S6°2S ‘Sn Punjsuy “9 In AqUf GcAlsland He teaches, composes, arranges, plays the guitar. He teaches guitar teachers at the Royal Academy of Music in Stockholm, Sweden. He has his own ideas about how to teach music and the guitar. His ideas have made him what he is. Once he was a miner in the far north of Sweden, beyond the Arctic Circle. There was no one to teach him music, so he taught himself. Then he went to a music academy, became a concert soloist, studied top-level music, lectured, played chamber music, composed. Today Ulf Goran Ahslund is known internationally as a superb teacher at the most sensitive of all levels—the very beginning. He is a star on both ‘Swedish and British TV. His TV course ‘Play Guitar’ attracted a mass public. Why? Because to learn from Ulf Goran is like play- ing a game. And the viewers—all sorts of viewers—switched on to watch. Soon hundreds of thousands of them were holding guitars in their hands, saying ‘Look, I've made it!”Back Pocket 5500 GUITAR CHORDS guitar by Ult G. Ahslund to take a few basic chord shapes and move them up and down the neck to derive new chords. Many fons on the simple open-position chords, such as E, G, C, A, D, that you already know. chords. | hope it will give you both the principles and the inspiration to explore the Quy 9 Fadund This chord dictionary shows you hi new chords can be played from v This book will give you access to over 5500 91 wonderful and endless world of guitar chords, CONTENTS DIAGRAM WITH CHORD 126 22 716 32 95 4113 ‘SYMBOLS AND FRET NUMBER, 13 m6 23 Maj7 34 945 42 139 HOW TO READ THE DICTIONARY 14 619. 24 mMaj7 35 816 433411 HOW TO USE THIS DICTIONARY 18 7 25 Maj 7-5 38 Majo 44 FROM MOVABLE CHORD NOTES OF THE FRETBOARD 18 m7 28 dim 87 +910) SHAPES TO ZERO-POSITION. Major 17 sus? 283) 38 11 45 EXAMPLES OF CHORD-SHAPES: Minor 18 75 29 95,945 39 mit IN ZERO-POSITION Sus4 20 mrs 30 9 40 +11 46 CONSTRUCTION OF CHORDS +5 ATS 31 mo Dae.° Fret and position numbers DIAGRAM WITH CHORD SYMBOLS FINGERING AND FRET NUMBER F ....chord symbols weenie ee eee ee ~---open strings 1 Position—1 $100. {=position zero) " al me LL “9. Lily wy Ue. Hh v - 342----Alt. fingering vi q DIAGRAM MOVABLE CHORD-SHAPES OPEN CHORDS vil =picture showing the =chord-shapesthateanbe (chords at fret position zero) vin ‘strings and frets movedalong the fretboard =chord-shapes using open strings, 4 of the guitar neck. without altering (see also page 44-45.) x ‘your fingering. x xi xu LfLEFT HAND FINGERING 1 =first or forefinger 2= second or middle finger 3=third or ring-finger 4=fourth or little finger ‘These left-hand fingering numbers are written inside the black dots and squares of the diagram, or else immediately beneath the diagram, as alternative tingerings. = Barré. One finger simultaneously presses down two or more strings. Barré ad lib, Chord-shapes with or without barra, ‘The barré curve indicates the number of strings to be pressed down by the barré finger. Not all these strings are necessarily sounded (see below). SOUNDING AND DAMPED STRINGS Only strings marked by the following signs must be heard in the chord: oe0e The other strings-either marked with an x or left unmarked— are not played or simply dampened by the left hand. NB: In this context the barré chord is not regarded as a marking. POSITION Roman numerals indicate the position of the diagram on the finger-board. A IV next to the diagram indicates that the first fret shown in the diagram would be the 4th fret ‘on the fingerboard. Position number 0 (see pages 44-45). @ =ROOT- © ‘The note which gives a chord its basic name 1s called its + ‘root’, In this book it Is indicated by a black or white dia- mond. (see also page 