possibilities. Be curious; be
adventurous. Some sounds you will love - some will leave
you cold. That’s the fun part of being at this point as a
player: you know enough to really get creative. Look at the
example below. This is an interesting alternative to hanging
on to an Emaj7 for three measures.

© 2008 - 2010, Randy Wimer

61

We’ll look at minors next. The notes will be Root, 9, b3, 11, 5, 6 and b7. For simplicity I’ll keep the
root as E.

© 2008 - 2010, Randy Wimer

62

If the diagram for the major chord scared you, this might send you running. On the left is a the layout
for a dominant chord. On the right I include the altered tones. Cool, no?

© 2008 - 2010, Randy Wimer

63

I’ve worked with this stuff for decades and it runs more or less naturally through my head as I’m work-
ing through a chord progression. The operative work is “working”: If I’m in an orchestra pit or on a stage
reading a chart, I’m not consciously thinking about ‘all the possibilities’ - it’s simply too much information
to process on the fly in that setting. You use these ideas when you practice and when you arrange.
I’ve struggled with how to make exercises for this section and then it occurred to me. Why not merge
this part with the planned section on arranging chord melodies. So, here we go. To avoid copyright issues
I’ll stick with the old public domain material. It’s up to you to take these principles and apply them to the
tunes of your choosing.

Chord Substitution/Chord Connection Rules

Many people use the term chord substitution to include the sorts of things we’ve done up to this point,
i.e. extending chords to include the 7th, 9th, etc. I prefer to think of that as ‘chord embellishment’ or ‘chord
extension’. I reserve the term ‘chord substitution’ for those situations where I replace a chord with a chord
built from a different root note. To those with the more structured background of, say, an orchestral player,
the idea of a musician being able to just change what the composer wrote seems just this side of anarchy,
but it’s the basis for what jazz guitarists and piano do all the time. Before we delve into our arrangements
lets make sure we know the basic rules:

Substitution
1. I and vi are interchangeable.
2. iii can be used for I
3. ii and V are interchangeable.
4. A dominant chord can be replaced by a Dim 7 chord built on its third.
5. When the melody allows, minor chords can sometimes be replaced by dominant chords. 7#9 chords of-
ten work in place of a minor chord.
6. Any chord can be replaced by a chord built on its tritone (b5).
These rules are based, in part, on the overlap between notes of the chords or overlap in their harmonic func-
tion.

Connection
1. Diminished chords connect chords separated by a whole step
2. Dominant chords connect chords separated by a perfect 4th.
3. Augmented chords connect chords separated by a perfect 4th.
4. Any chord can be moved into from a chord a half-step above or below.

© 2008 - 2010, Randy Wimer

64

© 2008 - 2010, Randy Wimer

65

Line 1: I chose Bb7b5 for two reasons: 1) it’s the tritone substitutions for E7, the normal harmony for
the pickup note; 2) it’s a half step above the following chord, Am. The Am11 is a simple embellishment of
the given Am; the Eb7#5#9 is a tritone sub for the Am and its bass note connects chromatically to the follow-
ing first-inversion CΔ. The #5 is the melody note - the #9 provides a common tone to the following chord.
The C69#11 is, admittedly, an unusual choice, but the tension it creates is immediately resolved on the sec-
ond beat of the measure by the 9 and #11 moving step-wise to the 3 and 5. The C#° connects the C and the
following D chord. D7#5/C is a simple embellishment of the given D chord; the F#° follows the substitution
rule allowing a dominant chord to be replaced by a diminished chord built on its third. FΔ9 is a simple ex-
tension of the given F chord.
Line 2: Am7 and Am11/G are extensions of the given Am chord. Notice that an context-free analysis of
the Am11/G would likely result in naming the chord a G major add 9. This is a good example of how look-
ing at ‘all the possibilities’ can lead you in directions you might not otherwise consider. The FΔ9 in the fol-
lowing measure is a chromatic connecting chord into the following E. The other chords in this line are sim-
ple extensions/embellishments. The rest of the arrangement follows similarly.
Remember in the beginning of the book when I talked about developing your “chord voice”? Doing
arrangements like this are one of the best ways to develop your individual style. Where I purposely tried to
get harmonically ’dense’ in this arrangement, the one that follows takes an entirely different approach to the
same melody. Here, I’m dabbling in what’s called ’reharmonizing’. When we reharmonize we throw out
the given chords and look just at the melody. Choose chords that work well with the melody and see what
happens!

