Justin Guitar - Music Theory Cheatsheet

1. The stave and note names

On the treble clef stave:

Spaces, bottom to top: F A C E

Lines, bottom to top:  E G B D F

Mnemonic:

Spaces: FACE
Lines:  Every Good Boy Deserves Food

Mapping the stave to the open guitar strings

2. Sharps, flats, and key signatures

A sharp raises a note by one semitone.

F -> F#

A flat lowers a note by one semitone.

B -> Bb

A key signature tells you which notes are usually sharp or flat in a piece of music.

Think of it like setting the default weather for the song. If the key signature says “F#”, then every F is automatically F# unless the music tells you otherwise.

3. The circle of fifths

The circle of fifths is a big map of keys.

Moving clockwise, each key gains one sharp:

C  G  D  A  E  B  F#  C#
0  1  2  3  4  5  6   7 sharps

Moving anti-clockwise, each key gains one flat:

C  F  Bb  Eb  Ab  Db  Gb  Cb
0  1  2   3   4   5   6   7 flats

Cato’s trick / all note names in fifths

Write down: “Fat cat gets drunk at Eastern Brighton twice”

Fb Cb Gb Db Ab Eb Bb F C G D A E B F# C# G# D# A# E# B#

This is useful because it shows the order of flats on the left and sharps on the right.

A simpler central version:

F C G D A E B

This sequence is the engine behind the circle of fifths.

5. Intervals

An interval is the distance between two notes.

Intervals are the building blocks of melodies, chords, riffs, and bass lines.

Think of intervals like emotional colours. A major 3rd sounds bright, a minor 3rd sounds darker, a perfect 5th sounds strong, and a minor 2nd sounds tense.

Common intervals

Diatonic and chromatic intervals

Intervals found naturally inside the major scale are called diatonic.

The notes in between are called chromatic.

Example in C major:

C major scale: C D E F G A B
Diatonic notes: those seven notes
Chromatic notes: C# / Db, D# / Eb, F# / Gb, G# / Ab, A# / Bb

6. The major scale

The major scale is the “home base” of Western music theory.

Its interval pattern is:

Tone Tone Semitone Tone Tone Tone Semitone

Or:

T T S T T T S

In C major:

C D E F G A B C

Scale degrees:

1 2 3 4 5 6 7 1

Every major scale uses the same pattern. The starting note changes, but the distances stay the same.

Triads

A triad is a three-note chord.

A power chord is not technically a full major or minor chord because it has no 3rd. That is why it works so well with distortion: it sounds strong without clearly saying “happy” or “sad”.

Essential letter groups

These are the natural-note triads:

A C E = A minor
B D F = B diminished
C E G = C major
D F A = D minor
E G B = E minor
F A C = F major
G B D = G major

These come from stacking every other note in C major.

Guitar chord diagrams

In these diagrams:

x = do not play
0 = open string
number = fret

Strings are written from thickest to thinnest:

E A D G B e

Why D, E, A chords have sharps

When building major chords from natural letter names, some chords need sharps to keep the major formula:

Major chord = 1 3 5

Examples:

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

That is why D, E, and A major chords have a sharp 3rd.

B major needs two sharps:

B major = B D# F#

So B major has a sharp 3rd and a sharp 5th.

8. Inversions

A chord is in root position when the root is the lowest note.

Example:

C major = C E G

If the root is not the lowest note, it is an inversion.

Root position: C E G
1st inversion: E G C
2nd inversion: G C E

Inversions are like taking the same group photo but moving a different person to the front. The people are the same, but the shape feels different.

9. Arpeggios

An arpeggio is a chord played one note at a time.

C major chord: C E G together
C major arpeggio: C then E then G

A useful analogy:

Arpeggios are frozen chords melted into a melody.

They are extremely important for improvising because they let you outline the chord progression instead of just running up and down scales.

10. Chords in a major key

When you build a chord from each note of the major scale, you always get this pattern:

I    ii   iii  IV   V    vi   vii°
Maj  min  min  Maj  Maj  min  dim

In C major:

I    C major
ii   D minor
iii  E minor
IV   F major
V    G major
vi   A minor
vii° B diminished

The full sequence:

Major, Minor, Minor, Major, Major, Minor, Diminished

This is one of the most useful patterns in all of music theory.

Diatonic 7th chords in a major key

If you add one more third, you get 7th chords:

Imaj7    ii7    iii7    IVmaj7    V7    vi7    viiø7
Maj7     min7   min7    Maj7      Dom7  min7   min7b5

In C major:

Cmaj7  Dm7  Em7  Fmaj7  G7  Am7  Bm7b5

Formula sequence:

Maj7, min7, min7, Maj7, 7, min7, min7b5

11. Common chord progressions

A chord progression is a sequence of chords.