47). nr. Chord-shapes having no root are indicated by the abbrevia- tion n-. (no root) * (See page 5 under "Selecting chord-shapes”.)HOW TO READ THE DICTIONARY 3] : + ‘The example below shows how you can play Vu Hu an AD chord in position number four.HOW TO USE THIS DICTIONARY TO CHOOSE ORNOTTO CHOOSE; THATS THE QUESTION! CHOICE OF CHORD-SHAPE ‘The opposite page shows an example of how, using this di combine chord-shape with position and chord name. onary. you can Which chord-shape you will choose will depend on such elements as taste, style, tone colour, technique, voicing etc. A solitary chord played alone can have a totally different meaning from one played in a succession of chords. Many chord-shapes are derived from a “basic type”. is an important factor in practical guitar-playing. For this reason this dictionary gives many examples of chords derived this way. Chord-shapes that “belong together” are grouped and framed with dotted vertical lines. (See example on the opposite page) Two chord-shapes providing a practical supplement to each other's qualities are indicated by a *. This helps the interested student to follow any given shape-change from a three-note maior chord to a 13+ 11 chord. EXPLANATION OF SYMBOLS (See pages 2, 3, 6 and pages 44.47NOTES OF THE FRETBOARD (C-MAJOR SCALE For clarity only the notes ofthe C-malors shown on the fretboard below. where the other notes lie wil be clear from the Chromatic scale at the bottom of the page (cf isthe sametone asd b etc.) Open strings - sivng notes Ht —4-9 rn rehines ‘ $ eT, $ ® a b—-< ¢: ef 9 ® et 44. 9g: tea. Le. d- @® b- c. d —e 9 a SU eso sors CHROMATIC SCALE D DFE F FIG GA ADB C eetovil vill x x vit iv _ vi TAbm Ginvin Xt vil vil {Adsus Bosus a Gisus Rus Afsus‘Tho same +5 chord-shape can, in tho same positon, be given more than one nama, copending on which noteis regarded as its root. (e:G+8.E+5, G15)vil viii Fess Gas 1 Gis Wi Wv vics 6 Dé Dee ES Fe Fie G6 Gis AG Ate Boi v v 2/>|5 3 slels|x 5|5|5|= | | fe jena] | of-J=|=]2 g a} | Iai Ja g 5 3) 13! 3 fay SL tt = AREER also |z lols Ase Atsi9 Boo 7 v vi vi Vii B99= v vi vil Ebsus 7 F sus7tion, be given more than one name, depending on * Gel bs Red eel a ath tet Et 123 a war) ui co - Ve vAa7-5 [Bs 18) 7-5{Bb 7~* Bm75 Em7-5 Atm 7-5(Compare with 13)(Also written a) ___ 1 Bba Aba7 (Also written m 4) i mMa vil E>ma {Dé rn,5 4 =dim (Also written 0) A diminished chord can be considered a non-root dominant chord with flatted ninth (see construction of chords, page 46). Of course the diminished chord can also be thought of as a chord ~with its own root, giving the chord its name (marked@ as usual), The same chord-shape can, in the same position, be given more than one name, depending on which note is regardedas its root. When choosing chord shape one usually connects chord symbols and bass tone = C dim chord- shape with C bass and go on. ad sod see Sle BOim WV Vill t i t T 7 Vir vii x 0 1 u ul Iv v. vi mW wv Vv vi vil Eb9 T6b9 i | Abo cs 2 De: [Es Fo Fo [Go Gio AS ‘Ato BoVil BmgTAbO+s G8o+5 Aoaswii i 1248 oe 18 LQ: Oe & Ags(Aiso written 09)Ebi 28 9/8vil wut 1xvil Dbis+i1 Eb 13411 Gpistiy Cristi Dis+it Dest [Fist [Festi ‘priatti TAbIS+i Gist Ghat fash Ag3t17 BistitFROM MOVABLE CHORD-SHAPES TO ZERO-POSITION le chord-shapes to zero-posi- -hand fingeting is changed, or in part. (See example on this Positiond--~~ ¢EXAMPLES OF CHORD-SHAPES IN ZERO-POSITION Chordshapes in position 0= chord-shapes using open strings. Most shapes in position 0 can ve changed to movable shapes (compare with the example on the opposite page). © O=openstrings =the string does not form part of the chord. 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