Continued on next page

© 2008 - 2010, Randy Wimer

66

I’ve done two things here: first, I changed the key to F, without transposing the melody; second, I su-
perimposed a standard I vi ii V progression on the tune. I like to use the I vi ii V for purposes like this but
you can use other chord progressions. Choose something that has an internal logic to it (chromatic, cycle of
fourths, etc.) and that can improve the chances of your reharmonization being musically viable. In the ex-
ample below I use a chromatic approach.

© 2008 - 2010, Randy Wimer

67

Get the idea? The more you play, the more you experiment, the more you stretch your ear and your
imagination, the more your ‘chord voice’ matures and takes on an individual character. If you’ve made it to
this point in the book and have a thorough understanding of the material presented you’re well down the
road to having this thing whipped. Does that mean you know it all? Hardly! If you’re doing this right you’re
on a lifetime journey of exploration. What you have done is acquire a good set of tools that will help you on
this trip.
I’m going to close the book by returning to our first topic, triads. We’ll examine them again in light of
some of the things we’ve learned.

© 2008 - 2010, Randy Wimer

68

Section 5:
Reprise, More fun
with Triads

© 2008 - 2010, Randy Wimer

69

Triads Again?
Triads can build the simplest sounding chords. Applied creatively, they can also create some of the
most complex sounding harmonies. Let’s start with the ubiquitous iii, vi (VI7), ii V.

With a couple of minor alterations we can get this:

Notice the major triad moving chromatically through the top part of each chord. The progression could
be re-written:

This could lead to something like this:

In a similar vein, anytime you want a nice, slightly different sounding V-I kind-of thing, use the root
note of the V but place the major triad of its tritone sub above it, then resolve to I. So, for G7 to C, use
Db/G to C.

This next bit might appeal more to the budding composers in the readership but many of you will rec-
ognize the sounds and come to understand how some of those weird sounds you’ve heard originated.

© 2008 - 2010, Randy Wimer

70

Let’s start with a simple A minor pentatonic scale:

Let’s add a quarter note pedal A in the bass:

Now the fun begins: Pick a triad (any triad) and place it so that its highest note is on the ‘A’. Then
move the triad structure in parallel to the remaining notes in the scale.

Let’s try a different triad:

© 2008 - 2010, Randy Wimer

71

I cannot tell a lie (wait, that’s a lie….OMG we must be caught in cliché syllogism!), the following ex-
ample, which alternates between a major triad and a sus4 chord, is ripped off from something I heard long
ago and can’t remember the source; John McLaughlin perhaps? Pete Townsend? Lord knows, but it’s cool.

So, we take two harmonically simple constructs, the pentatonic scale and a triad, and we combine them
to make something that is anything but harmonically simple. And they’re easy to play, too! Does it get any
better than that?
I have purposely avoided talking about improvisation - that’s a topic I’ll cover in my next book, “The
Whole Scale Thing”, but triads can be used to help construct some very interesting and useful melodic
ideas. Consider the lowly F minor triad:

Now, instead of playing the chord, arpeggiate it, something like this:

Okay, you say, but what’s so cool about that. Like many things in improv, it all depends on what chord
supports the line. In this case try an E7#9/b9. What??!! Think about it - the notes of an F minor triad are F,
Ab (G#), and C (B#). Against an E chord, that’s the b9, 3rd and #5. So, instead of a complex arpeggio or
scale pattern, simply arpeggiate the little ol’ F minor triad and you create one of those perplexing altered
dominant sounds.

© 2008 - 2010, Randy Wimer

72

Here’s another altered dominant idea; take a major triad and move it in minor thirds, from G to Bb to
Db to E. If you analyze the triads against a G altered Dominant, the G is the R, 3 and 5 (obviously). The Bb
becomes b7, #9 and 5; the Db yields another
b7, a b9 and a #11 (b5); and, finally, the E
contributes a 13, a b9 and a 3. This line has
the added advantage for fingerstyle guitarist of
being played with a p i m (thumb, index, mid-
dle) roll with the right hand.

Here’s more of the same but this time using a

minor triad. It doesn’t dovetail as neatly into a
given chord type but it sounds cool, especially
if you play it fast! Try it over a Gm7. And
remember, people who say playing fast isn’t
important are usually people who can’t play
fast.

Remember the Fm over the E7 thing from a

page ago? Here’s another application of that,
this time adding a G# dim.

Hopefully this gives you the idea: One of the best ways to obtain very complex sounding melodic lines
is to use simple harmonic material in innovative ways.