Roman numerals let us describe progressions in any key.

For example:

I V vi IV

In C major:

C G Am F

In G major:

G D Em C

Same emotional pattern, different key.

I V vi IV

One of the most common pop progressions:

I V vi IV

In C major:

C G Am F

This progression works because it balances home, lift, sadness, and release.

I  = home
V  = tension / wants to return home
vi = emotional / relative minor
IV = warm lift

Royal Road progression

Very popular in Japanese pop and anime music:

IV V iii vi

In C major:

F G Em Am

It has a strong emotional pull because it avoids landing on I too early. It keeps the listener floating.

Beatles trick

A classic colour move:

I IV iv I

In C major:

C F Fm C

The borrowed minor iv chord creates a bittersweet sound.

Why it works:

F major = F A C
F minor = F Ab C

That A dropping to Ab gives the progression its emotional “sigh”.

12. Recognising keys by chords

Some practical clues:

Two major chords one tone apart

Usually:

IV and V

Example:

F and G are one tone apart
Likely key: C major
F = IV
G = V

Two minor chords one tone apart

Usually:

ii and iii

Example:

Dm and Em are one tone apart
Likely key: C major
Dm = ii
Em = iii

Minor chord moving up to major chord by a semitone

Often:

iii to IV

Example:

Em to F
Likely key: C major
Em = iii
F = IV

These are not absolute rules, but they are useful clues.

13. Non-diatonic chords

A diatonic chord belongs naturally to the key.

A non-diatonic chord comes from outside the key.

Example in C major:

D minor is diatonic:
D F A

D major is non-diatonic:
D F# A

We can write this as:

II major

The capital Roman numeral shows it is major. The fact that II is normally minor in a major key tells us it is borrowed or altered.

Non-diatonic chords are not “wrong”. They are colour.

14. Song structure

Common sections:

Intro
Verse
Pre-chorus
Chorus
Bridge
Solo
Outro

A typical pop/rock structure:

Intro
Verse
Chorus
Verse
Chorus
Bridge
Chorus
Outro

The verse often tells the story. The chorus usually contains the main hook. The bridge gives contrast before returning home.

When learning a song, map the structure first. It makes the song easier to memorise.

15. Seventh chords

Seventh chords add another note above the basic triad.

They sound richer than plain major or minor chords.

Major 7

Symbol:

maj7, Δ7

Formula:

1 3 5 7

Example:

Cmaj7 = C E G B

Sound:

Dreamy, smooth, jazzy

Guitar shape:

name: Cmaj7
frets: x 3 2 0 0 0
fingers: x 3 2 0 0 0

Dominant 7

Symbol:

7

Formula:

1 3 5 b7

Example:

G7 = G B D F

Sound:

Bluesy, tense, wants to resolve

Guitar shape:

name: G7
frets: 3 2 0 0 0 1
fingers: 3 2 0 0 0 1

Minor 7

Symbol:

m7, min7, -7

Formula:

1 b3 5 b7

Example:

Am7 = A C E G

Sound:

Soft, soulful, mellow

Guitar shape:

name: Am7
frets: x 0 2 0 1 0
fingers: x 0 2 0 1 0

Minor 7 flat 5

Symbol:

m7b5, ø7

Formula:

1 b3 b5 b7

Example:

Bm7b5 = B D F A

Sound:

Unstable, jazzy, tense

Guitar shape:

name: Bm7b5
frets: x 2 3 2 3 x
fingers: x 1 3 2 4 x

16. Suspended chords

A suspended chord replaces the 3rd with either the 2nd or the 4th.

The 3rd tells us whether a chord is major or minor. If we remove it, the chord becomes temporarily unresolved.

Sus2

Formula:

1 2 5

Example:

Dsus2 = D E A

Shape:

name: Dsus2
frets: x x 0 2 3 0
fingers: x x 0 1 3 0

Sus4

Formula:

1 4 5

Example:

Dsus4 = D G A

Shape:

name: Dsus4
frets: x x 0 2 3 3
fingers: x x 0 1 3 4

Suspended chords often want to resolve:

Dsus4 -> D
Dsus2 -> D

They can also take you outside the key briefly, depending on the note being suspended.

17. Pentatonic scales

A pentatonic scale has five notes.

Guitarists love pentatonic scales because they are easy to use and hard to make sound bad.

Minor pentatonic

Formula:

1 b3 4 5 b7

A minor pentatonic:

A C D E G

A minor pentatonic box 1

name: A Minor Pentatonic — Box 1 (1 b3 4 5 b7)
frets: 5-8
dots: 6:5 6:8 5:5 5:7 4:5 4:7 3:5 3:7 2:5 2:8 1:5 1:8
roots: 6:5 4:7 1:5

Scale degrees:

e|----------------1--b3--
B|------------5--b7------
G|--------b3--4----------
D|----b7--1--------------
A|4--5-------------------
E|1--b3------------------

Adding the blue note

The blue note is the b5.