Triads also allow us an insight into the minds of pianists. When we grab a fingering on the guitar we
want to name it. Take the A13b9 on page 69, for example. We see a chord. Many pianist see a polychord , a
combination of chords with one in the left hand and one in the right. In this case a pianist might play an A7
in the left hand and an Gb in the right. They’d write this as: Gb
A7

The exercise on the next page is simpler than the previous example but illustrates the point very well.
This is a “Carole King” kind of thing. A guitarist might have (correctly) named the E/A as an Amaj9, D/B
as a Bm7 and the D/E as an E11 but the underlying harmony is more accurately reflected with the given
chord names.

© 2008 - 2010, Randy Wimer

73

So, we end where we began, in a sense. Hopefully you’ve started to develop your own ideas about how
you want your chords to sound. I hope you realize that if you’re doing this right, as I’ve said before, you’re
not finished; it’s a lifetime trip. Now you have some more skills that will make that trip more rewarding.
Enjoy!

© 2008 - 2010, Randy Wimer

74

Appendix
Photo-Op Chords
(or as we say in Oklahoma, Pitcher-takin’ chords)
As you may have guessed by now, I’m really comfortable with the whole chord thing. (See where the
title for the book came from?) And yet, time and again when someone snaps a shot of me playing, I’m hold-
ing a C chord, or I have one finger on the fretboard… completely unimpressive. That’s why you need to
learn a handful (no pun intended) of chords that demonstrate your command of the instrument; chords that,
if you really used them all the time, would give you severe carpal tunnel disorder. When you spot a shutter-
bug in the crowd, immediately switch to one of the knuckle-busters regardless of the disruptive affect on
whatever you were playing. The musical discord is temporary… a picture of you playing some slacker
chord is forever. Below are some suggestions along with photos and commentary.

I first encountered this chord as

the final chord in a Barney
Major 7 Kessel recording. It took me
1 3 X 2 4 4
some time to figure out, as I
recall. Almost every posed pic-
ture of me playing from age 16
to sometime in my twenties
features this chord. As I got
older I moved it further down
the neck, starting at the 8th fret
and eventually making it all the
R 5 3 7 3
way to the first.

Major 6 This unfriendly beast is the first

X X 4 3 2 1 chord of Johnny Smith’s ar-
rangement of “Moonlight in
Vermont”. Those of you unfa-
miliar with JS should seek out
some recordings. He was one of
the true masters of chord mel-
ody and could move between
the most outrageous chord
R 3 5 6
shapes with a smoothness that
seemed superhuman.

© 2008 - 2010, Randy Wimer

75

This is the 2nd chord of

Minor 7 “Moonlight…” For fun try the
X X 4 2 3 1 preceding chord with the 1st fin-
ger on A (C6) and move to this
chord with your first finger on G
(Am7), making the change as le-
gato as possible. Welcome to
Johnny Smith World!

R b3 5 b7

Diminished 7 This is a classic. I first encountered

3 2 1
this diminished chord in a poster
X X 4
for Ovation guitars in the late 70s.
Al Dimeola (pre-hair-plug) was
the perpetrator of this finger
buster.

R b3 b5 bb7

Major 7 And, finally, the inspiration for this

X 2 4 1 3 X section: my student, Jake, sent me
this picture taken at a recording ses-
sion for his band. The casual use of
the first inversion major 7 (page 50)
along with the semi-goofy smile
make this a perfect example to end
our discussion of photo op chords.

3 7 R 5

© 2008 - 2010, Randy Wimer

76

Afterword

Nothing so amuses the aging guitar teacher as to have a student come for his first lesson and announce
that, “I know all my chords.” In almost 40 years of teaching guitar my reactions have evolved from curios-
ity, through incredulousness, sarcasm, torture, ennui, and, finally bemusement. As I stated in the early part
of this book, guitarists have different needs for chords, depending on the genres of music they're interested
in. A guitarist interested in playing chord melody arrangements of jazz standards has a much greater need
for the later material in this book that the guitarist in a Norwegian death-metal band. But what I hope for all
guitarists is the gift of curiosity: that as long as they play the guitar they will try to improve, try to find new
information, new tricks, new sounds. May this slender volume be of help in that pursuit.

Be passionate in your work and in your searching.

-Ivan Pavlov

A 19th century painting depicting a fight between the fans of Ferdinando Carulli and
those of Francesco Molino.

But don’t be stupid about it.

-Randy Wimer

© 2008 - 2010, Randy Wimer