Minor pentatonic:

1 b3 4 5 b7

Blues scale:

1 b3 4 b5 5 b7

A blues scale:

A C D Eb E G

A minor blues scale box:

name: A Minor Blues Scale — Box 1
frets: 5-8
dots: 6:5 6:8 5:5 5:6 5:7 4:5 4:7 3:5 3:7 3:8 2:5 2:8 1:5 1:8
roots: 6:5 4:7 1:5

The b5 creates tension. Do not sit on it for too long at first. Use it like hot sauce: a little can sound amazing.

Major pentatonic

Formula:

1 2 3 5 6

A major pentatonic:

A B C# E F#

A major pentatonic box:

name: A Major Pentatonic — Box 1 (1 2 3 5 6)
frets: 4-7
dots: 6:5 6:7 5:4 5:7 4:4 4:7 3:4 3:6 2:5 2:7 1:5 1:7
roots: 6:5 4:7 1:5

Minor pentatonic vs major pentatonic

A useful trick:

A minor pentatonic = C major pentatonic

They contain the same notes:

A minor pentatonic: A C D E G
C major pentatonic: C D E G A

Same notes, different tonal centre.

Matching scales to chords

A simple rule:

Match the scale to the chord or key you are playing over.

Examples:

Over Am: try A minor pentatonic
Over A7 blues: try A minor pentatonic or A blues scale
Over A major: try A major pentatonic

In blues, guitarists often play minor pentatonic over dominant 7 chords.

Example:

A minor pentatonic over A7

This works because the clash between C and C# gives blues its expressive sound.

18. Minor scales

There is not just one minor scale. There are several flavours of minor.

Each one changes a note or two, creating a different mood.

Natural minor

Formula:

1 2 b3 4 5 b6 b7

A natural minor:

A B C D E F G A

Natural minor is the 6th mode of the major scale.

Example:

C major:        C D E F G A B
A natural minor: A B C D E F G

Same notes, different home note.

Natural minor is also called Aeolian.

Harmonic minor

Formula:

1 2 b3 4 5 b6 7

A harmonic minor:

A B C D E F G# A

Compared with natural minor, the b7 becomes a natural 7.

Natural minor: A B C D E F G
Harmonic minor: A B C D E F G#

That G# pulls strongly back to A. This is why harmonic minor sounds dramatic, classical, metal, flamenco, or “Eastern” to many ears.

Melodic minor

Formula, modern jazz version:

1 2 b3 4 5 6 7

A melodic minor:

A B C D E F# G# A

It is like the major scale with a flattened 3rd.

A major:        A B C# D E F# G# A
A melodic minor: A B C  D E F# G# A

In classical theory, melodic minor often differs ascending and descending:

Ascending:   1 2 b3 4 5 6 7
Descending: 1 b7 b6 5 4 b3 2 1

The reason: composers wanted the strong leading tone from harmonic minor, but the jump between b6 and 7 sounded awkward melodically. Raising the 6th smoothed it out.

Dorian

Formula:

1 2 b3 4 5 6 b7

A Dorian:

A B C D E F# G A

Dorian is minor, but brighter than natural minor because it has a natural 6.

Compare:

A natural minor: A B C D E F  G
A Dorian:        A B C D E F# G

Good for funk, soul, rock, folk, and modal jams.

Phrygian

Formula:

1 b2 b3 4 5 b6 b7

A Phrygian:

A Bb C D E F G A

Phrygian is minor with a flattened 2nd. That b2 gives it a dark Spanish/flamenco/metal sound.

Locrian

Formula:

1 b2 b3 4 b5 b6 b7

A Locrian:

A Bb C D Eb F G A

Locrian is unstable because it has a b5 instead of a perfect 5th. It is rare as a “home” sound but useful for understanding m7b5 chords.

19. Modes

Modes are scales made by starting the major scale from different degrees.

Using C major:

C D E F G A B

The modes are:

C major modes

C Ionian:     C D E F G A B
D Dorian:     D E F G A B C
E Phrygian:   E F G A B C D
F Lydian:     F G A B C D E
G Mixolydian: G A B C D E F
A Aeolian:    A B C D E F G
B Locrian:    B C D E F G A

Important point:

Modes are not just “the major scale starting on a different note.” The real sound comes from making that new note feel like home.

For example, D Dorian uses the same notes as C major, but D must feel like the tonal centre.

20. Chord extensions

Chord extensions add notes above the 7th.

The basic stack is:

1 3 5 7 9 11 13

The 9th is the same letter as the 2nd, but one octave higher. The 11th is the same letter as the 4th. The 13th is the same letter as the 6th.

Major extensions

Maj9

1 3 5 7 9

Example:

Cmaj9 = C E G B D

Maj11

1 3 5 7 9 11

Example:

Cmaj11 = C E G B D F

In practice, the 11 can clash with the 3 in major chords, so guitarists often use #11 instead.

Maj13

1 3 5 7 9 11 13

Example:

Cmaj13 = C E G B D F A

Dominant extensions

Dominant chords use:

1 3 5 b7

Dominant 9

1 3 5 b7 9

Example:

G9 = G B D F A

Dominant 11

1 3 5 b7 9 11

Example:

G11 = G B D F A C

Dominant 13

1 3 5 b7 9 11 13

Example:

G13 = G B D F A C E

Dominant extensions are common in blues, funk, jazz, soul, and R&B.

Minor extensions

Minor chords use:

1 b3 5 b7

Minor 9

1 b3 5 b7 9

Example:

Am9 = A C E G B

Minor 11

1 b3 5 b7 9 11

Example:

Am11 = A C E G B D

Minor 13

1 b3 5 b7 9 11 13

Example:

Am13 = A C E G B D F#

Minor 13 often implies Dorian because of the natural 6 / 13.

21. Harmonic analysis

Harmonic analysis means figuring out how the music works.

A practical process:

Step 1: Write down the chords

Example:

C G Am F

Step 2: Identify the key

These chords all belong to C major:

C Dm Em F G Am Bdim

So the key is probably C major.

Step 3: Convert chords to Roman numerals

C  G  Am F
I  V  vi IV

Step 4: Look at the function of each chord

I  = home
V  = tension
vi = emotional substitute for I
IV = lift / pre-dominant

Step 5: Look for arpeggios and scale tones in the melody

Ask:

Is the melody using notes from the chord?
Is it using passing notes from the scale?
Are there chromatic notes?
Does the melody outline an arpeggio?

Step 6: Look for borrowed or non-diatonic chords

Example:

C F Fm C
I IV iv I

The Fm chord is borrowed from C minor.

22. How to practise these ideas

Theory only becomes useful when you apply it to real music.

Practice idea 1: Label songs you already know

Take a simple song and write:

Key:
Chords:
Roman numerals:
Song structure:
Interesting non-diatonic chords:

Practice idea 2: Build chords from scales

Pick a key, for example G major:

G A B C D E F#

Then build triads:

G B D = G
A C E = Am
B D F# = Bm
C E G = C
D F# A = D
E G B = Em
F# A C = F#dim

Result:

G Am Bm C D Em F#dim

Practice idea 3: Improvise with chord tones

Over Am, target:

A C E

First step, just play the third or the fifth for a whole bar over every chord.

For instance over,

Am (A C E), C (C E G), Em (E G B), G (G B D),

play E, G, B, D

Then add notes from A minor pentatonic:

A C D E G

Chord tones are safe landing notes. Scale notes are the road between them.

Practice idea 4: Compare sounds

Play these back to back:

A natural minor: A B C D E F G
A Dorian:        A B C D E F# G
A Phrygian:      A Bb C D E F G

Listen for the character note:

Dorian: natural 6
Phrygian: b2
Natural minor: b6

Practice idea 5: Transcribe

1. Listen until you hear it in your mind
2. Make sure your guitar is tuned
3. One note at a time
4. Write it down
5. 10 min at a streth
6. Play transcription with song at low speed
7. Check online when you’re done
8. Dont get discouraged
9. Compare solo with chords
10. Enjoy it

Scale reference

Major scale

1 2 3 4 5 6 7

Natural minor

1 2 b3 4 5 b6 b7

Harmonic minor

1 2 b3 4 5 b6 7

Melodic minor

1 2 b3 4 5 6 7

Minor pentatonic

1 b3 4 5 b7

Major pentatonic

1 2 3 5 6

Major triad

1 3 5

Minor triad

1 b3 5

Diminished triad

1 b3 b5

Augmented triad

1 3 #5

Major 7

1 3 5 7

Dominant 7

1 3 5 b7

Minor 7

1 b3 5 b7

Minor 7 flat 5

1 b3 b5 b7

Chord reference

Open chords

Chords with Chord tones and chord shapes Open C, D, A, G Shift open C to D, F, G6, A7 to get new chords Try the same with other open chords - shift them up the neck

Slash chords

name: G/B (x-3-5-R-5-R)
frets: x 2 0 0 3 3
fingers: x 1 0 0 3 4

name: G/B (x-3-5-R-5-x)
frets: x 2 0 0 3 x
fingers: x 1 0 0 3 x

name: G/B (x-3-5-R-3-R)
frets: x 2 0 0 0 3
fingers: x 1 0 0 0 3

name: C/G (5-R-3-5-R-3)
frets: 3 3 2 0 1 0
fingers: 4 3 2 0 1 0

name: C/B (x-7-3-5-R-3)
frets: x 2 2 0 1 0
fingers: x 2 3 0 1 0

name: Cadd2/B (x-7-2-5-R-3)
frets: x 2 0 0 1 0
fingers: x 2 0 0 1 0

Dominant 7 chords

The dominant 7 adds a b7 to the major triad, creating tension that wants to resolve to the IV or I.

name: E7 (R-5-b7-3-5-R)
frets: 0 2 0 1 0 0
fingers: 0 2 0 1 0 0

name: E7 alt (R-5-R-3-b7-R)
frets: 0 2 2 1 3 0
fingers: 0 2 3 1 4 0

name: C7 (x-R-3-b7-R-3)
frets: x 3 2 3 1 0
fingers: x 3 2 4 1 0

Chord extensions

If a 7 is in the chord, we call it a chord extension. If not, it becomes sus4/2.

• Maj9 needs a maj7
• Min9 needs a b7
• Dom9 needs a b7

name: Maj 9 (x-R-3-7-9-x) — lush lounge sound; try alternating the bass note
frets: x 2 1 3 2 x
fingers: x 2 1 4 3 x

name: Maj 13 (R-x-7-3-13-x) — atmospheric jazz
frets: 0 x 1 1 2 x
fingers: 0 x 1 1 2 x

name: Min 9 (x-R-b3-b7-9-x) — bossa nova feel; heard in Polyphia "Playing God"
frets: x 2 0 2 2 x
fingers: x 1 0 3 2 x

name: Dom 9 (x-R-3-b7-9-5)
frets: x 2 1 2 2 2
fingers: x 2 1 3 3 3

name: Dom 13 (x-R-3-b7-9-13)
frets: x 2 1 2 2 4
fingers: x 2 1 3 3 4

name: Maj7 (R-x-7-3-5-x)
frets: 0 x 1 1 0 x
fingers: 0 x 1 1 0 x

E-shape barre chords

Moveable shapes — root on the low E string. Shift up the neck to transpose.

name: Maj (R-5-R-3-5-R)
frets: 0 2 2 1 0 0
fingers: 0 2 3 1 0 0

name: Min (R-5-R-b3-5-R)
frets: 0 2 2 0 0 0
fingers: 0 2 3 0 0 0

name: 7 (R-5-b7-3-5-R)
frets: 0 2 0 1 0 0
fingers: 0 2 0 1 0 0

name: Min7 (R-5-b7-b3-5-R)
frets: 0 2 0 0 0 0
fingers: 0 1 0 0 0 0

name: Maj7 (R-x-7-3-5-x)
frets: 0 x 1 1 0 x
fingers: 0 x 1 1 0 x

name: m7b5 half-dim (R-x-b7-b3-b5-x) — labeled "7b5" but voicing is minor, not dominant
frets: 1 x 1 1 0 x
fingers: 3 x 1 1 0 x

name: Dim (R-b5-R-b3-x-R)
frets: 0 1 2 0 x 0
fingers: 0 1 2 0 x 0

name: Maj7 moveable (R-x-R-3-5-7)
frets: 1 x 3 2 1 0
fingers: 1 x 3 2 1 0

name: Jazz 7 (R-x-b7-3-5-x)
frets: 0 x 0 1 0 x
fingers: 0 x 0 1 0 x

name: Maj7 "Hendrix shape" (R-x-R-3-7-R) — classic E7#9 is higher: 0 7 6 7 8 0
frets: 0 x 2 1 4 0
fingers: 0 x 2 1 4 0

name: Nice 7 / F#7sus4 (x-x-R-3-5-b7)
frets: x x 4 3 2 0
fingers: x x 4 3 2 0

name: 7#5 (R-x-b7-3-#5-x)
frets: 0 x 0 1 1 x
fingers: 0 x 0 1 1 x

name: Jazz Min7 (R-x-b7-b3-5-R) — original "0x000" has missing digit; assuming 0x0000
frets: 0 x 0 0 0 0
fingers: 0 x 0 0 0 0

name: Maj6 (R-x-6-3-5-x)
frets: 1 x 0 2 1 x
fingers: 3 x 0 2 1 x

name: Maj6 alt (x-x-R-3-6-R)
frets: x x 2 1 2 0
fingers: x x 2 1 3 0

name: Sus4 (R-5-R-4-5-R)
frets: 0 2 2 2 0 0
fingers: 0 2 3 4 0 0

name: Sus4 practical (x-x-R-4-5-R)
frets: x x 2 2 0 0
fingers: x x 1 1 0 0

name: Sus2 / Maj7sus2 (R-x-7-2-5-x) — low E adds maj7, making this technically Fmaj7sus2
frets: 1 x 2 0 1 x
fingers: 1 x 2 0 1 x

A-shape barre chords

Root sits on the A string.

name: Maj (x-R-5-R-3-5)
frets: x 0 2 2 2 0
fingers: x 0 1 2 3 0

name: Min (x-R-5-R-b3-5)
frets: x 0 2 2 1 0
fingers: x 0 2 3 1 0

name: Min7 (x-R-5-b7-b3-5)
frets: x 0 2 0 1 0
fingers: x 0 2 0 1 0

name: 7 (x-R-5-b7-3-5)
frets: x 0 2 0 2 0
fingers: x 0 1 0 2 0

name: m7b5 half-dim (x-R-b5-b7-b3-x) — "7b5min" and "7b5" both had identical tabs; merged into one
frets: x 0 1 0 1 x
fingers: x 0 1 0 2 x

name: Min9 (x-R-b3-b7-9-x) — bossa nova feel
frets: x 2 0 2 2 x
fingers: x 1 0 3 2 x

name: Maj6 (x-R-5-R-3-6)
frets: x 0 2 2 2 2
fingers: x 0 1 1 1 1

name: Min6 (x-R-5-6-b3-x) — original "x13022x" has 7 chars; high e muted
frets: x 1 3 0 2 x
fingers: x 1 3 0 2 x

name: Sus4 (x-R-5-R-4-x)
frets: x 0 2 2 3 x
fingers: x 0 1 2 3 x

name: Sus2 (x-R-5-R-2-5)
frets: x 0 2 2 0 0
fingers: x 0 1 2 0 0

D-shape barre chords

Root sits on the D string.

name: Maj6 (x-x-R-5-6-3)
frets: x x 0 2 0 2
fingers: x x 0 1 0 2

name: Min6 (x-x-R-5-6-b3)
frets: x x 0 2 0 1
fingers: x x 0 2 0 1

C-shape barre chords

Root typically on the A string.

name: Maj6 (x-R-3-6-R-x)
frets: x 2 1 1 0 x
fingers: x 2 1 1 0 x

name: Min6 (x-R-b3-6-R-x)
frets: x 2 0 1 0 x
fingers: x 2 0 1 0 x

name: Min6 alt (R-x-6-b3-5-x)
frets: 1 x 0 1 1 x
fingers: 3 x 0 1 1 x

G-shape barre chords

Root on the low E string; uses the open G chord fingering pattern.

name: Maj (R-3-5-R-3-R)
frets: 3 2 0 0 0 3
fingers: 3 2 0 0 0 4

name: Min (R-b3-5-R-x-x)
frets: 3 1 0 0 x x
fingers: 3 1 0 0 x x

name: Sus4(maj7) (7-x-5-R-4-x) — low E adds maj7, making this Gsus4(maj7); omit low E for pure sus4
frets: 2 x 0 0 1 x
fingers: 2 x 0 0 1 x

name: Sus2 (R-x-5-2-5-x)
frets: 3 x 0 2 3 x
fingers: 3 x 0 2 4 x

name: Add9 (R-x-5-9-3-x)
frets: 3 x 0 2 0 x
fingers: 3 x 0 2 0 x

Beginner chords everyone should know

name: Big G (R-3-5-R-#11-7) — corrected from 320022; the original adds #11 and maj7 extensions
frets: 3 2 0 0 3 3
fingers: 3 2 0 0 0 4

name: Rock G / Gadd9 (R-9-5-R-5-R) — open A string adds the 9th
frets: 3 0 0 0 3 3
fingers: 3 0 0 0 0 4

name: Cadd9 (x-R-3-5-9-5) — corrected from x32022 (which gave C#/F#); standard Cadd9 is x32033
frets: x 3 2 0 3 3
fingers: x 3 2 0 0 0

name: Dsus4 with bass drone (2-5-R-5-R-4) — standard Dsus4 is xx0233; open low strings add a drone
frets: 0 0 0 2 3 3
fingers: 0 0 0 1 3 4

name: A7sus4 (x-x-5-R-4-b7) — the high e adds b7, making this A7sus4
frets: x x 2 2 3 3
fingers: x x 1 1 3 4

name: A7sus4 alt (x-x-5-b7-4-b7)
frets: x x 2 0 3 3
fingers: x x 1 0 3 4

name: Em7 (x-5-R-b3-b7-b3)
frets: x 2 2 0 3 3
fingers: x 1 2 0 3 4

name: Dadd11/F# (3-x-R-5-R-11)
frets: 2 x 0 2 3 3
fingers: 1 x 0 2 3 4

name: F6/9 (x-x-R-3-6-9)
frets: x x 3 2 3 3
fingers: x x 4 2 3 3

Scale reference

Major scales

name: A Major — Box 1 (1 2 3 4 5 6 7)
frets: 5-8
dots: 6:6 6:8 5:5 5:6 5:8 4:5 4:7 4:8 3:5 3:7 3:8 2:6 2:8 1:5 1:6
roots: 4:7 1:5

name: A Major Pentatonic — Box 1 (1 2 3 5 6)
frets: 0-3
dots: 6:1 6:3 5:0 5:3 4:0 4:3 3:0 3:2 2:1 2:3 1:1
roots: 5:0 3:2

name: A Major Pentatonic — Box 5 (1 2 3 5 6)
frets: 5-8
dots: 6:8 5:5 5:7 4:5 4:7 3:5 3:7 2:5 2:8 1:5 1:8
roots: 4:7 1:5

Minor scales

name: A Aeolian (Natural Minor) — Box 1 (1 2 b3 4 5 b6 b7)
frets: 4-8
dots: 6:5 6:7 6:8 5:5 5:7 5:8 4:5 4:7 3:4 3:5 3:7 2:5 2:6 2:8 1:5
roots: 6:5 4:7 1:5

name: A Harmonic Minor — Box 1 (1 2 b3 4 5 b6 7)
frets: 4-8
dots: 6:5 6:7 6:8 5:5 5:7 5:8 4:6 4:7 3:4 3:5 3:7 2:5 2:6 1:4 1:5
roots: 6:5 4:7 1:5

name: A Melodic Minor — Box 1 (1 2 b3 4 5 6 7)
frets: 4-8
dots: 6:6 6:8 5:4 5:6 5:8 4:5 4:7 4:8 3:5 3:6 3:8 2:6 2:8 1:5 1:6
roots: 4:7 1:5

name: A Minor Pentatonic — Box 1 (1 b3 4 5 b7)
frets: 5-8
dots: 6:5 6:8 5:5 5:7 4:5 4:7 3:5 3:7 2:5 2:8 1:5 1:8
roots: 6:5 4:7 1:5

Major scale modes

name: A Ionian (Major) — Box 1 (1 2 3 4 5 6 7)
frets: 5-8
dots: 6:6 6:8 5:5 5:6 5:8 4:5 4:7 4:8 3:5 3:7 3:8 2:6 2:8 1:5 1:6
roots: 4:7 1:5

name: A Dorian — Box 1 (1 2 b3 4 5 6 b7)
frets: 5-8
dots: 6:8 5:5 5:6 5:8 4:5 4:7 4:8 3:5 3:8 2:6 2:8 1:5 1:6 1:8
roots: 4:7 1:5

name: A Phrygian — Box 1 (1 b2 b3 4 5 b6 b7)
frets: 5-8
dots: 6:5 6:6 6:8 5:5 5:6 5:8 4:5 4:7 4:8 3:5 3:7 3:8 2:6 2:8 1:5 1:6 1:8
roots: 6:5 4:7 1:5

name: A Lydian — Box 1 (1 2 3 #4 5 6 7)
frets: 5-8
dots: 6:5 6:7 6:8 5:6 5:7 4:6 4:7 3:6 3:8 2:5 2:7 1:5 1:7 1:8
roots: 6:5 4:7 1:5

name: A Mixolydian — Box 1 (1 2 3 4 5 6 b7)
frets: 5-8
dots: 6:5 6:7 6:8 5:5 5:7 4:5 4:7 3:6 3:7 2:5 2:7 2:8 1:5 1:7 1:8
roots: 6:5 4:7 1:5

name: A Aeolian (Natural Minor) — Box 1 (1 2 b3 4 5 b6 b7)
frets: 4-8
dots: 6:5 6:7 6:8 5:5 5:7 5:8 4:5 4:7 3:4 3:5 3:7 2:5 2:6 2:8 1:5
roots: 6:5 4:7 1:5

name: A Locrian — Box 1 (1 b2 b3 4 b5 b6 b7)
frets: 5-8
dots: 6:5 6:6 6:8 5:5 5:6 5:8 4:5 4:7 3:5 3:7 3:8 2:6 2:8 1:5 1:6 1:8
roots: 6:5 4:7 1:5

Minor scale modes

Harmonic minor modes

name: A Harmonic Minor — Box 1 (1 2 b3 4 5 b6 7)
frets: 4-8
dots: 6:5 6:7 6:8 5:5 5:7 5:8 4:6 4:7 3:4 3:5 3:7 2:5 2:6 1:4 1:5
roots: 6:5 4:7 1:5

name: A Locrian #6 — Box 1 (1 b2 b3 4 b5 6 b7)
frets: 5-8
dots: 6:5 6:6 6:8 5:5 5:6 4:5 4:7 3:5 3:7 3:8 2:7 2:8 1:5 1:6 1:8
roots: 6:5 4:7 1:5

name: A Ionian #5 — Box 1 (1 2 3 4 #5 6 7)
frets: 5-8
dots: 6:5 6:7 5:5 5:8 4:6 4:7 3:6 3:7 2:6 2:7 1:5 1:7
roots: 6:5 4:7 1:5

name: A Dorian #4 — Box 1 (1 2 b3 #4 5 6 b7)
frets: 5-8
dots: 6:5 6:7 6:8 5:6 5:7 4:5 4:7 3:5 3:8 2:7 2:8 1:5 1:7 1:8
roots: 6:5 4:7 1:5

name: A Phrygian Dominant — Box 1 (1 b2 3 4 5 b6 b7)
frets: 5-8
dots: 6:5 6:6 5:5 5:7 5:8 4:5 4:7 3:6 3:7 2:5 2:6 2:8 1:5 1:6
roots: 6:5 4:7 1:5

name: A Lydian #2 — Box 1 (1 #2 3 #4 5 6 7)
frets: 5-8
dots: 6:5 6:8 5:6 5:7 4:6 4:7 3:5 3:6 3:8 2:5 2:7 1:5 1:8
roots: 6:5 4:7 1:5

name: A Super Locrian bb7 — Box 1 (1 b2 b3 b4 b5 b6 bb7)
frets: 5-8
dots: 6:5 6:6 6:8 5:6 5:8 4:7 4:8 3:5 3:6 3:8 2:6 2:7 1:5 1:6 1:8
roots: 6:5 4:7 1:5

Melodic minor modes

name: A Melodic Minor — Box 1 (1 2 b3 4 5 6 7)
frets: 4-8
dots: 6:6 6:8 5:4 5:6 5:8 4:5 4:7 4:8 3:5 3:6 3:8 2:6 2:8 1:5 1:6
roots: 4:7 1:5

name: A Dorian b2 — Box 1 (1 b2 b3 4 5 6 b7)
frets: 5-8
dots: 6:5 6:6 6:8 5:5 5:7 4:5 4:7 3:5 3:7 2:5 2:7 2:8 1:5 1:6 1:8
roots: 6:5 4:7 1:5

name: A Lydian Augmented — Box 1 (1 2 3 #4 #5 6 7)
frets: 5-8
dots: 6:5 6:7 5:6 5:8 4:6 4:7 3:6 3:8 2:6 2:7 1:5 1:7
roots: 6:5 4:7 1:5

name: A Lydian Dominant — Box 1 (1 2 3 #4 5 6 b7)
frets: 5-8
dots: 6:5 6:7 5:6 5:7 4:5 4:7 3:6 3:8 2:5 2:7 2:8 1:5 1:7
roots: 6:5 4:7 1:5

name: A Mixolydian b6 — Box 1 (1 2 3 4 5 b6 b7)
frets: 5-8
dots: 6:5 6:7 5:5 5:7 5:8 4:5 4:7 3:6 3:7 2:5 2:6 2:8 1:5 1:7
roots: 6:5 4:7 1:5

name: A Locrian #2 — Box 1 (1 2 b3 4 b5 b6 b7)
frets: 5-8
dots: 6:5 6:7 6:8 5:5 5:6 5:8 4:5 4:7 3:5 3:7 3:8 2:6 2:8 1:5 1:7 1:8
roots: 6:5 4:7 1:5

name: A Altered Scale — Box 1 (1 b2 #2 3 b5 b6 b7)
frets: 5-8
dots: 6:5 6:6 6:8 5:6 5:8 4:5 4:7 4:8 3:5 3:6 3:8 2:6 2:8 1:5 1:6 1:8
roots: 6:5 4:7 1:5

Blues

name: A Blues — Box 1 (1 b3 4 b5 5 b7)
frets: 5-8
dots: 6:5 6:8 5:5 5:6 5:7 5:8 4:5 4:7 3:5 3:6 3:7 3:8 2:5 2:8 1:5
roots: 6:5 4:7 1:5

name: A Hybrid Blues — Box 1 (1 2 b3 3 5 6)
frets: 5-8
dots: 6:5 6:8 5:5 5:6 5:7 4:5 4:7 3:5 3:7 3:8 2:5 2:7 2:8 1:5 1:7 1:8
roots: 6:5 4:7 1:5

The CAGED shapes

name: A Major — A shape (open)
frets: x 0 2 2 2 0
fingers: x 0 1 1 1 0

name: A Major — G shape
frets: 5 4 2 2 2 5
fingers: 4 3 1 1 1 4

name: A Major — E shape
frets: 5 7 7 6 5 5
fingers: 1 3 4 2 1 1

name: A Major — D shape
frets: x x 7 9 10 9
fingers: x x 1 2 4 3

name: A Major — C shape
frets: x 12 11 9 10 9
fingers: x 4 3 1 2 1